Under Meoko Microscope

MEOKO – Under The Microscope – Chris Geschwindner

By Hot Off The Press, MEOKO Exclusive, News, Under Meoko Microscope

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German DJ, musician and percussionist Chris Geschwindner is one of the most exciting new and emerging talents. The Frankfurt based artist has already displayed his versatile ability to combine elements of jazz and electronic music across a range of formats including his own unique live sets. Having a strong connection with Undersound, London through a solid release on their label and appearances at their parties, Chris has raised the bar through his dynamic and unrefined style of music. We caught up with him, and were also treated to the delights of his exclusive MEOKO podcast.

Hi Chris, how are you doing?

I’m great, thanks for having me.

Where was the first place you ever played at and how was the experience?

My first DJ gigs were basically birthday parties of good friends in my hometown north of Frankfurt in Germany. It was always fun and most people were curious about the music I played. My old friends from back then were and still are very open-minded to all kinds of musical genres and consequently we shared all kinds of records together.

Where was the last place you played at and how would you describe the experience?

Last Saturday I played at a party called Atelier Bizarre in Saarbrücken with Riccardo,TC80 and many others. The selection of DJs was very good and I had lots fun closing the stage where I played at in the early morning hours. The crowd let me go in almost every direction that I wanted to, plus the venue was an old industrial plant that offered an amazing party experience.

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What are you currently working on?

I recently finished a couple of EPs and a few remixes that will be released soon. Right now I’m working on music with my friend Lukas Bielke. One of our tracks will be released very soon with a remix by TC80. Apart from that I am finishing my bachelor thesis in mechanical engineering at university.

What do you try and present in your sets through your music?

Playing music at a party is a highly intimate situation. I try to show the crowd what I love about music and will put a lot of energy into that no matter if I play my own music or the records I like. Showing a track to someone who hasn’t heard it before or just letting someone peek into my taste is a way of showing your personality and connecting with people.

How would you describe your music?

Making music is one of the activities that requires the skill to finish a project even if you struggle with it. My aim is to condense certain emotions and ideas into tiny moments and paint an audible picture of what I want to express. My weapons of choice are electronic and acoustic instruments as well as my own field recordings. I edit and blend all these elements together to form the final musical piece. I like to see technology, science and art as a vital symbiosis of separate fields. This means that there is a strong connection between how you produce a sound and how you perceive it when you hear it. This perceptible proximity is exactly how I would see my music.

What are your musical influences and how are they represented through the music that you play?

Luckily, I grew up surrounded with all kinds of music. Being a singer in an opera choir in Frankfurt, my mother showed me the profundity of classical music. Listening to a lot of jazz and hip-hop records on top, I started to take drum lessons and quickly explored the beauty of playing an instrument. My first contacts with electronic music were mainly happening at local parties or record stores. A lot of the artists I discovered back then are still a big influence. When I play in front of a crowd I try to show two things at once: where I come from and where I am right now.

At which point in your career did you realise that you were moving in the right direction to becoming a professional DJ?

When people you like and respect you and trust your music to be the right choice for their label or collective is something superb. People like Inner or the Undersound crew from London are responsible for a lot of new people discovering my music and I am happy to work with such passionate individuals.

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How do you prepare for a live set?

Playing records and performing live are two truly different approaches. I play live using 12 tracks in Ableton Live where I have the ability to mix together individual instruments of my recordings using a controller and mix the output of my sound card together with drum machines, synths and other machines on a separate analogue mixing desk. I’ve had the experience that I need a certain space for improvisation to fully use the capacity of my set-up so I program almost every pattern and melody on the fly. I prepare most things just hours before the show, mainly debugging my own Max 4 Live effect units. This approach allows me to stay flexible and to set the right mood in the right moment on stage.

If you weren’t DJ’ing, what would you be doing?

I would definitely play in a jazz band.

Offthe top of your head, can you think of a track that always stays with you that never fails to excite the crowd?

Dopplereffekt – Speak & Spell. Of all the incredible tracks on the Gesamtkunstwerk record this one is the most relentless and haunts you in your dreams with its crazy chopped vocal loop.

If you could only pick two records to listen to for the rest of your life, what would they be?

I’d take Move D & Benjamin Brunn’s ‘Songs From The Beehive’  and a good recording of Giuseppe Verdi’s requiem.

Have you faced any challenges throughout your career?

I’ve always seen making music as a hobby so I didn’t really push myself into the place where I am right now. People encouraged me to continue with what I do and a lot of my friends helped me getting bookings or showed my music to others. So up to now the only problems I had in my career were happening in the studio. It’s not always easy to convince yourself to try out new things if you are connected to a certain way of doing things. Stepping out of your own shadow is important as I truly believe that the only constant in life is change. So when I make music it’s always a challenge to see what I can come up with and if this will be good enough for your own aspirations.

Which electronic music artists are you listening to at the moment?

I really love the new Moritz Von Oswald Trio album Sounding Lines. His way of combining elements of dub and jazz are just incredible. Using a real drummer for the album makes this record even better. The new Zenker Brothers album Immersion is another record I really love. They sound very powerful and rough without pretending. It’s always nice to hear dirty music. Thankfully there are lots of talented friends and local producers around me: Dario Reimann, Harry McCanna, Dubmodel and many more.

If you could play alongside any DJ, who would it be and why?

Apart from the many talented DJs that I know personally I would love to share decks with an icon like Jeff Mills for once while he jams on his 909.

