After the huge success of their recent instalments, Epizode have prepared another 11 days of unbelievable music and art bliss, in a location that is nothing short of amazing. From 28th December – 08 January 2019 on the magic island of Phu Quoc, Vietnam a series of day and night parties have been arranged in custom built areas, and beaches on the coast. Paradise, right?
And now; Epizode are happy to announce the huge lineup with more than 70 names added on the bill including a wide array of planetary house and techno icons, such as [A:RPIA:R], BINH, CRAIG RICHARDS, DJ STINGRAY, GUTI (Live), ION LUDWIG, MAAYAN NIDAM, MICHAEL MAYER, PAN-POT, PEGGY GOU, PETRE INSPIRESCU, RHADOO, STEVE LAWLER, THOMAS MELCHIOR and many more! They will be playing alongside the most respected Asia and Australia talents, such as ALAM, DEIAN, DISKONNECTED, GABRI-L, JONATHAN KUSUMA, MAURICE SIMON, SEQU3L, to name a few.
All these names are added on an already epic list that includes legends from various music worlds, such as NINA KRAVIZ, RICARDO VILLALOBOS, SETH TROXLER, SONJA MOONEAR, ZIP, APOLLONIA, DUBFIRE, GOLDIE, FERRY CORSTEN, NICK WARREN, tINI, MR.G (Live), SAMMY DEE, mixed with the most interesting and adventurous names from house, techno, minimal, drum n’ bass and breakbeat.
The people and friends pulling the strings behind the Epizode are a true reflection, and inspiration to the scene, with an underlying passion to entertain and arrange diverse experiences with a true attention to detail. There was a social media storm after the last Epizode (everyone has seen the cardboard cut outs of Ricardo last time), and the crew are sure to come back even bigger and better this year. If you are considering a trip to Asia, it is surely worth a thought to tie this in with your trip; in our eyes, we cannot see a better new years extravaganza.
Pioneers of the game, combined with up and coming quality. Who is ready for the next Epizode? We certainly are.
Otaku Records, exciting underground label music and brand is back with its 3rd installament in the new Canning town venue FOLD, a new institution for the arts, Home of music, creative studios and a 500 capacity state-of-the-art performance space with a 24-hour dance floor above a print factory on an industrial estate. Custom–made soundsystem limited at 110DB and a bottom end of 32hz has the freedom to fill the main room untill the music stops.
23rd of November will be the stage of an incredible line up, entirely filled by the finests DJs of the minimal underground scene with Sublee as headliner of this Special party!
Sublee is a familiar name to the Underground Scene, The Bucharest-based producer, real name Stefan Nicu, has previously appeared on Baumbaum Label and Raresh’s Metereze, to name a few. His sets reflect an enormous wealth of ideas and creativity redefine his style specialises in trippy style of house and techno. After years of a very rooted Djing career that makes a name for himself also proved his stunning production talents ranging from deep, dubby house to uplifting and seductive techno.
After a lifetime friendship and some previous creative projects together, Domenico and Mario in 2016 founded their label Otaku Record and the year after joined their minds as Laboratori OTK. Their sound is minimal but complex, both in their productions and DJ sets, marked by a constant attention to the dance floor no matters the musical genre. Even tho is a new project Laboratori OTK already got the support of many international artists, to name but a few Sepp, Nu Zau, SIT, Arapu, Herodot, Butch, Priku, Gescu, Fabe and John Dimas. After releasing on Hoarder and Vivus Records, Laboratori OTK have some VA, Remixes and EPs coming out soon, the most recent on their new label Clear Horizons. The duo is ready to drop an amazing records selection for the party and the after party..
Thierry settles himself in the underground world of sound systems and warehouse parties in London. Between 2005 and 2010 he was involved with Acme Soundz throwing raves with the likes of MFM sound, KSS, Disjunkt, Malfaiteurs, and eventually took charge of the Drum&Bass room for Family Groove. This took him gradually to play in some of the best venues around. Since 2015 by helping Art of Dark and Home London on the smooth running of their events taking place at Studio 338, Troxy, MangleE8, Oval Space, Studio 9294. Being responsible for such high rated brands ultimately has led him to co-found one himself : Stump in 2016 London born, and has since been inviting artists such as Raresh, Petre Inspirescu, Cezar, Barac, Priku, Gescu, Arapu, Cap, Herodot, Nima Gorji, Suciu, Sepp, Kozo, Dubtil.
