Madota Q&A

Welcome to Magazine Sixty, Behnam & Mehran. Tell us about how you first met and then decided to produce together?

We met over 12 years ago in Vancouver, Canada through a very special mutual friend who told both of us separately we would really get along due to our obscure sense of humour. From the moment we met we became brothers and from there we embarked on a whole musical journey DJing around different spaces and parties in Vancouver. Around 2011 we really became interested in making our own sounds so we found a garage space four floors into the ground and went there every night to practice and experiment.

Your track: Gilli has been included on Kindisch’s next Steps compilation. How did you hook up with the label? And what is the story behind its title?

We’ve been in contact with Philip Jung (M.A.N.D.Y) over the past year or so. We actually first got our track ‘Elegy’ signed with Get Physical (big brother label of Kindisch) coming out early 2020. A few months down the road, we had ‘Gilli’ in our hands and just had a feeling it would be perfect for Kindisch – so we reached out to Philip and he made it all happen.

The title ‘Gilli’ comes from Gil Scott Heron who was a legendary jazz poet and musician in the 1970’s – one of the true pioneers of rap music and slam poetry you could say. You can hear his words come in and out of the track as he weaves a grim narrative of Nixon and his toxic relationship with America. His words deeply resonated with us given the political climate right now and we wanted to relive the legacy of his words and the grim outlook of our future right now.

buy http://hyperurl.co/frbqvr

The track fuses together a diverse set of styles and emotions. How would you best describe the music that you create?

It’s hard to capture in words really. It seems like whatever is coming out of us has both elements of melancholy and color in it. Given that we are Iranian born Canadian raised German residents, we definitely feel a sense of rootlessness in that we don’t truly feel at ‘home’ anywhere. So that gives us the room to really tap into whatever styles that move us the most – soul, jazz, traditional Iranian, old school hip hop, Roma folk music and on and on.

Can you talk us through how Gilli was produced, including any favourite software/ hardware you like to use?

‘Gilli’ came out of a series of jams we had using a lot of old school hip hop drum sampling we had done. After jamming a few grooves along with a few guitar riffs we were on a mission with Gil’s words. And what came at the end was a free improvisation on keys for all the melodies and pads to make everything make sense. We do a lot of recordings when we get our hands on synths such as the Prophet 12, Nord Lead and the Sub 37. And when we come back to regroup we make sense out of everything in Logic Pro with what we capture.

Tell us about your main influences. Both within electronic music and from outside of it. Are there any writers, painters etc who influence what you do?

Hmm this is really hard to capture in a few names but within the electronic scene there are many class acts we look up to such as Stimming, Stavroz, Apparat, Max Cooper and so on. Outside of it we tap into a lot of obscure folk music from around the world along with other artists like film directors Jim Jarmusch and Alejandro González Iñárritu, and writers such as Elif Shafak and Hunter Thompson. Really all over the place.

Your studio looks amazing. What do you consider to be the most important thing in it (apart from yourselves)?

Honestly it’s not so much a particular thing as opposed to the sense of community that we feel in and around us. Since our studio is in Holzmarkt in Berlin, we have a lot of inspirational artists like Martin (Acid Pauli), Sascha Cawa, Mario (Douglas Greed), Marco Resmann, and Paji having their studios next to us. That moment when you’re in the studio and you feel like all the walls are closing in on you, you step outside and get grounded again with these guys’ experience and wisdom.

In broader terms how do you feel about the nature of ‘streaming’ and ways to make a living as artists through music?

Honestly with the nature of our kind of music and our peers alike, streaming doesn’t really serve us in earning a living. I think like everyone, we’re secretly wishing for a more fair streaming platform where we would be paid more per stream but it doesn’t look probable.

We’ve actually been working very closely in the past two years with a dedicated team in Sweden developing a live streaming app that allows artists to monetise through either setting up their own performances or just live streaming from their studio. The app is called Whalebone and is due to launch at the end of October. We’re really looking forward to using it and sharing it with our peers.

How was your recent trip to Mexico? And tell us about your remix for Lost Desert & Simon Vuarambon – Bloesem on Souksonic?

Mexico was truly magical. We just fell in love with the warmth of the people, the beauty in the food and the hospitality we received. We see ourselves going back there more down the road.

Regarding our remix of Bloesem, we met Patrick (Lost desert) and Sandra on a sunny spring afternoon in Brooklyn on the day we were playing for the ZERO Masquerade. One thing was crystal clear from that point onwards: they are the type of people you feel like you’ve known deeply for many lifetimes. over and over. Fast forward a year and a bit later and here we are remixing his track for his newborn label Souksonic. We’re really happy with the outcome.

And finally. Where can people get to hear you DJ, and can you share with us any forthcoming plans?

Yes we’re back playing in a few shows London and Toronto in November with a bigger focus on finishing a lot of new projects. Then we’re doing New York, DC and Miami all in December. And then a few Woomoon gigs in Tulum around New Year’s leading into a Saisons showcase mid-January in Montreal during Igloo fest. We also got a few new releases coming out with Get Physical and Saisons.

https://www.facebook.com/MadotaMusic
https://www.instagram.com/madotamusic

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Netherworld Q&A

Welcome to Magazine Sixty, Alessandro. Your new album Algida Bellezza is a stunning piece of work which appears on the label you originally founded Glacial Movements. Can you recall the decision to name the imprint itself and why you choose that particular reference?

I would like first of all to thank you for this invitation and above all, thanks for the support that Magazine Sixty has always given to my label. I read your review of my album, and I must say that I am proud and obviously very happy that you enjoyed it so much. I made it with my  (icy) heart and I hope it can also reach the hearts of the public. Glacial Movements is the connection, both mental and physical that I decided to create between man, woman and the cold and uncontaminated nature. Snow, winter, ice and mountains are a refuge from everyday life, a place where you can reflect and rediscover your “inner center”. Unfortunately it’s also a very current and dramatic topic. Ideally, and with the help of the artists I work with, GM tries to restore this delicate balance. The music of my productions travels in the ether, and I would like it very much if the ice contained in the sounds can somehow restore the ice cap. It would be really fantastic!

The album was created by using a Roland VP9000 alongside various effects. What is it about the hardware that appealed to you so much you wanted to make an album with it? And can you tell us about some of the favourite affects you used to mould the sounds?

