It’s always with a sense of anticipation to hear what Terence:Terry’s La Vie En Rose imprint has next in store. And in this instance it’s the labels second compilation of sounds which in this case explore deeper moods across eight tracks with contributions from Liou, Baby Ford, Fr!sky Business and more. What sets the selection apart is the care and attention to detail plus of course the sheer quality of the music which feels contemporary, international and very much of the moment. I love all the soulful, emotive and thought-provoking ambient references contained within the arrangements as they expand and exert themselves, and the fact that with each new play something else is revealed in the process.
Single of the Week
Terence :Terry: presents
La Vie En Rose
As a precursor to the forthcoming ‘House Couture’ compilation Terence :Terry: presents three dedications to the sound of Acid House which has so obviously generated a seismic impact on the DJ/ producer. The title track begings the journey by combining taught bass along with punchy machine drums and a voice recalling the 80’s heyday of House. Next, Cliché gets tougher with rolling basslines, insistent hi-hats and hypnotic vocals loops, leaving the gritty undulating funk of Testing The Water to complete this excellent release from the artists own La Vie En Rose.
Ain’t Made 4 U
Pushing forward with their second release this fresh Barcelona imprint employs Tripmastaz trademark sounds for the follow-up. Typically unrelenting the title track soon captures your mind and body care off thumping beats and filtered excess that rapidly taps into your soul. Coupled with the occasional vocal this is both heavy and soulful enough to satisfy most, if not all. Remixes come from Christian Burkhardt & Andre Buljat who tweak the elements into a techier slant, and from HITCH who adds darker atmosphere’s to the arrangement. Second original, Live From The Basement unleashes more powerful beats and perky bass, while this time keeping you waiting across a tension busting seven (plus) minutes.
Popescu & Santai
If hot beats and smoky rhythms inform your pleasure then this latest from Russian DJ and producer duo, Andrey Popescu & Alexander Santai is most definitely for you. Sparse notes and chords feel emotionally charged on their version leaving the relaxed voice-over plenty of space to breath. Italo Brutalo then supplies an excellent reworking with warmer instrumentation neatly complimenting the original. However, it’s the DJ Linus remix of Charlie that scores big-time by laying down the sort of irresistible grooves that qualify to shake you down along with the killer bass. That, plus an array of FX, sometimes voices and the occasional background atmosphere all combine to give this a deeply satisfying edge.
How did you get into Dance music and who are your main influences?
I love to party very much so I guess that is the main reason why I get into dance music. My passion began in London, I was introduced to it through my buddy from home, Guilhem Monin. He showed me some of the Novamix from Radio Nova, he kept on showing me amazing stuff since and always has been a very important influence in my music.
I met Matlar and FB Julian after a few years I lived in London, I totally fell in love with the music those guys play. Saving enough money at the beginning allowed me to buy my first laptop and to install logic and start producing, that was nearly six years ago.
I’ve had so many influences growing up from all different paths, however 70’s disco, 80’s hip hop and great Chicago house are my main powers and inspirations in production at the moment.
You have already released music on Hot Waves and La Vie en Rose. Tell us about how you got your signed to such prestigious labels and your relationship with them?
I have known the Hot Nature crew from being out in London, they are wicked people, I’m always happy to see them. The first time I signed on Hot Wave happened after Richy Ahmed listened to my track in Ibiza when Guilhem was playing it, Richy contacted me and ask if I wanted to sign up in their label, I remember that day so well I was over the moon.
La Vie en Rose is Terrence Terry’s label, my friend Matlar that was my production partner at the time introduce me to him as well as showed him some of my music. He actually showed Terry a track I would have never shown, Terry loved it and wanted to do an EP. Unfortunately I have not seen Terry in years, we sometimes chat on Facebook, I really like the guy and I think we both fancy the idea of doing it again soon.
Your latest release: I Felt This Way Before EP is for Colors brand new label. Can you talk us through how you produced one of the tracks from it?
“Les Merguez” is the latest track i’ve produced from this EP.