AGHNES had a burning desire to establish a proper female techno collective in Rome. Having grown up on an eclectic combination of deep and minimal music when she was 18, she travelled around Europe collecting records ending up with quite a mixed spectrum of musical influence. Her strong love for club culture translates into sets where she picks apart and infuses together all the pieces of this music she likes best. Acid and groovy sounds characterize her style. In 2015 Aghnes moved to London becoming DJ Resident at ‘ We Play the Music We Love’, label and party collective. Since then she got a deeper insight of the London underground scene and started playing in the most popular clubs and warehouses and many underground events between London and Berlin as Keep on Going, Grooves London, Point., The Sunday Afters, Plattenkiste, and others.
With her life-time partner in crime Ameliée they decided to co-found She Made together in 2013 and DJs Erica.me and Sara Siu joined the project in 2015.
She Made is an ambitious all-female party concept and a label soon; the project started growing with the aid of the participants who spread the word and turned She Made into one of the 10 most prominent events in Italywhich lead them a residency at Goa Club (Rome) in 2017.
‘Prepare to emerge into a musical journey filled with healing vibrations and hypnotic rhythms as we dance until the sunrise.’
Sunday night clubbing is what us londoners refer to as the NEW Saturday, whether you have been partying your asses off all weekend and looking to end with the perfect tasetful mix of music and crowd OR whether you a fresh Sunday Starter, the place you want to check out is WYS! Our fav Sunday night London Party.
Competition! Win 4 free tickets + vinyl and fabric cd’s for this Sunday 11 November at fabric. Romanian rolling beats master – Arapu (Sunrise) will play and extended 3 hours set alongside WYS! head honcho’s Jacob Husley & Peter Pixzel .
WYS! have been the weekly Sunday night party at fabric for more than 10 years, presenting forward thinking house and techno artists and label showcases from London and abroad. As an extension of the club night WYS! also operates as a record label with more than 26 releases under it’s belt. This year Jacob & Peter launched a sister label – WYS! limited. A limited series of vinyl only releases. WYS! 001 Primus Motor EP by Jacob Husley with remixes by S.A.M and Dubsons came out in May and has been heavily played by likes of Rarash Midland . WYS! Limited 002 VA with Peter Pixzel and Herr came out just a month ago and have also gained lots of plays and support. .
Tag 3 friends you want to go with for your chance to win.
Listen to this exclusive mix Arapu provided for the fabric blog earlier this week
For decades, Austin’s self-proclaimed “Live music capitol of the world” motto has generously boasted both local and touring artists to global fame. The city’s counterculture and music got noticed as early as the 1960’s –- where singers and songwriters flocked to the lush Central Texas hill country to create a grittier, more lawless, and psychedelic-inspired sound that melded hippies and rednecks. These progressive sounds brought to light artists like Janis Joplin, Willie Nelson, The 13th Floor Elevators, Spoon, Explosions in the Sky and countless others.
The mid-sized city has attracted free spirits for decades. It makes sense that a state as large as Texas, which is home to over 28 million people, would give way to a micro-culture like Austin. It’s the distinct attitude that enabled the Capitol to prop the early New Wave and Punk scenes in the late 70’s and early 80’sfollowed by an impressive lineage of Alternative and Indie Rock bands through the 90’s and early 2000’s.
Yet, when it comes to dance music, the city’s contributions are anonymous compared to the far more documented histories of Detroit, New York, and Chicago. Outside of Texas, little is known about the local DJs and promoters that have been contributing to Austin’s grandiose but rooted vision to create a new canvas for emerging underground artists worldwide.
House music hero Brett Johnson traces Austin’s cultivation of dance music from his early years as a DJ in Texas:
“There was something special about dance music here in the late 80’s and early 90’s; being right in the center of the country afforded us access to music and DJs coming from the East and West Coast dance music scenes. Dallas had a strong house scene which was attributed to an influx of New York transplants and Austin was pushing a more euphoric warehouse sound. It’s completely understated how much was actually happening throughout Texas because everything was more or less underground at that time.”
It’s 12:30 am on Friday in the center of bustling Congress Avenue; one of the main roads that connects the city and shows off the unobstructed view of the state’s massive Capitol building. A group of exuberant young men and women artfully layered in monochromatic black attire catwalk their way into a bar. As they strut by businessmen and politicians decompressing their week’s anguishes over cocktails they illustrate the juxtaposition of the city that has cozily cohabited the concept “weird” for decades.
They make their way to the back of the bar where a thin, well-groomed man sits next to a closed double doorway. After a quick exchange of friendly welcomes they walk through the doors into what feels like an air-tight room that’s shaped like a square. There’s approximately 100 people moving to the stripped-down rhythm that takes over the room. The lighting is calculated and unobtrusive.