This tool has infinite potential. Besides being a sampler, it allows to adjust the pitch and time of the sound in real time and to associate it with an excellent level of effects. Three banks  effects can be activate or deactivate: different types of chorus, reverbs and a special effects section such as for example guitar and bass distortions, vocoders, delays, various types of noise, aged LP noises, radio effects and many more. Each effect has its own modifiable parameters which therefore completely distort the original sound. As if that were not enough, I connect the output of VP9000 to further effects of the Eventide series (Space and Time) that model the sound even more, making it  more abstract and undeciphered. I also love synths and in fact I have an Alesis ION and I also want to buy soon a new Waldorf.

The album was inspired by the arrival of your daughter. How did the emotional roller-coaster of fatherhood translate into creating the music?

The birth of my daughter was the most beautiful and intense emotion I have ever experienced. The first few days were obviously full of emotions. It is not possible to explain what the meaning of being a parent is. You just have to try it. After leaving the hospital we returned to home and in the evening I held my newborn baby in my arms. I felt a new energy inside me and the only way to be able to externalize it was to turn on my instruments and let my emotions go free. I composed all the loops and various sounds within a few nights. Everything happened very naturally, nothing was forced and the sounds seemed to come out of the speakers without my contribution. I was simply the link between emotions and instruments. My daughter has always been there, so this album is completely dedicated to her. Without her “Algida Bellezza” would never have been composed. I then put the following thought in this regard: perhaps a parallel exists between the beauty, innocence and fragility of a newborn baby girl and that of the flora and fauna present in the fragile Arctic ecosystems? My answer is found in the 45 minutes of the album.

Algida Bellezza features an amazing photograph by Carsten Egevang on the cover. Can you tell us about the plight of the sled dog and why the animal holds a special place in your heart?

Carsten is a truly unique and exceptional photographer. In his catalog there are some wonderful photos, but amonstg all, this photo has a very strong impact. It cannot leave you indifferent. The delicacy and naturalness of the sled dog that shakes off the snow perfectly represents the meaning of my album. The purity of the animal is enveloped by the purity of the snow which in turn can connect to the purity of a newborn child. There is a very strong bond between these images … everything has a meaning and finds the right place in my thoughts. There is also another very important aspect regarding the photo that was taken in Greenland wich holds the Arctic’s largest remaining sled dog population. Unfortunately this population is close to extinction and this phenomenon is irreversible. I would also like to add that the entire digipack design – done by Rutger / Machinefabriek is gorgeous. I always entrust him with the task of executing high-level graphic projects.

Did you find not using drums a liberating experience while making the album? Where you ever tempted?

If I have to compose a more intimate and deep album, then I can’t think of using defined rhythmic sequences (although I must say, that in the song “Somniosus microcephalus” there is a continuous percussion that I have manipulated and suffused properly). The only time I experienced the rhythmic parts was on “Zastrugi”, for the techno / dub Iceberg series of the label. This album is perhaps the best combination of abstract and dilated sounds with those typical of certain techno music.

How would you describe the experience of listening to the album to someone who might be used to a more traditional structure of music with melody and instrumentation?

Nice questions! For the poor man, it could be a negative experience, in the sense that what I do has no reference points or even a clear and foreground melody. From time to time in the first song of the album, you hear the sound of a piano entering and vanish, but it is treated by various types of effects, and it is also the only recognizable element of the whole work. It could be destabilizing but I’m sure that it doesn’t leave you indifferent. Anyone involved in composing this kind of soundscapes could seem like a non-musician. In part this is true and in fact I don’t feel like a musician, but a sculptor of sound. I believe that this characteristic is not very well understood by those who have a more classical and traditional approach.

Who are you most important influences outside of electronic music? Are there any painters, writers etc you particularly admire?

Another beautiful question that would require a very long and detailed answer. Since I was a child, I have always been very attracted by mysteries and things that had no definite answer. During the course of my life I have had the opportunity to deepen my curiosity and to look for answers through the study of the ancient civilizations which have left a really impressive amount of informations. My approach to this methodology is not the scholastic and academic one, but rather that of an adventurer and revolutionary. I have a bookstore in which there are books on the Egyptians and their mysteries, the Sumerians, the ancient peoples of Central and South America. Books on Hermeticism and on Alchemy on Buddhism, Hinduism and Gnostic Christianity. Books on the various orders of chivalry, on the various mythologies of the whole world that all have the same matrix in common cannot be missing. For some years now I have been following Mauro Biglino’s books very closely, dealing with literary translations of the Old Testament. A new story about our origins is emerging from his works, which is also confirmed by biology, genetics by science in general. Besides him, I very willingly follow H.P. Lovecraft, Graham Hanchock, Robert Bauvall, Rene Guenon, Zecharia Sitchin, Gurdjeff and all those researchers and writers who go beyond the border. Who throw themselves into the abyss of the unknown in search of a glimmer of light.

The video for Orcinus orca was directed by Uršula Berlot & Sunčana Kuljiš Gaillot. What attracted you to their work and how would you describe the refection of the music created via moving images?

I met Uršula and Sunčana because a few years ago because they made the presentation video for the “The Great Crater” by Scanner (album on GM). I really liked the organic nature of their video, and I wanted to repeat it also on “Orcinus orca”. They had a free hand on everything, and accepted my proposal with great enthusiasm. Based on my piece they have composed and made the video organic. I think it’s perfect, and that was exactly what I wanted to achieve. They are really very good and we will probably work again in the future.

And finally. Can you share with us any future plans for the label and yourself as an artist?

Absolutely. I have already planned the next two years of record releases. Towards the end of 2019 I will produce the second chapter of Machinefabriek “Stillness Soundtracks II” whose sounds accompanied the images of Esther Kokmeijer’s Antarctic travel / research. The package will contain a booklet full of wonderful images of Antarctica. Then it will be the turn of “Ten Times the World Lied” a new album by my friend and great artist Brock Van Wey / bvdub that – for the first time ever – will not contain any vocalization, but only ethereal and glacial sounds. The second collaboration between the Belgian artist Dirk Serries and the Japanese Chiehi Hatackeyama will then be produced. Both had made the beautiful and now sold out album “The storm of silence” years ago. Another great Japanese artist – Toshinori Kondo – together with Eraldo Bernocchi and myself, will be the protagonist of the “Palaoa” album which is now nearing completion. This is a very special album as the sound of his wonderful trumpet blends with the manipulated oceanic recordings from the Antarctic “Palaoa” base. It is the only hydroacoustic observatory in the immediate vicinity of the Antarctic continent. In the recordings are therefore present underwater animal sounds, the noise of ice blocks and Antarctic storms. Then there will be publications by Aria Rostami & Daniel Blomquist, Erik Levander, Serga Kasinec, Eliphas Vega and many others.