What has been your most memorable experience behind the decks and why?

Playing in London for Undersound was very exciting and challenging. The whole trip was incredible and you could really feel how everyone involved loved what they did. I needed a few days to fully realize this great experience.

What events are you playing at next?

I will host a party together with my very talented friend Franziska Berns at Hafen 2 in Offenbach on July 25th. The day after I will come back to Dora Brilliant in Frankfurt where I will play live.

What advice would you give to someone starting out in the industry?

Find a good way between taking yourself and your music seriously and being easygoing and relaxed about your works. Take your time to be satisfied with what you do. Learn about acoustics and technology. Listen to people with experience and try to learn from them.

Thanks for your time and good luck with everything!




chris meoko mix cover



By Sam Quilter


More Chris Geschwindner







MEOKO – Under The Microscope – Anri

By Festival, Hot Off The Press, Interviews, MEOKO Exclusive, Under Meoko Microscope

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Japanese DJ and producer ANRI has been honing her craft since she moved from her hometown of Yokohama to the bright lights of Tokyo and discovered the small but vibrant underground electronic music scene there over 10 years ago. She soon became a household name in the Tokyo scene, playing regularly at Tokyo´s finest clubs like Womb, Ageha and Air. Following appearances at Australian festivals such as Rainbow Serpent and Eclipse Anri began to get acclaim outside of her native Japan and now she is hoping to gain wider international recognition after relocating to Berlin like many Japanese contemporaries. Having just delivered an exclusive MEOKO podcast for us in April we decided it was time to put this little known but seriously talented artist Under the Microscope.

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 Hi Anri, welcome to the MEOKO under the Microscope series. Tell us, who is Anri?

Every day I am learning, and growing. This is what makes me who I am, I am always striving to discover more, to experience more, to push myself out of my comfort zone. The Anri of 10 years ago is very different to the Anri you meet today, I have learnt and grown a lot- sometimes it has been difficult but I wouldn’t change anything. It is only by putting yourself out of your comfort zone that you can begin to discover who you really are. 

Tell us a little about where you are from and how you grew up.

I was born in Yokohama, Japan. Yokohama is the neighbouring city / district to Tokyo, it is about 30 minutes away by train. This is where I grew up and where my parents still live. It is a nice city, but much quieter than Tokyo. When I was 18 I moved to Tokyo, attracted by the opportunities it could offer for personal development and fulfilment. It was there that I discovered electronic music. 

How did you get into electronic music? 

Sadly no one in my family is of a musical background, but as a child I always wanted to play an instrument. When I was 15 I started to dance, and we would mostly listen to Jazz and Hip-Hop in the dance studio, so these are my earliest influences. When I was 17 I started to go to clubs and discovered electronic music, and shortly after I moved to Tokyo where I got into the scene there. I bought some CDJ´s, practised everyday and in time was playing regularly at clubs like Womb, Air and Ageha and I also began to organize and promote my own parties, some of which were quite successful. When I was 19 after I had bought my first CDJ´s and I was just starting to learn to DJ, I was introduced to a legendary Japanese disco DJ called DJ Kohno who at that time was already in his mid forties, and once a week every Friday for one year I used to go listen to him at a place called Soul Sonic Boogie and take memo notes whilst watching him play. Whilst I never really got into disco, I learnt so much from him. He had a huge record collection and I learnt to respect and appreciate every record as an individual entity, I learnt how even different records and styles can be webbed together-I guess you could say that he taught me how to listen to and understand a record, which is probably the most important thing one can learn as a DJ. 

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What kind of challenges have you had to overcome on your way to getting to where you are now in your life?

I have been Djing for over 10 years now, trying to perfect my skills and define my sound, and trying to get people to know who Anri is, but I am still not yet at a point where I live off of my music alone. I like to travel and of course Djing is a great way to discover other cultures and make new friends, but over the years I have had to do many other things to support myself and to be able to pursue my dreams. In 2010, I moved to Australia; at the time I didn’t speak any English so it was very difficult to find any work initially. I worked in Japanese restaurants and Sake bars, I even trained and qualified as a Sake Sommelier. I also once worked on a farm in the Australian outback for about 3 months in order to get my visa extended just so I could stay in the country- it was very hard manual work under the hot sun and probably the hardest job I ´ve ever had, but it was something I had to do in order to be able to continue with my new life in Australia, which was a very important step in getting to where I am now- I learnt to speak English there and played many gigs at festivals such as Eclipse Festival and Rainbow Serpent ,which is kind of like Australia´s version of Burning man, and in the 3 years I ended up living there I became quite an established name in the vibrant Melbourne underground scene. I don’t think I would have moved to Berlin had I not spent those years In Australia, so every challenge I have had to overcome has in hindsight some retrospective value in somehow shaping me to become the person I am today.


“It is only by putting yourself out of your comfort zone that you can begin to discover who you really are.”


When and why did you decide to move to Berlin?

When my visa eventually expired and I could not stay any longer in Australia I moved back to Japan, but the electronic music scene there just isn`t big enough and there are not enough opportunities available, particularly for someone wishing to gain recognition outside of Japan. Yes, there are some great clubs in Tokyo where I have played many times and which receive many international DJ´s but the scene in Japan is almost limited to those few clubs. I guess after my time in Australia where I began to get a name for myself from performing at festivals and clubs with more international exposure, I realised that if I wanted to become respected internationally I would have to leave Japan, like many other Japanese DJ´s have done before me. Berlin is a very international city, I have many friends who moved there to pursue their musical ambitions, and I think it is an amazing place for an artist to pick up other influences, both musically and personally. It is a city so rich in opportunities for artists and musicians- it is great for collaborating with other producers and friends as everyone seems to be based there, and it is also a city which inspires on so many levels- the city has so much history and diversity and a musical scene like nowhere else.