Beyond the feeling of entering into a secret party, the most overwhelming observation is the sound. It paints the space with a crisp mid-level and low-end punch. You get clarity no matter where you stand in the room. The music is a hypnotic, electro-inspired beat, which pulsates ubiquitously. The selector is one of the party’s founders and residents, a polished DJ that goes by Majiini. The mood of the party is distinct: this is an affair for refined palates. However, the air remains inviting; there’s a lack of pretension that one would typically associate with a party that esteems this level of aesthetic and production quality. There’s a maturity in the crowd that still proclaims a sense of house-party intimacy. Over the next few hours, a certain tension builds: where the crowd converts itself into initiated dancing; where the music precision begins to increase in pressure, expressing intense bursts of colors and shapes.
The production behind this event, BlackTone, is one of the most unexpected underground parties being shaped in the United States. It’s emerging in an opportune time where there’s a void to fill in Austin’s currently mainstream dance music identity. Each BlackTone event is curated under the ethos that elegance, intelligence, and community are complementary ingredients introducing Texas the forefront sounds emerging from Europe.
Behind the BlackTone concept are two charismatic figures who exude warmth and passion for niche dance music: Alejandro Joya and Jorge Castillo. Alejandro, born in San Francisco, is an energetic, approachable Honduran who grew up in Texas. As a natural conversationalist, you’d never know he’s an introvert. He has a polish and wit about him, perhaps attributed by professional life in sales, which inadvertently fuels his tenacity.
Jorge, a DJ and avid vinyl collector, is an inquisitive and slightly recluse character – a perfect balance to his counterpart. Born and raised in Honduras, he moved to Austin a few years ago. Jorge is an introspective man, with a poetic way of expressing himself.
“I’m not a fan of big crowds. There’s a type of paralysis that comes from the abundance,” says Jorge. “When you have smaller amounts of people it creates the right conditions for exposure. To me, Austin feels very homey. There’s just enough going on here to open you up to new experiences without losing the sort of connection and groundedness you get when cities become too large and dense.”
Both Alejandro and Jorge emanate certain characteristics that make them uniquely qualified to introduce something different to Austin: they have a distinct Latin flare with European values and American determinism.
“For me, it’s always been a unique experience having a Honduran background and European affinity while also reconciling that I’m Texan. This third-culture kid syndrome brought out of me a desire to find ways to connect with people. Music, particularly the environments in which its experienced, was always an appealing and effective format for me to connect. I wanted to take that concept and create it here in Austin because I felt like the culture could handle it,”Alejandro shares.
The initial inspiration for BlackTone came shortly after the two friends returned from a marathon of Off-Sonar parties showcasing Perlon, Arpiar and tINI and the Gang. Frustrated by the influx of big room DJs saturating the city’s mainstream nightlife, and longing for the elevated dance music culture in Europe, they decided to organize a series of parties to present the sounds of more subtle, trip-inducing elements of house and techno. The second element that inspired BlackTone was the realization that this style of music needed to be introduced in the right type of format and environment.
Alejandro: “Most people who’ve lived here for even a short period of time know that Austin has two sides. There’s the exterior, which is for the tourists and college-town machismo party crowd. And then there’s this creative underlay. Like, you know that a lot of magic has been created in this city when it comes to music…and despite that you still have to search for it. It’s usually right around the corner but you have to keep your eyes open for it.”
Jorge: “Boundaries can be healthy. We had to create an environment that kept out the type of noise that distracts people from letting themselves be free: we want people to feel safe to be themselves and to use the right type of music to induce a level of introspection and stimulation they can’t get in most other experiences.”
In most American clubs, headliners only play for two hours and the night ends abruptly due to legislation and culture. In response, they committed to work with venue owners to present the music in intimate after-party formats; typically offering four hour DJ sets (or longer) for headliners and residents.
A pairing of the BlackTone sound coupled with an elegant venue proved to be a satiating recipe. They first tested their idea by inviting a respected Honduran DJ, which was warmly validated by Austin’s locals. Supported by their friends who invited others to experience their first party, Jorge and Alejandro realized their introduction to Austin couldn’t have come at a better time.
Only a couple of months later, they decided to take a calculated gamble and organize parties showcasing the sprouting sounds of techno coming from Romania. Their first guest, Sepp, headlined and had such an incredible time that he ended up evangelizing the Austin party to other international artists. In almost no time, BlackTone began circulating in Romania and beyond, galvanizing a remarkable roster of DJs such as Gescu, Priku, Afriqua, Giammarco Orsini, Lamache, Robin Ordell, Varhat, and Christian AB.
The common thread across each party is the level of care for the artists they invite and the production consistency. Each party experience offers a unique venue tastefully decorated with lavish plants, a capacious dj booth, red lights and candles, which creates an environment and mood that invites crowds searching for sophistication with a hint of hedonism.