Using Logic as sequencer, first I made the beat, all the drums are samples recorded mainly from 909, 808 and Linn drum. Then created the rhythm in logic then redone it on the MPC to sound nice and tight. Next I have written the bass line on my Triton and processed it through the MPC. I’ve made the vocals simply by pitching down my voice (sometimes sounding too much like a little girl). The rest of the track was made using a Triton, then sampling a few sound effects and a string. I’ve also done few more sound effects with a Juno 106.
You were one of the first DJ’s to be resident at Colors. Can you tell us how that came about and what makes the night so special for you?
It happened very naturally as we are rather close friends, not only are we friends but we are synced artistically. This night is brilliant simply because the promoters are popping this party for the right reasons, they have a real passion for music and the vibe, they make an amazing effort. Therefore there’s no need for me to explain why they’ve got such a cool crowd following them, I’m glad to be part of the project.
Your music blends together a number of different styles. What for you is the most important quality for music to have? (And do you have many influences outside of Dance music?)
Good melodies, very cool bass lines, amazing grooves, cleverly produced technically, twisted and surprising ideas but most of all I like music to be appropriate and true to the moment and compliment your surroundings.
Yes I do have influences outside of dance music. The truth is i can be inspired by anything, even something I don’t like but it’s just got to be something that has its own defined identity, even if it’s something I’m not into then it can bring in new sounds and spark ideas.
Eastern Electrics was lot of fun, I played in an area run by kubicle, they did a great job, and lots of friends showed up, I had a brilliant time.
About my live performance, I’m using Ableton to play my songs, using one channel for the kicks, one for the snares, one for the drums, one for the bass… I use my pads to play around with that.
What are your plans for the remainder of 2014 and beyond?
I’ve got a few EP’s in the pipe line and obviously working with Colors in September but also other really exciting stuff I can’t wait to share.
My new studio space in Hackney Wick is pretty exciting too, working with FB Julian, Clive Henry, and Matthew Keating. Being in the studio is by far my favourite thing to do, being able to share that with good friends is the ultimate cocktail mix of work and fun combined so i’m sure this is where I’ll be spending most of my time for the end of this year and the years coming.
Initially, I first encountered dance music over the radio but only really got into it when I started going out to clubs, spinning tunes and digging in record stores. In general, I have always had many influences when it came to music. When talking specifically about House, I would say Kerri Chandler, Masters at Work, DJ Gregory and Daft Punk were among the first big ones.
Your new Compilation album for Get Physical: Ibiza 2014 begins with an emotional sequence ambient of sounds. How important is setting a mood when you DJ?
For me it’s the difference between actually being a DJ and not. Walking into a room prime time and banging out whatever people want to hear is not being a DJ, it’s being a jukebox. I find a lot of times that the importance of how to properly open up a space and bring people in and onto a journey is often missed, it’s not something that should be rushed into or taken lightly. I personally love opening up rooms and, more often than not, enjoy opening up for myself when I can. There is a lot of really cool music you can play during an opening set that you would not be able to play later on.
How do you see the album reflecting the Ibiza of the title, and do you think the Island is as important to Dance music as it once was in light of the music’s now global popularity?
The album for me was about putting together a journey which is essentially what the Ibiza vibe is all about. Ibiza is detached from the rest of the world and once you walk into a party there you’re pretty much ready to stay the whole night right into the next morning without worrying about what you have to do or where you have to be – unless of course you have a flight to catch the next day. This is also why the compilation is longer than usual; I really wanted it to reflect the different moods you can get through an extended set. It opens up smoothly, then moves on to something bumpy which is then picked up with some heavier grooves; it is then closed off with a classic / nostalgic type tip. Aside from that reflection, it’s also how I like to build my sets in terms of mood traveling, I don’t always like sticking to just one mood. In terms of the importance of the island itself for Dance music globally, I think it will always be there as long as the people who run the club scene stay there. As the popularity of Dance music rises everywhere the tales of Ibiza’s euphoria grows with it.
The album also features some of your own productions like, ‘Caution You’ and Jay London collaboration, ‘Lost Tourist’. Can you talk us through the process of you producing a track – any particular favourite instruments/ software?