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What are the challenges for an artist trying to gain recognition in Berlin? 

There are many opportunities for Dj´s in Berlin for those who are serious and committed enough to working hard to prove their merit. On the other hand, the scene in Berlin is very competitive- it seems that almost everyone you meet is a DJ or a producer so it means that you have find ways of doing things differently if you want to stand out and get noticed. Also, the Berlin scene is very local still and relies a lot on personal connections and word of mouth, which can make opportunities harder to come by if you are not considered a local or have not been living here long enough to have established connections with local promoters. Since I moved to Berlin last September, most of my gigs have actually been in other countries- Italy, Holland, France etc.- it is only recently that I have started to get more attention from promoters in Berlin, and now I have many gigs in Berlin over the coming months. I feel if you can gain respect in the local scene in Berlin then you will also be noticed elsewhere too as people really pay attention to what´s going on in the scene here.


“I think about music and sound in every living, breathing moment- everything around us in our environment has a sound or vibration, the world I live in everyday is my inspiration.”


How would you describe your sound? 

I am inspired most by the Detroit Techno sound, which some people suggest is more of a guy’s thing, but I think my sound has definite feminine qualities. It is very hard to explain, but I think perhaps each gender can tune in to certain sounds or elements more than the other. I like to play dark and mysterious sets but I also try to always mix it up with more positive, lighter elements- a beautiful progressive melody somewhere in the background for instance. What I produce and what I play when I DJ are completely different, I like to play deep emotive techno, but  my productions tend to be a  little more progressive and melodic. 

How difficult did you find it to establish yourself and gain respect from other established DJ´s in the Japanese scene as a young female DJ? 

 When I was starting out, there weren`t a lot of female DJs around, even less so in Japan, where the sight of a female DJ behind a booth was much more unusual then it is today, and opportunities were harder to come by. It was difficult in the beginning to get promoters to take me seriously as a DJ and not just a little girl they could put to look cute behind the booth in the lounge area. When I was starting out, I think that as a female DJ I had to compensate for being a woman, as for whatever reason people tended to think less of female dj`s, so I had to work even harder to prove myself and show that I could deliver just as good, if not better, as anyone else with each and every opportunity that I was given. Hopefully these attitudes have now changed. That said, I was fortunate to have had the support of certain influential promoters in the Japanese scene who believed in me from very early on and have also benefited from the help and guidance of some experienced artists before me like my good friend Hito, who also lives in Berlin and has always been there for me to give her advice and experience when I have needed it.

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You are also a producer… What is your approach to making tracks?

I usually start with an idea I have, something creative, something that will excite me from the beginning and that I want to build a track around. Sometimes I will start with an organic piano melody that will develop into something deep and ambient, other times I will lay down some kick drums that make for a snappier, harder sound and inspire me to make a track in that vibe- there really are no rules, I just let the inspiration take over me and let whatever comes out happen naturally, and try to connect things as I go along, to focus on the chord progression from one idea to the next. Sometimes playing around with natural chord progression can inspire a melody even if there was no instrumental melody to begin with.

Who are your main musical influences, and why?

I have many, but I would list among my biggest influences Underground Resistance, Mike Banks, Underworld, Kevin Saunderson, Octave One, Richie Hawtin, Joris Voorn, Wesselhoft Schwarz, Ryuichi Sakamoto, Aril Brikha, Recondite and most of all Peter Van Hoesen who I have been lucky enough to support on several occasions when he came to Japan. I think each of these artists are all unique and different, and I admire and respect them for being pioneers each in their own way, for forging their own paths, for not being afraid to do things differently, for being original with their sound and doing things their own way.

What are your long-term goals?

I really want to continue to develop my production skills, I think this is a process that can never be considered complete, there is always more to learn, new ways to do things. I was in the studio recently with my friend Jay Haze, he is an incredible producer and he showed me many new things, so I really want to keep learning and developing my know-how. My sound is still developing, I can feel that it has already changed and been influenced by Berlin in the short time I have been here, and ultimately I want to have my own distinguishable sound that people will instantly recognise as Anri. One day, I want to play in Berlin´s historic techno powerhouses- Tresor, Berghain, Stattbad and of course I also want to keep pushing myself to improve as a DJ, I want every one of my sets to tell its own unique and original story.

What do you aim to achieve with your own DJ sets? Can you tell us a little about the exclusive podcast you have prepared for us- what is the thought process behind it and what do you want your listener to experience or understand?