Jorge: “We have this vision to create a level of magic that’s obvious enough people could begin to realize it actually exists. When you do something like that, it requires both planning and improvisation, which can be difficult to pull off…but when you do you know that you’re doing something special for the world and then the world gives back to you. It’s [the world] a mirror to your perspective.”
Equally noticeable to the visual detail is the music programming and spotlight on local artists. BlackTone has cultivated a group of refined and proficient resident DJs. Most of the DJs behind BlackTone have been stewarding their own events and cultivating underground parties for years under monikers such as Movement Collective, Mind the Funk, Loopy, and others. Each of these parties are committed to pushing sounds from avant garde to minimal techno and deep house.
The DJs – Robert Roman, Carlos Varela, Chklte, Isa, and Alejandro Dozal, Majiini, and Timo Salerno – represent a lineage of talented selectors now residing in Austin from Mexico, Romania, Honduras, Texas and beyond. With record collections that span a wide range of both new and nostalgic each of these DJs possess a distinct identity when they play – the common thread being their desire to dig for and expose rare, forgotten, and fringe sounds in dance music.
Alejandro: “This might sound confident but I truly believe our local artists, the BlackTone residents and others we’ve had open or close the party, can compete with anyone. We have quality selectors who have the the type of emotional intelligence and patience it takes to understand a room and take people on a journey. I think it’s only a matter of time, and not too long from now, where our talent here will be noticed by other respectable events throughout the country.”
In a time when the world desperately needs to see more good things happening to good people, the community culminated by music and art should be one of the last environments corroded by the ego and friction that can often be found in competitive cities. The curators behind BlackTone act like a family. Their passion for music and their love for each other is displayed by the level of dedication and planning they put into their events. BlackTone attributes their quick growth to the foundation and momentum others in the local scene have created as well as their symbiotic relationship with Movement Collective (who have also hosted both emerging and established artists such as Andrey Pushkarev, Mihai Pol and Melodie in the last year). They’ve tapped into a cadence that offers a level of class when it comes to dance music without saturating one sound over another. Perhaps it’s the Texas sincerity that roots these events, or it’s their fortitude to create memorable experiences. Their mentality has persevered and caught the attention of larger talents as BlackTone will be partnering with NY & Barcelona based promotions company ID to host Praslesh this month.
“Everyone DJ we’ve invited here has been completely surprised by the amount of quality people in our community,” says Alejandro. “We know that we’re not offering the most luxurious or top of the line nightclub experiences compared to cities like London or Berlin, but when you have good people turning up consistently with smiles on their faces and enthusiasm for hard to find music, it makes up for it every time.”
With their focus on intimacy, quality, and hospitality BlackTone is raising their flag in a seemingly unlikely place to illustrate a remarkable model for showcasing the fringed, stripped-down sounds in dance music. They’re doing so with a touch of class that brings comfort to DIY venues, making it accessible for the uninitiated and remarkably unique for mature crowds. But most importantly is how well they’ve responded and adjusted themselves into the burgeoning community while maintaining their creative autonomy and music-first sense.
UVAR is set to do their London debut remarking Vibe London‘s 1st anniversary with a special 8-hour b3b set from Ada Kaleh b2b Nu Zau b2b Sepp. The event will take place at Hackney’s recent addition to the London clubbing scene Studio 9294, an open-air terrace during the daytime with the beautiful canal in the scenery, then the party will move into the warehouse space from sunset until sunrise . The day-and-night event is bound to be a memorable one with the venue’s terrace for the day time part.
Vibe London has already throwed a reasonable number of parties in the capital hosting artists with the likes of Floog, Sepp, Nu Zau, Mahony, vlf to name a few. The next installment is their strongest lineup and no doubt on the quality sound provided over the night. Support will come from Sebastian Eric, Matje and the residents; Yuda and Amih. The Vibe crew has already made a strong impression over their first year and inviting Uvar seems like a perfect setting to honour the anniversary!
Oh, did we mention the after party? You know how it goes; Good Vibes Guaranteed.
Ahead of the trios London visit, MEOKO caught up with Ada Kaleh to speak about UVAR London Debut and his future plans.
So there you go: on Nov 10th, it’s in the Wick that the good things are, so it seems. you can already book your tickets here. See you there at the front-left speakers — after-party at The Cause.
1- Hello Ada, it is a great pleasure to interview you. First of all thank you for your time. How has life been treating you so far?
Hey guys and gals, the pleasure is on our side! You know how it is with life, ups and downs, just like everyone else.
2-What is behind Uvar? How did you decide to join forces as a trio?