As for me personally finally, after several years of waiting, I realized my dream: to have a studio of my own where I can combine all my passions, music, record label, books and the whole collection of my CDs. On the walls of the studio I designed geometric peaks of snow-capped mountains to give them that glacial touch. I can’t really ask for much more than this!

Social Media
glacialmovements.com
glacialmovements.bandcamp.com/album/algida-bellezza
www.youtube.com/user/glacialmovements
https://www.facebook.com/glacialmovements

Buy Link
http://www.glacialmovements.com/music-news/netherworld-algida-bellezza
https://glacialmovements.kudosrecords.co.uk/release/gm039/netherworld-algida-bellezza


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D.Ramirez Q&A

Welcome to Magazine Sixty, D.Ramirez. Let’s begin with your new single with Denney, ‘Raven’ for Crosstown Rebels. What is the significance of that particular bird as a choice for the title?

Thanks for having me. I live near Victoria Park in London and I walk through there every day on my way to my studio; one day I noticed that the only bird I see in that park is the Raven and there are hundreds of them, and only them. One day I saw I guy in a car feeding them and there were literally thousands of them around the car. I wondered if they come from the Tower Of London where they are kept and that’s where the fascination started, Raven being an aptly titled name for the track.

What do you think the collaborative process brings to creating music compared with doing it solo? Can you tell us about how the two of you worked on the project, and talk us through how one of the tracks was made?

Working with a collaborative partner is totally different to working on your own and as such the process is also different. I find it takes a lot longer to get the track right as you have to think about the other person you’re with and their tastes and agendas. We work really slowly and how it works is Denney will come into my studio with an idea, or a vocal, or some sounds – then we sketch it out, take it away, we play it out to a few people and then we come back. This can go on for years!

Still I Rise, contains a vocal with a powerful message. Do you feel there is enough of that in dance music today?

We have a duty as humans to bring to light the struggles and the messages of our fellow people for the sake of evolving human consciousness and the poem from May Angelou is such a beautiful message, delivered with such sass and confidence, it resonates far beyond the words she speaks. Dance music is great a tool for delivering such a message and hopefully her words will resonate with even more people around the globe.

The faceboook picture of your studio shows you surrounded by synthesizers. How long did it take to build up the collection? Which was the most difficult to get hold of, and which one do you use most often?

I have been collecting synths for around 40 years, some have been sold, others are recent and new. My favourite is my original Korg MS20 which is over 40 years old now! I have a Roland SH101 that I borrowed (and never gave back) from my best mate back in 1983 and I still have it to this day in the east same condition it was when I got it. The one I use all the time is the new Sequential Prophet 6 and you’ll hear it all over any of my tracks. It’s an absolute beast!

Outside of Club music who are your most important influences? Are there any writer’s, painters etc who have had an impact on what you do creatively?

I’m very much into spirituality and consciousness and one of my main influences is Dr Wayne Dyer who’s message changed my life back in 2006 when I was introduced to him by my ex. He himself introduced me to another amazing guy called David R Hawkins who’s book ‘Power Verse Force’ led me to another place in my life where everything changed. I live my life in a conscious, mindful way, and I no longer care what others think of me which has made working in the music industry far less challenging and I’m now free to express my creativity without worry of people liking what I do, or not.

Tell us about growing up in Sheffield and the music you encountered there? Any particular club nights you went to which left an impression?

Sheffield is an amazing place and back in the 80’s as I was growing up we had such a vibrant electronic music scene with bands such as The Human League, ABC, Cabaret Voltaire, Heaven 17 which heavily influenced the music I write today. In the late 80’s very early 90’s Warp Records started and had a club night where the DJ’s that worked at Warp Records played, the club was Occasions and the night was called Club Superman and honestly (speaking through rose tinted specs of course) was THE BEST night I have EVER experienced. Nothing has will ever come close to how good the music was there and the early Warp Records scene was and still is mind blowing!

What is the most important advice you would give to someone new to producing in terms of making their own studio, and also in terms of perseverance in today’s industry?

Quite simple – believe in yourself, don’t care what others say, don’t look for the validation of others, work hard and never give up, do it for the love and not for the fame.

And finally. Can you share with us any plans for moving into 2020?

I’m continuing to make music for the sheer pleasure of it while not putting so much pressure on myself so watch this space and let’s see what comes out. Thanks for the wonderful interview and thanks for having me.

http://dramirez.co.uk

Denney & D.Ramirez – Raven – is released October 4 on Crosstown Rebels
buy http://classic.beatport.com/release/raven/2713858


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junk-E-Cat Q&A

Welcome to Magazine Sixty. You have just performed at Melt Festival. What was that experience like? And can you tell us about the team of people that assisted you and their roles in the performance? 

The experience was quite overwhelming. Getting the opportunity to perform three sets at such a special festival and getting such an amazing response was something the creature will never forget. 

I feel so privileged to have a team built out of people who are friends and partners in crime rather than hired hands. They have joined one by one over the last three years and have seen the operation grow from just a crazy idea to what it is today. 

We played two of the days at 5am with the creature performing on top of the moving vehicle luring people from the festival area to the so called sleepless floor – a bit like a new age pied piper. 

For this operation you need a driver you can 100% rely on while performing, a sound engineer to check levels and some helping hands to set everything up and to escort the truck during the performance – to make sure that everything goes down safely.

The last set was played with the truck stationary and an 82“ screen to the side of it with a live camera feed and visuals. The show itself is run by three people. The creature on the roof, one camera operator and live VJ putting all the images together. 

And finally you need a manager who makes sure that everything runs smoothly with the festival and I must say that the MELT team treated us really well. 

We set up a camp with the fire truck behind the main stage and I think we added a nice vibe to the backstage area 🙂

Credit: Yvonne Hartmann 

Can you tell us about the set-up of keyboards and instruments you like to use playing live? What can ‘real’ instruments give you that electronic ones can’t, and vice versa?