I approach every set with the intention of making it unique and original in a way that nobody else could recreate. I like to think that a mix is a piece of art; each one is unique and no other exact same one exists, or will ever exist. I think that if someone wants to book me to play, then I owe it to them to provide something especially for them, for that night, for that crowd, for that one moment in time only. All these factors affect my mood and my thinking and then influence how I play and what I play on the night, the energy of the crowd, the time of the year, the country I am in, the food I might have eaten beforehand. My approach to a podcast is quite different- I like to think of an idea or a theme and create a story that I want to tell through the tracks I choose to include. For me, a podcast is much like a book or a movie, it is something one experiences and digests and can revisit and reflect upon later, everyone can perceive it differently, but what is important to me is how I make each person feel after listening from beginning to end.  If you have not heard any of my podcasts before then I hope you will realise my style and intentions from this selection for you. For this podcast, I mixed completely different types of tracks in the mix- it is like a transition of emotional breadth and a scope representative of the feelings of humanity. I think about music and sound in every living, breathing moment- everything around us in our environment has a sound or vibration, the world I live in everyday is my inspiration. I hope that every person listening to this will experience it in and appreciate it in their own way, and hopefully understand understand a little bit more about who is Anri.

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By Barry Daly


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Under the Meoko Microscope: an Interview with Hinode

By Hot Off The Press, Interviews, Under Meoko Microscope

hinodeThe Italian duo, Hinode, based in Berlin describe to us their adventure in the underground music scene in the last years. Analogue gears, wax and raw sounds seem to be the fundamentals of these newcomers that are already respected by big names in the scene.

Hello Mario and Matteo, we’re glad to have you on Meoko! What’s Hinode? How did this project saw the light?
Hinode is a Japanese name, which means sunrise. The space, planets and everything in the cosmos inspire our music and us; Hinode is also a Japanese space probe. We both come from Italy, but we met in Berlin, where we started for fun and now we evolved.

Your sound seems to be hybrid and free from mainstream influences. Talking about the music, what are your main influences?
We are happy and lucky to have worked together at Record Loft and we contributed to the opening of the shop. Thanks to this opportunity we discovered many of the main sounds of the mid-1990s, from techno to early Detroit house and from Garage to Chicago tunes. We feel really addicted to the American underground scene.

Science Fiction Recordings is your main platform to release music. What does it mean for you to have your own label? Do you feel free to express yourselves without being a slave of the market?
We started the label just for being totally free to express ourselves and because we have a lot of unreleased material. Our limited series label is called ‘Science Fiction Limited’, where we release acid, raw techno or dark electro tunes. Our main imprint ‘Science Fiction Recordings’ is reserved for a more dubby and groovy sound. When we have to make tracks for other labels we have to adapt ourselves to the vision of the labels.

Big up for your latest release. It contains an XDB remix. It’s the first time that another artist joins your project. Are you planning any other collaboration in the future?
We’re working on a compilation with Chris Mitchell, Dj Richard, Jay Mond, Spoiled Drama, Jared Wilson and other great musicians that we unfortunately cannot announce at this moment. We also have a great remix from Xenogears aka Analogue Cops planned on our third limited series, which will be out very soon.

Your music has only been released on vinyl until now. Do you have a connection with digital releases? 
Due to our passion for the black gold, we support vinyl and when we are DJ’ing we only play with vinyl. The concept of the label was to release limited copies, so at this moment we are not really attracted to the digital format. In the studio it is slightly different. We are not using many digital stuff but it is worth pointing out that there are a lot of artists able to make really nice music through a computer, so why not?

Are there any releases from you guys planned?
Neptune EP is going to be out really soon on Science Fiction Limited and another release on the French D3, which is a sub-label of Vibes and Pepper, will see the light soon as well.

Which equipment are you using in your studio?
Roland 909, Sh 101, 303, Octatrack and MPC2000 xl (we are using it for our live).

Which are the records that mostly represent or have influenced you?
‘Population One’ on Metroplex and Aaron-Carl’s ‘My House on Wallshaker Music’:

About your gigs, which are the most intense experiences you had in a club?
Definitely the first live-set we made; we played together with Patrice Scott, Andrès and Brawther at Prince Charles for The Monkey Bar label showcase, which was an epic experience. During the last two years we got the chance to play in London, Barcelona and Amsterdam and especially here in Berlin the last month was a blast! Experiences like this gave us a lot of experience about music, sensations and life. It’s all about that.

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Do you consider yourselves clubbers before producers? Do you remember any important moment on the dance floor?

We’re completely autodidacts in our job and yes we come from the dance floor, everything started there. We now live in Berlin since a few years and Panorama Bar is surely the club which most of all influenced us. Also About Blank is a club we really love!

Future aims?

Playing all over the world and taking care of our label. It would be nice if we were able to maintain our self with making music.






Under The MEOKO Microscope with Saverio Celestri

By Hot Off The Press, Interview & Exclusive Mix, MEOKO Exclusive, News, Under Meoko Microscope

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Follow the deep sounds of Berlin’s underground and you’ll most likely end up in some dimly lit space listening to one of the many DJs from all over Europe and beyond, that too, followed the sounds they so passionately pursue. One of those inhabitants is Italian born Saverio Celestri, who can be seen spinning old house and techno records into the early afternoons. A lover of old gems, Saverio is an old soul trapped in his young 21 year old self. You can hear it in his music as he combines the old with his modern skills and fresh ideas. A DJ and a producer, Saverio started playing music to a crowd at the age of 14, and saved up money from a part time job to buy the necessary equipment to start producing, where he released his first track at the age of 16. Today, Saverio belongs to a lovely catalogue of labels such as Kina Music, 1Trax, Batti Batti, nothingwithx and Slow Life. A new but already defining member of the Slow Life family and a resident of Libertine parties, Saverio is clearly going places with his sound. We caught up with his talented self in an interview, while he also provided us with an exclusive MEOKO mix!


You started DJing at the age of 14. Is it a common age where you’re from to get involved with dance music at such a young age?