The trio started all of a sudden, as a natural step forward. I did an EP for Uvar a couple of years ago, so the planning brought us together easily. Well, that and bonding by doing bad jokes on the internet. One day Gabi asked us if we want to do an Uvar showcase in Berlin, so we did it. That ended up in all three of us playing b2b. Worked like a charm, so we decided we should do this more. It’s quite a special thing, so in that regard we did them in a few key places of the European scene, like Rex Club Paris, Supermarket Zurich, FUSE Brussels, Berns Stockholm and a few others, cant remember of the top of my head.
3- Uvar London debut is coming closer. What are your expectations about it? How did the project get structured?
Honestly I don’t really have any expectations, we’ll live and we’ll see. We’ve all played London plenty of times already individually, some bigger events and some smaller ones, some very successful, a couple… strange. But all in all, expectations aside, we think this one is going to be quite good. Not to mention; we are going to play for an exclusive 8 hours, so better rest well until Saturday and be ready for the marathon.
4- What is your general idea about London Underground Music scene?
I see it split in two very differents sides. There’s the smaller but thriving side of promoters doing off events, trying to bring their favorite acts, and then there’s the money driven side of super production, aggressive promotion, ultra cheesy line-ups and horrendous crowds.
5- Uvar showcase has started to take place recently. How does it feel to play as trio and play as solo? Any other events in the pipeline?
For me these are two completely different sides, its like having split personality. When I play solo, I have a long term approach and dip in and out of genres, leading the crowd in certain directions. When I play with the fellas, it’s much more spontaneous, as we tend to surprise eachother with of the stuff that we play. Next up, we have a Paris showcase being planned.
6- What are your main inspirations when it comes to your creative process? Are there any things you could not imagine working without?
Ah jeez! I have no clue how my creative process works anymore and where inspiration comes from. A few years back I thought it was nature and human interraction, now I’m not so sure about that. Well, I used to have a lot more free time back then, and I was a bit more naive. Now with the constant DJing something has changed. First of all it created a struggle between the producer side of me wanting to make odd and very musical compositions and then the DJ side comes in “saying” it has to be functional. So that creates a block that I have to get around. Then there is the time factor, its quite hard to get into a writing state when you’re back home on Sunday evening or late at night, have a couple of days to decompress and then Friday you’re back at it again. I mean there would be plenty of time if you wanted to do all this bullshit music of the new wave of producers, where they download a sample CD, make an arrangement and call themselves musicians, but if you want to write proper music, that needs time and patience. As I see it now, you can’t be a great musician and a great DJ at the same time, you have to separate the two and do them in turns.
7- Anything else you would like to add for our readers?
Don’t follow the hype.
Thank you again and see you all on Saturday night for a magical evening.
We are all much looking forward to our London visit and celebrating Vibe’s first Birthday with you all.
Of the original crop of Detroit DJs, Delano Smith is now the last. Reflecting on house and techno without his influence would mean viewing a very different musical landscape. Coming up at a time when the world was just discovering the influence a DJ could have, Smith battled his way to the top in a tough scene full of talent. With the guidance of the late, great Ken Collier, his early sets fusing soul, disco and early electronic sounds would plant seeds in the minds of many of Detroit’s subsequent generations of house and techno. Those dancing to his sets in the late 70s and early 80s would go on to become dominant influences in first rave then global music culture. Now, the circle is closing as Delano stands shoulder to shoulder with artists he once educated.
We are happy to present his MEOKO mix with an interview, discussing his upcoming projects.
1- Hi Delano, it’s a great honor, how you doing? What are you up to right now?
Hello, it’s my pleasure and thanks for the opportunity! All is well in my world, Just trying to finish my next two releases before I leave for my fall tour.
2- I hope you don’t mind going down memory lane, cause it’s not everyday I get to interview someone who’s been playing dance music since the disco days and I’d like to start with a few questions about those times. To some in this scene, Detroit might seem very removed — the music went through so many mutations since its inception. Do you see a certain continuity with what you experienced, say putting on high school parties in the late 70s, early 80s, and what’s going on now?
It’s actually a completely different world both musically and culturally. The music and the scene has morphed into something completely different from it’s humble beginnings I think. I don’t have a point of reference on how this musical revolution started in Europe, but in Detroit it started in the gay black community – then spread to straight black crowds and eventually integrated after the introduction of the Music Institute in Detroit where Derrick May and others began rolling post-Disco and early electronica. What started as Black Music primarily has now morphed into an entirely different thing spawning multiple sub genres – it’s crazy! But I like it!
3- Dance music has become a real industry in the meantime. What do you think of the evolution of the scene around you now, when you play in Europe for example?