My setup is a hybrid of electronic and acoustic instruments. In the center of the electronic side is a Maschine MK3 which allows me to perform and produce beats and patterns in real time. A Maschine Jam controls the arrangement and manages different patterns and effects. The horns – bass clarinet, soprano and alto sax – add a natural and special texture to the music and allow me to also play freely on top of my tunes whenever I feel like it. The main challenge is to merge both worlds in the most natural way possible. It creates a beautiful symbiosis where the result becomes bigger than the sum of the electronic and the acoustic elements. 

From the technical side, everything comes together in an Ableton session with the Maschine software running as VST with two looper plugins for the horns. Additionally there are some knobs and foot controllers to trigger and control effects, filters and transitions on the fly. 

From the musical side, I feel like the journey has just begun and I will keep exploring the boundaries of both worlds.

What does wearing a mask signify? And what does that feeling of anonymity give you?

The mask frees the creature from the performer’s doubts and original background. It eliminates facial expressions and therefore emphasizes gestures and movements.

The creature’s mask is a Venetian Bauta which allows whoever wears it to speak their mind. In junk-E-cat’s case, the mask enables him to create and play the music he always wanted to make. 

You recently released the excellent KREATUR EP containing the track Levitation, now backed up by a series of remixes. Can you talk us through how you produced it? 

KREATUR is the result of two years of touring and creating beats and performances in special locations. Last autumn it was about time to take some of the live tracks to the studio and to produce them properly. With the help of Antonio de Spirt – a Berlin based producer and sound designer – we took the stems based on the live performances and added textures and transitions to five of the tunes. The EP was finally mixed by Martin „Lucky“ Waschkowitsch – a Berlin based producer and mixing engineer at BeWAKE Studios who not only mixed the latest Parcels album but also has his roots in hip hop beatmaking and a profound knowledge both in the electronic and acoustic world. We clicked instantly when we met. Lucky also helped translating the newly produced sound back into the live performances and the BeWAKE Studios became junk-E-cat’s musical home in the process.

After an all-important and highly skilled mastering session from Zino Mikorey, the recordings were ready to be released into the world. 

Therefore KREATUR is not only the EP but also set the path for long term allies and friendships for the project. 

buy/ listen http://smarturl.it/junk-E-cat_KREATUR

Jazz obviously figures highly in the creative process for you. Where did that influence originally come from, and who for you are its most important players?

I love Jazz music and young junk-E-kitten listened a lot to Herbie Hancock, Chick Corea and Michel Petrucciani. While my project could not really be labelled as Jazz, there are some specific sounds and chords that I use that have their roots there for sure. I always wondered what would happen if you play this music in front of a dancing / clubbing crowd and junk-E-cat is the experiment whether this could work… 

Outside of music where do you take inspiration from? Any favourite writers, painters etc?

I take a lot of inspiration from comics – the dark aesthetics mixed with a dry sense of humour. I’m a fan of street art and love the idea of artists showing up really special places and leaving their own unique mark.

How do you see club culture developing over the coming decades? Will clubs as spaces to express yourself still exist, or might it just become about the festival experience in the future?

We’re living in such fast-moving times so it’s pretty impossible to make a long term prediction for such a multi-facetted culture. Both club and festival cultures have historically been places where acceptance, diversity and togetherness can thrive. I feel in these increasingly politically difficult times we need those spaces more than ever and I hope we can find yet more ways in which they can be even more accessible and welcoming.

What is your favourite instrument? Do you own one?

My four favorite instruments are the bass clarinet, the alto saxophone, the soprano saxophone and the Maschine. And hell yes – I own all of them.



Your recent video’s feature industrial landscapes. Are these an inspiration for you? And what is it about them?

The creature feels comfortable in urban industrial environments. These landscapes represent the technological progress of their time but also the decay and transience. For some reason these sites have a magical aura. 

And finally. What comes next for junk-E-cat?

After playing a couple of new tracks that I’m really excited about at MELT, the creature can’t wait to get back in the studio and record them. 

Junk-E-Cat Socials
https://www.instagram.com/junk_e_cat
https://www.facebook.com/junkEcat
https://www.youtube.com/c/junkecat
https://open.spotify.com/artist/6qhSGJyEHb6plhGsjaYxAV

Mutterkomplex Socials
https://www.facebook.com/mutterkomplex
https://twitter.com/mutterkomplex
http://label.mutterkomplex.media

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Delos Q&A

Welcome to Magazine Sixty, Marc and Denise. Tell us about how you first met and decided to create music together?

It was a very natural happening since the start. Marc and I have known each other for over 20 years and we met thanks to music. Marc was producing music and I was a regular party-goer who highly enjoyed his music! The 90s in London were, to me, a precious time for the underground music scene so when I arrived in the city, a 20 years old girl who searched for like-minded people. We both were part of a community of people that were involved, more or less professionally, in producing electronic music. I also did engage in the process of experimenting with music but my life took a different direction. That didn’t stop us from being friends and growing around the same music and parties. Only a few years ago I found my voice while picking up a string instrument and as Marc heard my voice during that time and he felt that we could create something together. In no time we were at his studio in Hackney. It was actually a rather rough time for both of us right then and before we decide to collaborate musically, Marc had written lyrics to express in words what he was going through. As Marc started producing the music base for our very first track ‘I Forgot My Family’ to be released on Echolette Records later this year, I naturally came up with a melody for his lyric on the music that totally made sense. The whole process of producing that first track helped us both on so many levels and as our artistic compatibility felt genuine we knew it was the beginning of something exciting.

What is the idea behind the title, Life can change in just one minute. And why is that philosophical thought important to you?

The title and lyrics were inspired after Denise had a dream the night before coming into the studio to work on this track. I wrote down the synopsis as she was telling me about the dream and the lyrics were formed out of that.

Saying that, it does have a deeper meaning as sometimes things can happen in life that really plays with your emotions and being so it is important to stand tall and hold your head up, chase your dreams and don’t waste any time to achieve your goals as life can change in just one minute…

buy https://www.beatport.com/release/life-can-change-in-just-one-minute/2657203

Talk us through how you produced the single, including any favourite software/ hardware you like to use? And what are your thoughts on using vocals in Dance Music today?