Yes, well I started to go out to clubs when I was really young cause I spent a lot of time with people older than me and would go out with them, so that’s why I got to experience it and get involved so soon. I was also going out on Sunday afternoons when, at the time, there were lots of house parties. Eventually, I began playing at them too.


Can you tell us a bit about your biggest inspirations?

My biggest inspiration came when I arrived here in Belrin first of all from Zip, and later I have to give thanks to Nicolas Lutz and Bihn. They opened my eyes to a new music conception.


A classic track that will forever sound fresh no matter the time or year of the present?

I would say the track “It’s your love” from The Other People Place, a producer who is also one half of Drexciya. It was released on Warp. 


There is quite some talent coming from your home, Genova! Can you describe the clubbing and dance music scene there?

I was only really born in Genova. I moved a few months after and I lived all my life in Treviso, near Venice. The clubbing scene, in my opinion, is dead. There are very few events that are trying to do something different while most others are just putting on the same DJs as they were 10 years ago without trying do it differently or create a new experience.


You have already produced an impressive collection of tracks for labels such as Kina Music, 1Trax, Batti Batti, Slowlife and nothingwithx. What was your favourite release so far and why?

I would say my favourite track is ‘Session 9’ from the EP Crossover on Batti Batti Records. Mostly because the track captures and describes clearly my mood in that period of time. It was when I had just moved to Berlin.


Many of your tracks such as “Otherground” feature a male vocal. What do you think about vocals in dance music tracks, and what is a good vocal for a dance music track?

I actually don’t enjoy too much vocal in electronic music, but if it fits really well on the track then it can add a particular touch and make it special somehow!


Slow Life is a collective, and is often regarded as a family. In what ways do you feel part of the Slow Life family?

Primarily it’s purely the great friendships I have with all of them. Aside from that, they also helped me a lot to further my musical evolution from how it was before! I think of Slow Life as not just a group of DJ’s but a way of thinking. They deserve all the success that they are having now.


You have an upcoming release on Slow Life for next year. Will it be an EP exclusively produced by yourself?

Unfortunately, I can’t speak too much about this until it is released, but I can tell you that it will be a collaboration with S. Moreira. We are still working hard on it but it looks to be a really special EP!


You are playing gigs at some of Berlin’s coolest underground venues, such as Humboldthain Club, Bertrams and of course, Club der Visionaere. Which Berlin venue is your favourite to play at?

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My favourite venue is definitely Club Der Visionaere. There I can express myself and my music without limits. It gives me the same feeling I have at home, playing records with my closest friends. It’s there I have found and enjoyed the best parties so far.


You are a resident of Libertine parties and played alongside some of today’s world class DJs such as Nicolas Lutz. Can you describe your relationship with this party? What makes it so special to you?

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Libertine is a new concept started just this year but we are already a big family and we try to share as many of our ideas about music as possible. I will be playing for the parties in alternation with fellow Libertine residents Yoshi, Mate Pisu and Omar, who are all great friends of mine.


This summer you played a gig at a Select Elect open air event while surrounded by nature. Where exactly was the location, and how did it feel to play out in the open compared to, let’s say, dark, underground venues like the BASE MENT?

The location for the open air event was really nice, with a great nice view on to the fantastic lake! Personally, I really prefer underground clubs with not too much light, like Bertrams or Basement.


Last year you went on a South African tour. How was it? What is the clubbing scene like there?

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It was a fantastic experience. I really appreciated going outside of Europe and experiencing different cultures. The Techno/Deep House scene over there is still growing, which is exciting, but there is already a really big House movement!


Any chance you’ll be making it to London any time soon? Or do you prefer to stay in Berlin at present?

Yes, actually. I am currently in contact with more than one party in London. I plan to be there to play next year 100%!


Your sets/podcasts online are quite dark and steady… Would you say your style suits the after hours of Berlin?

Mm, yes. I think you could say that. In the podcasts I do I like to play the records that I will never play at a party. I buy those records that I don’t get the chance to play in clubs and I also buy a lot of stuff I know I will I only play for myself. In a podcast, I try and mix those records that I never play with the ones that represent my true self. This way, they stand out from my live sets.


Thank you for putting together an exclusive Meoko podcast! Can you tell us about this podcast? Where did you record it and what special gems will we find?

Thank you, it was a pleasure! I recorded this podcast at home, in my place, with two turntables and nothing more. I chose some of my favourites tracks at the moment, most of them are from the 90’s!


Listen to Saverio Celestri’s Exclusive MEOKO Mix Here

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Under The MEOKO Microscope w/ NIFF

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive, Under Meoko Microscope

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It is possible to understand the level of creativity that Niff possesses. A lover of the piano, a fan of trip hop, and finding inspiration from all types of musical genres such as UK garage and old school house, Niff combines these elements into his unique and left field sets. He has that charisma of a true Italian artist, playing at some of the country’s most forward thinking parties, such as SeekersLoftYAY and Harmonized. He even takes influence from Photek’s Glamourama gem of a track, which combines Italian vocals with dance music. His choice of vocals is certainly an element of his style that should be acknowledged. In fact, his collection of rare tracks make him a true music digger and selector. He plays with records, as well as CDJs, choosing the power of music and an open minded approach to all types of formats. Steadily but surely, Niff is making his mark in the dance music scene. This is why here at MEOKO, we are pleased to have him featured in our Under the MEOKO Microscope series, which focuses on talent that is just breaking through. See what we mean by charisma in the following interview, and be prepared for a truly enriching journey in his exclusive MEOKO podcast


You draw inspiration from a wide spectrum of musicians, from Villalobos to Tupac. How do you know so much about music? 