It’s more industry driven in Europe than the States. In Europe, particularly in cities like Berlin and Paris, DJ culture is alive and well and a lot of people are connected to the scene in some kind of way allowing it to thrive. There are only a few markets in the States where the scene is strong. Europeans seem more open minded to various styles where as the States is more spectacle driven in my opinion.
4- You recently said it underwent some kind of revitalization since the heydays of Club Heaven — how’s the scene like these days in Detroit?
Time has changed the musical landscape in the D. It’s nothing like it was in the old days as technology has changed the way we think and interact with the music and the club scene. Right now, thanks to promoters like Paxahau (Movement Fest) and clubs like TV Lounge and Marble Bar, they have elevated the scene here to new heights. The scene here is very strong now.
5- Speaking of which, the Detroit Sound Conservancy launched a campaign to restore Club Heaven’s soundsystem. As someone who’s lived through it, what do you think of this initiative?
I think it’s great novelty, the youngsters in the scene now are not connected to it in any kind of way however- nevertheless, it would be good to have this piece of history restored though, I think it’s a good thing. Probably the only thing left in Detroit that is a directly connected to the beginning of how this all started in here.
6- More generally, how does it feel seeing things you’ve personally experience being granted historical and cultural importance?
It feels like I’m old now – LOL! It reminds me of simpler times in Detroit, when DJ culture and this music was still relatively new to a lot of folks. I think it’s only nostalgia if you actually lived through it – while it’s meaningful to us – folks that lived and experienced it first hand, I’m not sure if a lot of the younger crowd actually gets it. Only DJs and serious clubbers are interested in the relics of yesteryear – what are treasures to us are like MEH to this new digital generation. But it’s all good though.
7- Can you talk about the importance of this club and his resident DJ Ken Collier for the city and you personally? How have they influenced you as a DJ to these days?
Heaven was actually Ken’s House – it was where you could hear him in his most purest form – like Levan at Paradise Garage or Hardy at the Music Box. The system was like no other in the city and was a major influence to all the after hour party concepts that followed. Ken had other residencies throughout Detroit that were just as significant in the days prior to Club Heaven. His earlier residencies where the stuff of legend as well, it’s how we all became to know and love him. He was our ambassador to this music and culture.
8- How would you describe the Beatdown sound you became known for? It seems to be more about a vibe than a certain music genre, right?
It is more of a vibe. A stripped down vibe if you will, generally mid-tempo grooves that are soulful in nature – less electronic – more rooted in traditional House. An acquired taste.
9- You made it onto the scene with people like Norm Talley pushing that Beatdown aesthetic, do you think there’s a new generation of producers pushing that kind of sounds in Detroit?
Yes, I hear it all the time and I support the artists that produce this vibe as well. It’s a timeless sound and will never get old, especially with the a lot of producers pushing DAW-Less Analog rigs now, it’s a natural organic vibe. I’ve been hearing a lot of it at home lately.
10- How’s your sound received back home, by the way?
I think I’m still relatively underground in Detroit to the new generation, still new to the younger generation until they hear me or do a bit of research.. nothing like Europe though where my biggest market is. But thats the nature of things in the business now, loved more abroad than at home. I’ve accepted that fact.
11- I’ve heard you say you were making music for the clubs, which is a very DJ approach to it. Do you go out, whether you’re home in Detroit or when you’re in Europe, to sort of keep a finger on the pulse of the club scene?
Sure! I go out, listen to podcasts, stream DJ mixes on Soundcloud, YouTube, Be-At TV etc. in order to stay relevant you have to stay connected to the scene and adapt to it if you want to keep working. Plus, I enjoy watching and hearing other artists perform.
12- Your music remains obviously catered for the dancefloor, but after all those years, has your approach to production evolved?
Yes, somewhat. I’m longing for more musical elements in my sound now, more changes and progressions. I think this comes from age and attempting to escape monotony. I’m looking to entertain the listener more with talent and artistry versus just beats and groove.
13- From what do you draw inspiration then, when you produce back home, so removed from the club environment?
Thats a good one, and it’s hard to really say as it’s a variety of things. But I generally go in with some sort of concept as to what type of track this will be and go from there. I rarely just off the cuff starting with beat – bass- hat – etc.
14- Do you have any favourite clubs or parties to play?
YES. Paris is always fun, particularly Concrete (Rex too). Berlin is a great city too, but technically I’d have to say Contact in Tokyo is probably my favorite.
15- How did Europe and your success as a DJ it came to signify come to you? — you being first booked at Panorama Bar, your connections with Third Ear, now Sushitech…
Probably when I realized that I no longer needed a regular day job, when I realized that this was a sustainable career – now it’s serious and I no longer think of myself as just a DJ.