Me and Jay are good friends and work on several projects together even outside of producing music and DJing. The tracks we collaborate on usually happen out of the blue and we both have a day off messing around in the studio, sometimes it turns to something. We don’t sit down and decide today we are going to do this specifically, we just get together and jam here and there and when something happens it happens. When it comes to my solo productions I usually separate them with two focuses: making a single / music with a message type record; or tracky, hypnotic, groove type record that I can include in my DJ sets. The dub of Caution You is kind of the tracky interpretation of the vocal mix. Something I myself can use as a DJ.
How important is it for DJ’s to produce music as a means of helping to promote themselves these days, what advice would you give to someone starting out in 2014?
It’s important until it’s not important anymore. I think making music as a means to help self-promotion is a bad idea. If that’s the focus and heart of your music it’s going to be missing some soul and I can say that because I’ll admit that I have been there. At first I started making music in hopes to one day tour as a DJ, however that message was transcended to my music and it all sounded cookie cutter and rushed. The day I sat down and just started making whatever I felt without thinking too much about it people started becoming interested in what I was doing and what I had to say. I guess the only advice I would have is to make sure you focus on the process of production itself and make sure you enjoy that process, work that process and don’t focus so much on the results. Results will come on their own and producing without a result based focus will keep your music human and relatable.
Can you tell us about your involvement with Bauhaus Collective (and why that name was chosen) plus the RAW Moments parties?
Well the “Bauhaus Collective” is still in its beta form. The name came from “Staatliches Bauhaus” which is an art school in Germany that combines crafts and the fine arts. It’s an agency type lifestyle blog collective thingy all in one concept that we’re working on (confusing eh). Until we launch it officially it’s just a collective of artists whom support and help each other’s brand and work on collaborative projects – RAW Moments being one of those projects. It’s a party that we started doing in Montreal, all the talent we feature at these parties are home grown and the family grows with every event we throw. Each party also comes with a recap video that is put together by one of our friends Anthony William.
Where are you looking forward to playing most this summer?
I’m currently enjoying my residency at StereoBar & Stereo Afterhours here in Montreal more and more as the weeks go by. I’m very lucky to have a place in my city to call home where I can express myself and test out a bunch of new music. Besides that I’m on the road looking at being back in Europe come October around ADE.
Thank you so much!
* Paolo Rocco photo credit Monsiieur
Sixteen new productions from Guy Gerber go make up this latest compilation in the fabric series totalling 64. And as you have come to expect from the producer this is another selection of exquisite resonating music that reaches way beyond your imagination. Always spirited, yet incisive and experimental, this effortlessly deep compilation of sounds are as invigorating first thing in the morning as there are very late at night. Weaving between haunting vocals and cinematic instrumentals this once again highlights Guy Gerber as one of the world’s finest in this field of electronic music. Every track stands out in its own right and it would almost be pointless in suggesting particular highlights, but here goes anyway: the completely infectious One Day In May loops heavenly ambience into dancefloor nirvana, while the opening Store-House Consciousness and The Golden Sun And The Silver Moon sound as blissful as the title suggests. The music plays between dancefloor and horizontal listening with consummate ease, with number 64 proving yet another to be a winning formula.
release: June 25
Jamie Jones second album for Crosstown Rebels sees two of the world’s most significant players combine forces again successfully, after the DJ’s string of awards plus the labels succession of killer releases. The collection features unreleased tracks – although heaven knows why – alongside new productions, and if you’ve witnessed Jamie play live then Somewhere, Paradise and Frequencies may already be well known to you. But waiting eagerly to get out there too is the equally fresh future-funk of Mari 2D Underground and the uneasy edge belonging to Tonight In Tokyo feat. Luca C. Also make sure you listen out for the sinister bass experience that is Over Each Other with Livia Giammaria’s vocal sounding tastefully bitter in the process too. All the signature sounds are present, with those defining original House influences playing their part to reinforce what is undoubtedly another essential in the canon.