When I was a child, I could breathe “the smell” of classical music every day in my house because my father loved it and my brother played the piano. My father tried to encourage me to pick up the piano, as he had done with my brother, but without the same results. Nevertheless, I love the sound of piano so much, especially when it is being played by itself. 

Thanks to my brother, I started listening to Bjork and Pink Floyd, and then I discovered hip hop; Moloko, Jamiroquai, Laurin Hill, Tupac… They are all focuses in my life, today. After that, I started listening to dance music and going dancing at last.

In 2009, if I’m not wrong, I discovered Tricky and the Massive Attack… Well… They really shocked me!!!

I listen to trip hop everyday now… 


How did you first get into dance music and when did you start DJing? 

I got more involved in dance music when I was 12 years old while I was listening to some radio shows and I remember that all the Italian djs often played a record with an Italian vocal… Glamourama by Photek. It moved me so much, and it’s one of the records I use to play many times today too. 

On the other hand, when I was 15, in 2003, I went to a club for the first time..It was Titilla, in Riccione. From that moment I started collecting electronic music and a few years later I started buying my first records.


Where do you usually dig for records? 

I look for records everywhere,especially on the internet, but actually I prefer gettin’ my hands dirty with dust when I go to some stocks 🙂


What does your DJ set up look like? 

2 Technics Turntables 1210, 2 Cdj Pioneer 2000, 1 Allen Heat Xone 92 or Rane MP 2016.


What do you consider a “bomb” track? Can you give us an example with a track? 

Ralf, A friend of mine once said:


Tracks those you love from the very first time will get you bored, while tracks those you can understand with the help of the time are the tracks those will follow you for all your life


Well… He was right. A bomb track is what you can feel through different way of listening and feeling as well, and remains with you forever. 

Soul Capsule – Lady Science (NYC Sunrise) is one of those for me. 


Tom Waits once said, “I like beautiful melodies telling me terrible things”. What melodies attract you the most, and which ones do you like to play the most for the crowd? 

Eheh Tom Waits was right!!

I love sad songs, I think they always contain beautiful melodies and terrible things at the same time. Let’s think to the Soul Capsule track as an example..It’s so fuckin sad but people in the club love it.

Empathy is a strange thing. In the club the crowd can change quickly and you have to take people wherever you want, to understand your “story”. Sometimes it’s easy, sometimes not, and you have to choose the best music every time in every place. 

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You recently recorded a set for YAY’s podcast series. Were you satisfied with this podcast? What are the top 3 characteristics that make a good set? 

Oh yes, I love so much that podcast…It’s always difficult for me to record podcasts…You have to play good records, to mix them well and to tell a story. Easy but so hard as well 🙂


You played a particular track twice. First on your YAY podcast and then on your LOFT podcast. Can you tell us what that track is, and what makes that track special to you? 

I use to play some tracks more often than others because actually they represent me and my musical orientation… That track is an unreleased one by Mp.

Amazing track, full of class. 


You played an opening set and then played back to back with Sonja Moonear for LOFT’s party in Brescia during her closing set. She must have really liked the way you play! How did it feel playing alongside a world class DJ like Sonja? 

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Wow.. That night at Loft was amaaaaazing !!

As soon as I was putting my second record on,I realized that Sonja and my friends arrived, They said hello to me and then I saw Sonja dancing on the floor and I couldn’t believe that it was really happening… 

I ended my set and she tells me we could play together in the end, so we closed together. 

She is so special, I hope to play with her again soon 🙂


Who is someone you would love to share the decks with? 

They are too many… 

I’m lucky to play often with my dear friend Francesco Del Garda since many years… He is one of the best DJs on the planet and the higher source of inspiration for me. He helped me so much during last years with the music and with my life as well..It’s always an honor for me every time we play together.


You recently played alongside Francesco Del Garda and Alex Picone for Seekers’ opening party (October 17). What were some of the highlights of your set, music wise? 

Seekers opening was amazing and I have to give thanks to Alex and Fra who gave me the chance to play with them for the early morning closing.

I played some new stuff I’m playing often lately, seekers 001 (there was an official release party in Anita Berber in Berlin on 29th november with a sweet line up), Illegal Series 005, Imprints 003 by Riccardo, Glamourama of course…  ah and in the end a special record full of xilos, that I received last summer from my good friend and excellent dj, Curl Menghi.

The sound of xilophones is so evocative… 


Will you continue to play at Seekers’ events? What other contributions do you make for this collective?  

Absolutely..I will! Now it’s too early to say something.. but I hope to give my contribution for the label too 🙂


What can we expect from you in the near and far future? 

Well… I will come back soon to Loft, Disordine, Kulture, Seekers and in December I will play in Naples for my first time for Pragmatism.

Ah and there are ofcourse some exciting news for 2015. 🙂


Catch Niff play next at Pragmatism with Ian F. on Saturday, the 13th of December. 