16- You released a new record on your own Mixmode Recordings after a 4-year hiatus for the label. What led you to re-launch it?
I decided to take a break from working with Sushitech as it monopolized mostly all of my production time with touring and all. That sound was working for me for years so I totally engulfed my energy into those projects. After the Lost Tapes album I decided to take a break from that sound and get back to some good ole House. I’m more inspired than ever now and have a lot of music that I will be releasing on the Mixmode label.
17- And what’s in the works for you, DJ-wise or personally?
I’m actually preparing to include some live elements in my DJ sets now, using a sampler, Drum machine and perhaps a bass synths to add some variety and perhaps doing a full blown live show. I will let you guys know when that’s ready.
18- We’re super happy to host this mix, how do you feel about podcasts? Did you try to convey anything different from what you’d do in a club?
Yes. It’s generally peak time when I play at clubs so I have to try an keep the energy level up and the crowd dancing and entertained. With podcast mixes, I can chill out bit – to me – it’s more of a listening experience. I try to entertain the listener with down-mid tempo grooves. Although you can still dance, I feel it’s a way to introduce another side of my DJing – rather than just playing bangers for 2 hours.
The awaited October yearly appointment with the Amsterdam Dance Event is coming closer. We picked some of our favourite upcoming events happening in the Dutch capital during the magnificent week.
The Tribe invites Yoyaku
For this year’s edition of ADE, Nijmegen crew ‘The Tribe’ invited the renowned Yoyaku collective for a 22hour sonic-adventure happening in two different venues, starting 20th of October 10pm (22:00pm-06:00am) and rounding off the enduring weekend on Sunday, the 21st of October. (07:00am-22:00pm)
The first, nighttime, event feels just as exciting; planned at the more intimate BRET venue, a red construction made of sea containers, the party will include the brilliant live set by Oshana and a back to back between Varhat and Janeret, as well as Roger Gerressen, member of both the Yoyaku roster and The Tribe crew, and Children of Vails, a Tribe cornerstone from the very beginning.
The after-party, starts at 7 AM at Radion Amsterdam and goes on for the whole daytime. The event showcases a stellar line-up, recent addition to the Yoyaku roster and experienced act Maayan Nidam headlines the event, together with the micro-house masters Zendid and a special back to back between Lamache and Lowris. The line-up is topped up by The Tribe’s residents Christoffer Zaza and Doris Nicholas.
The collaboration between these two collectives in two of Amsterdam’s most distinguished venues promises to deliver an outstanding party sequence that is impossible to miss for any underground scene follower attending ADE this year.
Amsterdam based organization VBX is well-known for delivering top-notch parties, with superior line-ups and jaw-dropping locations. Their ADE program this year includes four events which are just one-up each other. Their program starts off on Thursday 18th October by hosting TiNi and the Gang at Bret. The experienced German party-starting DJ will perform a B2B with French talent Molly.
The next day sees a massive line-up preparing the Warehouse Elementenstraat for an unforgettable party, involving Ricardo Villalobos, Seth Troxler, Zip, Sonja Moonear, Steve Rachmad, Nicolas Lutz and Spokenn (Ferro & Reiss), all playing in the industrial setting that characterizes this exceptional venue. And the party continues in the morning, moving back once again to Bret until the late afternoon hours of the next day.
Finally, Saturday’s party is no less interesting. Romanian gurus Praslesh (Raresh & Praslea) lead the line up together with Fumiya Tanaka and Francesco Del Garda at Shelter, for an ending to the VBX series which promises the finest selections.
Into The Woods will be back at NDSM this year with two daytime parties on Friday and Saturday. A former shipyard located in Amsterdam Noord, NDSM blossomed into a cultural hotspot and became one of the favourites picks for big electronic music events in the Dutch capital. Music will range from hard techno to funky house, with a vast line-up including KiNK, Red Axes, Optimo, Paula Temple, Move D and Roman Flugel, among others.
On Saturday Afterlife will present its first 24 hours party at Warehouse Elementenstraat. For this year’s edition of ADE, the Tale Of Us label curated two rooms to encompass what their vision is all about; beginning Saturday at 2 PM and finishing at the same time on the next day, the line-up includes a special B2B between Solomon and Dixon, Mind Against, Adriatique, but also live sets from Recondite, Mathew Jonson and Agents of Time, to name a few. A must-go for the fans of the label.
Jack is a new club which opened in the South part of the city, celebrating diversity, creativity and forward-thinking electronic dance music. On Friday, we recommend their party with Toi Toi Musik, including music from Herodot, Vinyl Speed Adjust, Losoul and Sanja. The party will go until early hours for a mesmerizing afterhour session.