In all our tracks we like to use live recordings, not just everything coming out of the box, I feel this gives a certain characteristic to the end result. I used a bass guitar to record the bass in this track and the vocals use a vintage Neumann microphone and vintage mic preamplifiers which I find work so well. I also like to bounce things through my desk to give an analogue feel. Vocals are important in all music, not just dance music all depends if you have something to say.

Obviously, Life can change in just one minute comes steeped in past influences. Can you tell us about what in particular attracted you to the post-punk and funk sounds which inform it. Which artists from that era mean the most to you?

It was the whole vibe and transition of the post-punk area that inspired this track, it was a time of musical experimentation and change and at that time there was a lot of new technology being introduced that eventually formed the sound of the 80s and beyond and the crossover into the whole disco scene, so it’s the whole concept of the feeling of experimenting with a new sound which so many of those artists had the opportunity to do. Bands like Joy Division, Talking Heads, ESG, PiL and The Cure were inspirational as they were influential during this experimental period of music.

In contrast, Marc. Can you tell us how you are able to express yourself differently as an artist via your Darc Marc guise?

Quite easily really, I’m into all sorts of music electronic, metal, punk, ambient, jazz whatever takes my fancy. And I find it really rewarding to work on different sounds rather than getting stuck into the same thing all the time. It’s more important to me that I am doing music all the time.

Given the direction that politics and the world is moving towards. What role and influence do you think Dance Music can play in shaping people and the future?

Dance music and all music and people in general really in all walks of life. Music is a great platform for spreading a message to help reduce the hatred in this world and the more that can be done to reduce any form of racism and hatred, then all the better.

And finally. Can you tell us about any forthcoming plans for 2019 and beyond?

We are working on new material and already have the next release on Echolette coming out later this year. Also, we are planning some DJ shows to incorporate elements of live performance in our Delos style. We like to experiment with our sound so expect some new sonic gems coming your way.

https://www.instagram.com/delostime

For info about Darc Marc view https://www.facebook.com/darcmarc909/

https://www.instagram.com/echoletteandechoe

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Alex Dimou Q&A

Welcome to Magazine Sixty, Alex Dimou. Let’s begin with your excellent new single for Crosstown Rebels: What Keeps You There. What was the inspiration behind the track and can you tell us about the notable vocal which features so beautifully?

Thank you so much for having me! I think that the main inspiration behind the structure and the sense of the track was s summer festival i played a couple of years ago. I imagined a track like this. About the vocals, it’s all on Vili! She wrote the lyrics and she did a great job with her vocals. I really believe that her talents will take her far in the industry!

pre-order/ listen: Alex Dimou – What Keeps You There https://lnk.to/CRM222

The release comes with two remixes by Cevin Fisher and Avidus. What informed those choices?

Cevin is an artist I really admire! And i am lucky enough that we have the same manager, Christian! Christian was the one suggested it and the result was more than great! Avidus was Damian’s choice. And I believe the Avidus remix has a new vibe in it. The structure and the idea behind it is perfect!

Can you talk us through how you produced What Keeps You There, including any favourite software/ hardware to like to use?

I am not into hardware. I never was. I know most of the producers really love hardware but that’s not the case with me. I believe that with the right knowledge and the right software you can have amazing results. I use Ableton as the main DAW and my favourite plugins are Kontakt for sampling, Soundtoys for vst and Sylenth for vsti.

Songs and vocals aren’t as prevalent as they once were. Do you think that is something missing in Dance Music, or can the same message be conveyed via rhythms instead?

I do enjoy both. A nice song with a beautiful vocal can take you places. A weird and clever rhythm can loosen up your body. I believe dance music has to make you express yourself through dancing. And I think both can do that!

Can you share with us any forthcoming plans for playing live this summer? And what are your thoughts on the culture of festivals which seems to be taking over from weekly club nights?

I’ve been trying to “buy” myself more studio time for the last couple of years. It’s something I really enjoy and when i’m in the studio I can express myself more than when i’m playing somewhere. Now, about the festivals and the weekly club nights, I think its two different things. When you have a weekly residency you can actually shape the audience and the impact you have is stronger. On the other hand, festivals are like big celebrations. You can go on stage and show the world why you deserve to be up there.

What is your favourite instrument? Do you own one?

My favourite instrument is definitely the classic piano. And i’m lucky enough to own one! Not a great one, but it gets the job done! Almost every track I make, has to go through the piano first!

There are lots of different styles, moods and atmospheres in your music. Can you tell us about your main influences both within and outside of Dance Music – any favourite writers, artists etc?

Yes they are. For years I thought that this is a bad thing. Like, you have to have an identity and I believe that mine was missing. But as the years passed and I saw my music growing, I understood what my identity is. Every track I make has a cinematic feeling. I really get inspired by movies. I have imagined all of my tracks as a part of a movie soundtrack. My favourite artist is definitely Philipp Glass.

Given the direction that politics and the world is moving towards. What role and influence do you think Dance Music can play in shaping people and the future?

I strongly believe that dance music bring people together. People can dance with their eyes closed. It can almost feel a bit pagan! And when you find yourself in that situation it’s easier to meet other people, to talk to them, look at them. People at a festival have the privilege to be together for a couple of hours, without their phones. And that’s important. It gives the message that we can all be together, enjoying ourselves, conversing and smiling, away from the loneliness we experience almost everyday in, out everyday lives.

And finally. Can you tell us about any forthcoming plans for 2019 and beyond?

I used to make plans. And when I did and thing didn’t turn out as I planned, I got really frustrated. So I actually try not to make plans regarding music. Hopefully the record does well, hopefully people will like it and hopefully I will get inspired to make another record that speaks to me first, as this one does. Other than that, I have no plans.

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https://open.spotify.com/artist/4xrRlNWnUnlkYoAyQLXaNj

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Noha Q&A

Margherita Castriota Photography

Welcome to Magazine Sixty, Noha. Let’s start with your stunning release for Oscillat. Can you tell us about how your relationship with label happened?

Well, everything started one year ago, with me meeting up with Sam (S.A.M.) when I moved back to Berlin. I went to hear him play as we already chatted and exchanged some music without ever meeting. Few days later we were already becoming good friends and making some beats together at his place.

In a very spontaneous way I then started sending him lots of unreleased tracks that he eventually started to play. That’s how the other two components of Mandar, Charlie and Nick (Lazare Hoche and Malin Genie) discovered my music. In the following months I started chatting with Charlie and working on a remix for his “Time Guard Ep”, and I finally met face to face with Nick, as he was visiting Sam. When, months later, they asked me to send them something for Oscilalt, It felt it was the right thing, as I understood that beyond being friends we shared the same vision on music in general.