And check out his exclusive MEOKO podcast here




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Under The Meoko Microscope with Kozber

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive, MEOKO Presents, Under Meoko Microscope


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Kryzsytof Kozber AKA Kozber is a rising Dj talent from Poland. Originating from Bydgoszcz, his long lasting appreciation for sound and percussion, like so many other artists, created a firm base for a career in music. Falling into the technological era, creation became an accessible and encouraging path to join supported by an emerging house and techno scene in Poland. With his explorative nature into the realms of breakbeat techno, Kozber has become a favourable talent to those looking for a show in some Europes finest club venues and parties. With no fear in mixing or investigating genres (how it should be) he has immersed himself in London’s underground with releases on the likes of Cartulis and various appearances at Fabric as well as acquiring a Bricklane residency at Café 1001.We spoke to the man himself for an exclusive interview and insight into his recent career, how things have changed, and where his exploration in sound will take us next. 





Hi Kozber, thanks for taking the time to answer a few questions for MEOKO! What are you up to at the moment?

Hi, the summer is finished so I am back in the studio and getting ready for the wintertime production, dijing and some mastering jobs.


How was your summer? Have you been busy making music?

In the summer I tried catching up some sun to recharge my batteries and get ready for London’s cold winter héhé, I also did some traveling abroad for gigs and a little bit of time in the studio. I will definitely be in the studio more now that winter is coming. I love to lock myself in at this period.


You are originally from Bydgoszcz in Poland, how was it growing up there?

Yes Bydgoszcz is my hometown where I grew up but Poznan city, which is next to it, is where I started playing around and meeting the right people from the industry.


We know you studied classical cello and piano when you were young, how did electronic music come about?

Electronic music came up to me around 1995- from that time I stared concentrating much more on this genre. My classic music primary knowledge helps me a lot nowadays to compose tracks, melodies and arrange them. Also I started working on a project with a guitar, cello and with a touch of electronics. Some more “live instruments” as my second name Regular Customer.


Who would you say influenced you the most in your music career?

From the beginning of my music career, most of my musical influences come from the Detroit and Berlin techno scene as well as the hip hop culture. And last year I discovered funk, which is basically where house comes from.


How did your first Dj name, Sirius come about?

My Sirius name was born in Poznan where I was playing regularly and I always have been “serious” LOL. I brought this name with me here and played lots of party under it until 2007 when I changed to Kozber.


Can you remember your first residency at Zez Club under that name? What are your memories of that?

Yes, Zez was a small and cute typical family-party where people can stay until the afternoon héhé. I have been playing some banging techno there regularly with Mito day (now founder of the Fuka Lata band).


You moved to London in 2006, why did you decide to come here and not to somewhere like Berlin? 

London has the biggest and the best general music scene I know and at the time I made this decision, it was easier for me to come here and start working and playing around rather than a city like Berlin.


Can you remember the first party you played at in London?

Yes! My first time was in 2007 at Café 1001 with the Brickbeat crew !! Who are now the Release Sustain boys!


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You have had a 5 years residency at café 1001 on Bricklane, are you still a resident there?

 I still play there every month bringing many different artists and new faces, also some friends! I have had some of the best times in my life there.


Due to your long residency at café 1001 and your many releases so far, you are getting more and more popular, how does that make you feel?

My residency at the cafe1001 is a great opportunity to play regularly with old friends and new emerging artists, also presents different genres of music from my collection. Some releases and collaboration with other artist and djs can make me more popular if people appreciate my sound and their feedback back to me, this makes me feel positive and spend even more time in the studio. 


Which one of your releases are you the proudest of?

My last EP for Cartulis!  I’m very proud of this one.. Good original tracks and amazing artists, which have done the remixes. Also my remix of the AxMusique band. My collaboration with Rico Casazza is totally different style than we normally do, he has got a magic touch…



How would you describe your sound?

I’m all about house and tech house with techno influences, some weird electronica and jazzy disco funk as well.


Would you say your sound is the way it is due to your wide knowledge about music? We know you like to listen not only to one genre but all of them?

I never close my self to one genre. I Just love good music! At the moment I’m listening to Fela Kuti and Africa 70’s album  LOL.


You have recently had a release drop on Cartulis Music? What is your relationship with Cartulis?

Im in a relationship with the Cartulis Day event since its beginning when Unai Trotti started it. The Party went really good and musically, it was focus on a unique tech-house style which Unai and Kazuya Ninagawa converted to a Label. I dropped them a demo and they like it, so my musical adventure with them begun.


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Tell us in in details about your forthcoming releases?

Recently I have done a remix for Esperanza with Kazuya Ninagawa, I also did a big re–edit track for LoveSexy record with Rico Casazza and I’m working on 2 new EP’s for a new brand, a new London based label and for my homies at Soundbar records.



What are your favorite production techniques, tools and plug-ins?

Analog machines! And a number of plug-ins off course. A lot of the sound I create is on absynth korgs instruments and then chopping samples. Now its time I get back playing around with real instruments to record a more natural sound.


You’re known as a vinyl junkie. What’s the attraction between you and vinyl?

Im a tracks digger: vinyl or digital, I don’t really care I just need to have it all so im digging every night… I really love vinyls yes, I collect them and play them on dancefloors or house “after” parties LOL…I consider myself a strong and beautiful addict.


Where can we catch you play next?

You can catch me play every Wednesday evening on LBD Radio show Provoque. Also at my monthly residency at Café 1001 and Vortex.