release: June 25
The fifth release from the label sees Remi Mazet deliver breezy summer sounds to quench your thirst for all things funky. Playing with a hint of Gwen Guthrie in the air, the punchy bassline buzzes over introspective Rhodes chords and technological synths on the Original version to great effect. Boris Horel then provides the remix of Le Kiff with bouncy European bass and perky percussion, leaving second track Are you There feat. Mr.Matlar completing the picture with more easily accessible grooves backed up by intriguing voices and frisky snares. Good release.
release: June 25
This three track EP marks the labels 58th and presents their trademark style perfectly. Opening with NTFO & Karmon ‘Nobody Else’ and its punchy melodic bassline, which plays against snare rushes and atmospheric touches, this neatly infuses together a thoughtful production with dancefloor sensibilities. The title track is then provided by Karmon who works moody bass over sharp percussion and classic early-eighties keys, and this again proves to be easy to fall for. Betoko’s, Raining Again provides a potential anthem for the North of England with shuffling synthetic rhythms and detuned vocals intoning the wet stuff.
release: June 25
If you haven’t already checked Amirali’s beautifully crafted album for Crosstown Rebels then you’re missing out on an experience. In the meantime here is the chance to love the hauntingly atmospheric new single which also come s with some great remixes. Such as, Franck Roger who expertly builds the tension by adding fresh chords and drums to re imagine the vocal, while the MK version surpasses the remit with typically classy bass and beats feeling totally big-time. Appleblim’s aptly titled Black Mirrorball Mix then twists the elements over throbbing kicks into something altogether more space aged, making his statement loud and clear.
release: July 2
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Love this production from Ahmet Sisman whose Dance With The White Rabbit feels all at once like a party in your head. Impressive sound fx and dubbed vocal treatments give the track a very big feel indeed, but it’s also the combination of differing styles that give it all such a unique edge. Nico Lahs provides the remix with funkier bass and a deeper mood, while Audiofly cleverly break up the beats on their abstracted version. Meanwhile, Hello To Alice continues the Wonderland theme with more expressive voices and dark electronics to finish.
release: July 4
This is the second release on Artform’s sister imprint, Arthouse and comes from Erase Records’ Dimos Stamatelos. The Original version sets a punchy tempo against cool Rhodes chords, a taught tech bassline and with hard hitting vocal snippets this is set to induce frantic head nodding. The effective Frogs and Socks remix then teases extra tension from its undulating synth and smart dancefloor arrangement, while label head Jamie Anderson’s Latin Hustle version introduces the chords to warmer possibilities with the intensely funky percussion giving it all a precise edge.
release: June 18 as a Beatport exclusive for 4 weeks. July 16 general release.
If you like to think outside the box then this will most definitely tempt you. It’s distinctly impossible to categorise but then that is precisely its charm. Sometimes House-ish, sometimes Techno-esque, other times sounding like Pink Floyd through a Dance blender, this isn’t always a comfortable ride but is a rewarding one. One half of Zombi, Steve Moore supplies the remix in two parts with his ‘remix’ making some sense of the madness by building layers of arpeggios over a steady kick drum, as the ‘Off-World’ version provides more of an ethereal landscape by gently playing with voices and pulsating rhythms over an epic feeling eight minutes.
release: June 25
Jerome Derradji Presents: 122 BPM
The Birth Of House Music – Mitchbal Records & Chicago Connection Records
This three CD set from the early to late Eighties catalogues of Mitchbal Records and its subsidiary Chicago Connection Records is pretty much indispensible listening if you’re in any way interested in the history of Chicago House Music. Mitchbal Records was founded by Nemiah Mitchell Jr and released their first influential 12” single by Z Factor aka Vince Lawrence (before starting the infamous Trax Records) I Like to Do It in Fast Cars in 1983 (hear below). The selection also includes music from Mr Lee and Libra Libra, and joins together the diverse set of influences that went to make up what became known as House Music: from UK New Wave/ Synthpop and European/Italian dance all the way through to the soulful end of American Disco. The CD comes with invaluable extras such as a 28 page booklet on the labels’ history plus mix from Still Music’s Jerome Derradji, and also features one of Frankie Knuckles rarest remixes: Unfinished Business.
release: June 2012