The title track, Nobody revolves around a series of voices. What’s the story behind them, and how important is the human voice in music for you, as opposed to purely rhythm?

For me integrating voices is a very good way of giving an intimate feeling to the track. It might be used as a percussive element, but I prefer when it also brings emotional content, a story.

The track explores an exciting series of ideas. Can you talk us through some of you influences both within Dance Music and from outside of it – any writers, painters etc who have also inspired what you do musically?

As I was finishing high school I was getting deeply fascinated by the idea of Minimalism, especially applied to architecture, design and painting. I guess American Minimalism from the 60’s became the main focus. Especially Mark Rothko. I remember that I wrote with a marker “Simple expression of complex thought” on my Wallet, taken from the manifesto written by Rothko and Adolph Gottlieb. Yes, I was young and naive. But I understood back then how I wanted to express myself.

Can you talk us through the process of how Nobody was produced, including any particular favourite software/ hardware you like to use?

I was working on this loop for days, and I got stuck with it, wasn’t going anywhere. I understood that I was trying to force a direction, not really letting my intuition dictate what to do. I suddenly felt a heavy sense of melancholy and I said to myself “ok let’s try again now”. In a few hours the entire track happened, and If I think about it, I get the feeling that the track did itself.

Regarding how it was made, like most of my track it was a mix between analog gear and software. This track will always remain an important lesson, a reminder that intuition and acceptance of where I am emotionally should guide me.

buy https://www.deejay.de/Noha_Nobody_OSC015_Vinyl__353125

How would you describe the importance of Dance Music culture in today’s world, relevant to political and social life? As you have lived and visited different cities would you say there are there certain things which unify us through music?

This is a very controversial topic. Clubbing can be an escape from reality and at the same time a chance to embrace a primordial connection with others through dancing together. It comes down to what one wants to make out of it, it can either be a moment to get fucked up with your friends and finally let loose after working as a machine for an entire week, or the most enlightening experience. I am not here to judge anyone.

It sounds terribly cheesy, but for me Music itself is a universal language. The most interesting part of touring, apart from sharing the music you love with a big crowd, is to meet up with local djs and producers, get to know their stories, visit their studio and share experiences. We all have to thank the music for this, a common love that creates a community free of racism of any kind. And we need that more than ever right now.

And finally. Please tell us about any forthcoming plans for the summer and remainder of 2019?

Summer is going to be busy, there’s the Nobody ep coming out followed by the next Patagonia release (me and Alex Tea joining forces) coming on Panickpanick and the launch of an edit label where I’m going to finally share edits that I have been playing for the last year.

The next gig that I’m looking forward to is an all-nighter at Underbron in Stockholm, the 26th of July.

Aaaaaand, for the first time in 4 years I’m going to have a 2 week vacation, a road trip in Sicliy with my best friends. No studio time! Time to switch off.

https://www.facebook.com/nohabekind

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Nico Stojan & Timujin Q&A

Welcome to Magazine Sixty, Nico Stojan & Timujin. Let’s begin with your new release for Rebellion: Oktoberfest. Can you tell us about where the title originates from and how your relationship with the Crosstown Rebels’ sister label happened?

Hello hello, thanks for having us!

The main track of the EP is named after the big folk festival in Bavaria. We both have never been to this festival and always wanted to go…the voice in the track is manifesting it for us.

The release moves across moods and atmospheres impressively with sublime use of guitar and both Satsang and Higher Altitude. Can you tell us about the influences which have informed those more musical aspects of what you do, and in particular about your favourite guitarists?

It is a beautiful instrument with a lot of charm if you know how to play it. Our friend completed the idea that we had in exactly the way we were writing the notes for him. We wanted him to play it in the mood of joy. We also blindfolded him and told him that he couldn’t leave the studio until he delivered the final piece!

Can you talk us through the process of how you produce music together: how initial ideas are realized and then turned into tracks? Are there any pieces of software/ hardware that you always like to use when creating music?

It’s pretty simple. Just searching for the right dead body in the cellar and try to reanimate it with combining the skillz of our musician friends while putting a lot of pressure into the session so they will deliver what you want and rounding up the track and make it alive.

How did the two of you first decide to work together? And can you tell us about the studio you like use?

We were both playing one night on two different art cars at Burning Man and the drivers were totally lost in the sandstorms. They crashed into each other and all over sudden we ended up playing b2b until the sun came up. So we decided to keep on collaborating

How do you feel about the place of nostalgia in music as your sounds feel very new and contemporary?

Aren‘t we all a bit happy and sad at the moment. That is how we would describe nostalgic.
If we can put that feeling into frequencies and make people feel the same way when they listen to it you can call it a big failure at the end.

Can you tell us about the favourite places you have DJ’ed? And what feelings/ thoughts you like to convey to the people who dance?

When my great grandmother was turning 90 we took her to Fusion Festival and played house music for her. She loved it and got her groove on!

Outside of electronic music which artists, writers, painters etc have most influenced what you do?

Definitely Odem, Phos4 & Banksy and of course not to forget Damian Hurst.
We just bought him in a glass container sitting on the toilet reading the news.
We think Everyone should have his own Hirst!

And finally. Tell us about your forthcoming plans to work together?

We will see what happens but right now we are busy learning more about reincarnation and life after death.

Thank You!

Nico Stojan & Timujin – Oktoberfest. Released 24th May 2019 on Rebellion.

buy link: https://lnk.to/_RBL065

https://www.facebook.com/nico.stojan.music
https://www.facebook.com/TimurSardarovOfficial

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Rich NxT Q&A

Welcome to Magazine Sixty Rich. Let’s start with your new EP: The Four Slip co-produced alongside East End Dubs. Tell us about how you first met, the decision to work together, and what the title refers to?