On Sunday afternoon, ADE will also provide a free entrance “ADE hangover” session at NDSM to cure your headache and finally get some rest. The venue will provide chilled music and healthy food & fresh drinks, but also a vinyl market and art installations for those who will still be able to stand up.
The awaited October yearly appointment with the Amsterdam Dance Event is coming closer. For this year’s edition of ADE, Nijmegen crew ‘The Tribe’ invited the renowned Yoyaku collective for a 22hour sonic-adventure happening in two different venues, starting 20th of October 10pm (22:00pm-06:00am) and rounding off the enduring weekend on Sunday, the 21st of October. (07:00am-22:00pm)
The first event is planned at the intimate BRET venue, a red construction made of sea containers. The party will include the brilliant live set by Oshana and a back to back between Varhat and Janeret, as well as Roger Gerressen, member of both the Yoyaku roster and The Tribe crew, a duo, Children of Vails, a Tribe cornerstone from the very beginning.
The after-party(21st Oct), starts at 7 AM at Radion Amsterdam and goes on for the whole daytimeand feels just as exciting. The event showcases a stellar line-up, recent addition to the Yoyaku roster and experienced act Maayan Nidam headlines the event, together with the micro-house masters Zendid and a special back to back between Lamache and Lowris. The line-up is topped up by The Tribe’s residents Christoffer Zaza and Doris Nicholas.
The collaboration between these two collectives in two of Amsterdam’s most distinguished venues promises to deliver an unforgettable party sequence that is impossible to miss for any underground scene follower attending ADE this year. We hope our paths will cross on the dance floor!
This October 13 remarks Legends‘ 10h edition; Created by a bunch of friends in Uruguay, Punta del Este, host city of the South American summer. Legends comes with the dream of bringing true legends from the underground world scene of electronic music. Taking South American landscapes as inspiration, the open space where the festival takes place represents the typical natural places of the beloved land. It has a vast green tree surrounded space and a lake from where you can appreciate the Uruguayan sunrise itself. Guests can develop during the time the festival lasts with multiple recreational activities, of course, in addition to listening to the unique artists presented.
These last 4 years the crew hosted artists with the likes of Ricardo Villalobos, Raresh, Audiowerner, Argenis Brito, Losoul, Herodot to name a few.
Already 8 months have passed since the last edition of Legends taking place in March with the participation of Nekes, Robin Ordell, Guillermo de Caminos and the farewell of the favorite couple Vale Volpe & Manglus before going on tour in Europe in a b2b alliance.
As the spring season fastly approaches, the tenth edition will be the Uruguay debut of the Japanese legend Fumiya Tanaka, together with another Japanese artist, Yoske. To add more, the new ArgentinIan promise Lautaro Scavuzzo will be playing for alogside the resident dj Manglus after the return of his extensive tour.
For the 4 years aniversary Legends crew are proud of announce the Happy New Year Legends festival for the first time.This new proposal is coming to spend the end of the year among friends dancing under the sky in a 2 day festival format where 12 invited artists from all over the world will play. The whole line up will be made known as the festival approaches us. One thing which is clear to predict is that one of the headliners will be Audiowerner with his first live set presentation in South America. So we suggest you start to get prepared for this special occasion where you all are invited to participate!
This November London based Decay Records celebrate 5 amazing years of sharing beautiful music amongst likeminded people, carrying their passion for delivering high quality dubby grooves. Moving the entirety of the focus away from trends and hype, showing faith in music they believe in. Saturday 3rd November the Decay family have curated an intimate affair underneath the arches of, Rolling Stock.
The artists on offer on the night fully live up to the expectation of an occasion such as this, seeing old friends and new artists come together. Christian Burkhardt will be bringing his live performance to the heart of Shoreditch. Someone who does not need much introduction, due to his reputation for slaving away immersing himself amongst his technology. Whether working on other parties releases or on his own personal imprint, Burkhardt’s inner ability to create a groove remains at the forefront. A live and rare set amongst this intimacy means this will surely be one for the books. Two back-to-back sets will be taking place on the anniversary including Romanian maestro Mihai Popoviciu and house production machine, James Dexter. Both artists will bring their flavours together, with only one possible outcome. Music to make you move.
The second back to back comes from the brains behind it all, Davide Decay and Max. Davide saw a vision five years ago, and it was called Decay records, and for him to share his music on this milestone will be special within itself. Featuring alongside friend of the camp, Max. Rounding off the bill will be Lenka and Sagia. A concoction of sounds, to create a vibe we have become so familiar with from the Decay Records team over the years, an evening of friends old and new coming together.