Cheers and thanks for this chat! I am very happy and excited that East End Dubs and I finally got together to make and finish an EP. We first met when FUSE was still at 93 Feet East every week. It was the summer of 2012. I had been on Beatport that week buying new tunes when I came across his stuff. When I heard them and saw the look of the artwork, I was thinking ‘hold on a sec this must be someone out of our East London scene’ and sure enough he came and said hi that very Sunday. I was playing his tune Jazz Me, we got on and have stayed in touch ever since. It took a while before we got into the studio together and that good because when we did it was nice an easy and natural, good timing. The title refers to when we work in his studio, we would wear slippers, so two pairs of slippers became the Four Slip EP.

buy Rich NxT & East End Dubs – The Four Slip Ep https://lnk.to/FUSE036

Your production style is very intense and feels like a rush of ideas all at once. Who and what have most influenced what you do in terms of Dance Music? And are there any artists or writers etc from outside of the electronic world that have impacted on you creatively?

I have been influenced by many different types of music, from rock to hardcore, jungle to pop and loads in-between. In the early 2000’s it was more about club music, different shades of progressive, then new wave electro, then minimal house. I always want my music to have an impact, both physically and emotionally. People get the same amount of listening pleasure from so many different styles of music so it’s important when writing to stretch the boundaries a bit and do things a little differently. That said it would be wrong of me to try and pretend that our music doesn’t have a framework. Some things just don’t work on our dancefloors, but nevertheless the parts of our brains that might interpret the grunge angst of a Pearl Jam song are the same as those which respond to the intricacies of a subtle bassline harmony in a minimal house record. The maths and science are the same and music and its effect on feelings can be really subtle in its execution.

Can you talk us through the process of co-creating one of the tracks from the EP, including any software/ hardware that you like to use?

We just went into the studio and dived in. He had a basic loop that he was working on. I find it’s always better to start a collaboration with a loop, just to break the ice. We’d go through software, plug-ins and techniques that we enjoy using and as we talked and showed each other stuff, the track layers naturally started to build up. We left quite a long time before getting together again for another couple of sessions where we reviewed everything and started to realise the path of the tracks and way take forward to completion I really like using Native Instruments Battery 4, particularly for adding touches of percussion and FX to an almost finished track as glue to help the flow and feel. Whenever I am in the studio with a friend, I like to go through this piece of my arsenal.


Rich NxT & East End Dubs
The Four Slip EP

In terms of the Art of production. Do you feel Dance Music is in a good place? And what are your thoughts on the function of nostalgia in it all?

I am really excited about where my dance music scene is. All of my label mates from FUSE and INFUSE are producing incredibly diverse, well produced beats with dancefloor impact. I am being sent loads of interesting music and taking it to DJ with real excitement. On the next What NxT Various Artists, I’ll be featuring as always tracks from established artists (Cuartero, Kepler and Nico Maxen) alongside newcomers (Antss, Aaran D and Marvin Morgan).

Regarding nostalgia, like any music, our music’s relationship with nostalgia can be criticised. Nostalgia for me works on lots of different levels though. My party experience travels with me everywhere I go and I want to recreate the vibes I have experienced for other people. Music always goes around in cycles, sampling has been around since the inception of the technology getting caught up in too much discourse around this or the merits of bootlegs, or whether it’s right to take from a sound that’s gone before, kind of takes away from the fun of it all.

You have been resident and involved with the development of FUSE since its inception over ten years ago. What for you are the most vital ingredients for running a party? And what is the most special thing for you being a resident DJ, rather than playing as a guest somewhere?

The most vital ingredients for a party as simple for me. Sound, music, people, venue and security. These need to be right or the rest doesn’t work. The most special thing for me about being a resident is the long term knowing of your sound and development, that feeling ‘coming home to play’ to our home party crowd, now that we all tour regularly, is a good one too. The party started here so just as important that as we take the sound on the road to all the great parties around the world, we still supply it here, where it all started, otherwise what are we?

Tell us about your history with 93 Feet East and what makes the club so notable for you as part of the FUSE story? How was the recent Bank Holiday event?

93 was really important as part of the evolution of my musical style. Being able to take my early tracks down week by week and test for the brilliant crowd and atmosphere along with the other tracks I would be playing helped me to learn what my DJ’ing style really was. When we returned for the 10th birthday after party last year, with all the people who were there from the start, reminded us of where this all came from and also showed how its grown. The recent bank holiday INFUSE event when I played b2b with Rossko was another perfect reminder of how we can still take it back to the roots and it still feels just as right as if we take it to Amnesia or Tobacco Docks.

And finally. Tell us about any forthcoming plans? Have you been thinking about developing what you do via an album?

My forthcoming EP with East End Dubs is dropping on Fuse London on 14th June, a month later I have an EP on Sante’s AVOTRE. After the summer I will release my 7th solo EP on Fuse London and the 6th release on NxT records which for first time has remixes on the label. What NxT is going to be producing two digital releases this year with some absolute dancefloor gems. Alongside all of this, I have completed remixes for Steve Bug on Snatch and Darius Syrossian on Moxy. About a possible album I don’t currently have active plans to seek to make it anytime soon. That said if it happens, it happens. Gig wise I have lots of look forward to like Cocoon In the Park, FUSE at DC-10, Deeperfect at BPM, Mint Festival and loads more… Nice speaking! 🙂

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Noah Souder-Russo Q&A

Welcome to Magazine Sixty, Noah. Your excellent new album: Therapy is Expensive sounds like a trip through the life and times of sound and experience. How much of it is an observation of growing up in New York and do you think it would have been possible to create the same piece of music without the city?

Hey! Thanks so much for taking the time to listen and for your kind words. Conceptually, the album is very much a conversation between me and New York City; filled with love, hate and everything in between. A lot of the songs were conceived from a place of conflicted emotions about a city that has so strongly shaped my identity. Looking around and being like…”wait, this isn’t the same place I fell in love with as a kid and I’m not even sure I identify with it anymore.” I’m not sure I would have created the same piece of music elsewhere.

A few years ago I broke up with my therapist because it was really expensive and my health insurance at the time wouldn’t cover it. I channeled a lot of my frustration with NY, existential crises and a myriad of other issues into making music. The demos I made got put into a playlist called “beats I made cuz therapy is expensive.” And here are are.

The album contains many hints of different styles of music, including a nod to classical. What for you are the most important elements in making music transcendent?

I think I’ve always been drawn to the emotion behind music: the way it makes me feel, the feelings evoked, etc. Regardless of what “genre” it is. I hate to deduce it to something so general – a “vibe” or a “feeling” – but to me, that’s what it is. That’s how I grew up playing, making and listening to music. In NY, we listened to everything. We had to.

If it’s authentic and it makes me feel something I don’t care what year it was made, who made it, what instruments (or lack thereof) and so on. If you make shit that’s authentic, no one can take that away from you. To me, that’s what keeps me inspired.

https://noahsouderrusso.bandcamp.com/album/therapy-is-expensive

Can you tell us about your connection to Flocabulary and what it means for you to be part of it?

For sure! So, I also work as a recording artist for a company called Flocabuary – a learning program for all grades that uses educational hip-hop music to engage students and increase achievement across the curriculum. I write and record songs on all subjects which are later animated to videos and shown in classrooms all across North America as supplementary learning tool. I got involved with Flocab four or five years ago through my friend Lynas and have been working with them ever since.

I’ve been rapping since a teenager so it’s something that comes natural to me. I grew up freestyling in cyphers, battling in the park and making rap records with my friends. My mother, father and sister are all social workers – I’m the deviant artist child. So doing this works allows me to bridge that gap and use my talent as an emcee/writer for something greater than myself. Making and performing music can feel really self-serving at times so I’m always looking for work that I find fulfilling and meaningful in other ways. I also teach skateboarding to elementary and middle school kids through a weekly after-school program.

Can you talk us through how you created one of the tracks from the album, giving us a flavor of your studio set-up including any favorite pieces of software/ hardware you always like to use?

Sure. I have a pretty minimal set up because I get super overwhelmed with too much gear + I’m a shitty musician. I use an MPC-60 & TR-8 for most of my drum sounds. I spend a lot of time digging for samples, field recording with my Zoom recorder and tweaking sounds with plug-ins my engineer friends tell me to get. I record vocals on everything even if I end up scrapping them in the final stages or just using them as a layer in the track. My voice has always been my instrument of choice, so I try and use it as much as possible.

I don’t really have a specific formula for creating. I used to share a proper studio with friends and would come in during my time block feeling like I HAD to make shit even if I wasn’t feeling inspired. Now, I’ve moved my studio to my apt and can chase the creativity whenever it strikes.

One of my favorite songs on the album is 4eversforever. Probably because it came together really organically at a time when I wasn’t making much music or feeling creative. I was deep in a YouTube hole and stumbled on this short documentary about NYC in the 80’s and I was like, “oh this would be cool to layer into a track.” I ripped it, opened up a new session and just went from there. I had this folder of breaks my homie Devon gave me plus a ton of drum sounds I made but never used. Somewhere in the doc these dudes were letting off fireworks in the streets which I thought would be cool to add in. I chopped the drum break, arranged it with these other hits I made then laid down the bass and lead. I liked the vibe and pace of it so I tried not to overthink it and add too much more instrumentation.

I plugged my mic in and did the vocals I did in one take. I just freestyled it then played around with the pitch. The vox were initially supposed to serve as a reference which is why there’s a lot of mumbling and they aren’t that pronounced in the mix. But after I played it for a few friends, they were like, “nah, that’s it, just leave it, fuck it, it’s cool.” It’s significant because it was one of the first tracks I made where I was didn’t overthink everything. I just allowed the ideas to form naturally and then moved on to the next.

Love the cover shot for the album. Can you tell us about it, and why the choice of a black and white image?

Thanks! The original idea was to shoot an old Victorian therapist couch in the jungle but then I discovered the difficulty behind that so I decided to use a photo I took. My girlfriend and I each shoot disposables on trips we take together. This is her at the Bahai Gardens in Israel this past winter. I decided on black and white because it fit the mood of the album.

I’m also intrigued by the influences which have gone into inspiring the album. Who for you are the most important both within the musical sphere and from outside of it?

Musically, I draw inspiration from so many artists across the spectrum. I grew up on Seattle grunge, hip-hop & punk rock primarily. My parents played a lot of classical and folk around the house. My mom sang in a choir. When I first started making music I idealized producers like J Dilla, 9th Wonder, Large Professor and DJ Premier. I definitely carry that influence with me today and anytime I get stuck creatively I dig for a sample, try to be Dilla for a second, realize it’s not possible and move on. I think Dilla probably led me to Moodymann & Theo Parrish / Sound Signature who had a profound impact on me, especially when I started DJing.

Outside of the musical sphere, I’ve been really inspired by contemporary dance and movement. People’s ability to move their bodies in certain ways and the choices they make in performing is beautiful and fascinating to me. I’ve been fortunate enough to see Alvin Ailey here in NY and I always come away inspired. Also, my friend Lir and I worked on a video for “Mish Mish” where she directed a group of incredible dancers. Excited for that to drop.

What for you can the human voice add to music that sounds and rhythm cannot? What is the most important thing (or things) that music can say?

The human voice is the oldest musical instrument so its importance is obviously profound. The human voice can be used as a tool or instrument similar to any other you would play. I often use it as a statement or to add movement & texture to a track. The human voice devoid of the lyric is a versatile instrument.

Photo by Nick Johnson

What informed your choice to self-release the album? Would you recommend it for other artists?

The choice to self-release was tough. It truthfully came down to this: a few labels wanted to sign some of the songs but no one was interested in the whole project and it was all or nothing. For me, this album is extremely personal and even though the vibes differ throughout, there is a sonic and emotional consistency that I didn’t want to break up. I was also kind of on some “you don’t get it and I don’t need you” shit – haha. I didn’t feel like I needed to compromise. Which in today’s climate is true to some degree. You can do it on your own and control almost every aspect of the release, rollout, marketing, etc. The problem is, you don’t have a machine behind you.

My advice for those that thinking about self-releasing is save up enough money where you can invest in other aspects outside of the music itself; PR, merch, visuals, are all really important. Get creative with the rollout of your project. In my experience, if you can reach people in an interesting way on a personal level, they are more inclined to listen.

And finally. Where can people hear you play live? And what plans do you have for the remainder of the year?

I’m taking a few weeks off from playing here in NY and trying to put together a few special shows for July & August. We did a Therapy is Expensive takeover at House of Yes in Brooklyn a few months back so I’m looking forward to taking that concept to some other venues. Also working on putting together a live show that includes DJ’ing, vocals and a drum machine that I’ll hopefully get to premier soon enough. Until then, I’ll be in the streets lurking at my friend’s gigs.

If you’re in Miami I’m playing at Floyd on June 29th. Really looking forward to that one.

Thanks for the chat!

http://www.iamnsr.com

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