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Under The Meoko Microscope w/ DAVY

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive, Under Meoko Microscope

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Davy is well-known for initiating one of the first underground dance music parties in his home country, Belgium. Down Under, which he launched with his twin brother Ken, is a movement of a party currently residing in the dark and intimate second room of the capital’s dance music institution, Fuse. They have welcomed an impressive list of local and international guest DJs such as Perlon queen Vera, Dj’s DJ Nicolas Lutz, and Romanian hero, Rhadoo. Most recently, Davy celebrated the party’s sixth anniversary with Onur Ozer and Binh. 

Although he made the move to London more than 5 years ago, Davy continues to run successful nights for Down Under. Not solely a resident for his own party, Davy homes a residency at London’s intimate Cymatic parties, which specialises in but is not limited to Romanian minimal techno sounds (Guest DJs include Cristi Cons, Barac, Vlad Caia, Gescu and Vera), as well as being a regular for London’s Cartulis Day, a party famous amongst those in the know. Davy’s sounds can also be enjoyed online via podcasts for Francesco Del Garda’s NoRules and Fabric’s WetYourself



Here at MEOKO, we took the opportunity to interview Davy as part of our Under the MEOKO microscope feature, where we scout out emerging and underrated talents. He tells us about his musical journeys from his home town Leuven in Belgium to Brussels to London, and paints us a picture of what clubbing is like in Belgium, and why Fuse is such a special venue. Read on…   


You founded ‘Down Under’, and it is a pretty good looking party if you ask me! Can you tell me about your journey? How and why did you decide to make a party like this in Belgium? 


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Ken and I were invited to play regularly for a party in my hometown Leuven. Soon enough we became friends with the promoters (Andreas and Jelte aka “Dezz Terquez”) and started our own club night together “Down Under” in the legendary club Silo in Belgium. After 3 parties we managed to fill the club completely and from that moment we had something great going on. Our aim was to bring good underground music and artists to our parties and also to bring people together to enjoy this music with us. On top of that Down Under has always been a platform for us as dj’s.

After three years the club unfortunately had to close their doors. Luckily there was Fuse in Brussels that welcomed us in that moment. If there was one place I wanted to be after Silo it was definitely that club.  Through the years I always tried to program the best of the underground scene. Young upcoming talent but also more established names shared the decks with us including Rhadoo, Fumiya Tanaka, Vera, Onur Ozer, Binh, Tini, Fred P and many more. Quality music was always a priority. I try and create a perfect night from start to finish with a smooth flow between the different acts, but still with enough diversity to keep it interesting.

Also in London we had some amazing warehouse parties but after a while I decided I wanted to fully focus on music so Down Under in London came to an end as promoting parties became a full time job. I wanted to spend more time in the studio, on record digging and dj-ing in general.

Can you tell me a bit about the party’s venue, Fuse? How does it attract such stellar line ups? And what makes it such a special place for an underground dance music party? 


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Belgium played a crucial role in the techno scene since the early stages, that’s why it’s no surprise the capital Brussels owns one of the oldest techno clubs, called “Fuse”. Almost every respected artist in the electronic music scene has played there. Jeff Mills, Juan Atkins, Ricardo Villalobos, Aphex Twin, Luke Slater, Daniel Bell, Andrew Weatherall, even Bjork in 1997, you name it…  The club exists for 20 years and everyone is very passionate about what they do and dj’s love to come and play there. The crowd is a nice mix and understands the music so there is always a very good atmosphere. Downstairs you can expect dj’s like Ben Klock, Marcel Dettmann, upstairs a bit more minimal, groovy techno. This is where we host our party and I am truly in love with that room, mainly because of the intimate feel, the connection with the crowd and the energy you can build when dj-ing.  I sometimes wish to have this in London.


You recently celebrated Down Under’s 6 year anniversary at Fuse with Onur Ozer and Binh as special guests. What were some of the party’s highlights? 


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Onur Ozer and Binh were our headliners for our anniversary party. As they are good friends (both living in Berlin) they decided to play 4hours B2B which ended in a very nice result. The room was filled all night with great music from the start, a good warm up from Dezz Terquez, a great 4h journey from our headliners and I closed the party (which I always do at Down Under) and I really enjoyed playing. It was definitely one of my favorite Down Under nights in Fuse and it was very inspiring musically.


You also play gigs in London. Is this city your base at present? 

I moved to London 6 years ago, because I was amazed by the club scene in that time, I couldn’t even compare this with Belgium, I had never experienced anything like it. London was definitely the place to be for clubbing in Europe in that time. I think Berlin took over that position now. I still love London as a city and met some truly amazing people here. I think that’s why I love this city the most, because of the interesting variety of people, who are usually very friendly and open minded, also with music.


When and why did you originally make the move from Brussels to London?

My hometown in Belgium is Leuven, a small town right next to Brussels. I studied and finished my degree in Brussels before moving to London.


You are a resident of Cymatic in London. When did you take up this residency and how are you finding it?

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I took up the residency with Ken a few months ago. It’s still quite a new party in London but with nice people and with good intentions. They celebrated their first anniversary in April with Vera headlining the line up. They also bring many Romanian dj’s to come and play. This Friday I share the decks with Cezar and Tulbure both from the ‘ourown’ collective. Still, I try to do my own thing and bring a bit of a different sound to the party. It has always been fun playing, and happy to have this opportunity in a city as London.


You have also played for London warehouse rave, Cartulis Day. What were some of your favourite nights at this party? 

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I do play regularly for Cartulis Day. Unai Trotti (the promoter) became a very close friend of mine so it is always fun to play for him. My favorite night was the last one with Nicolas Lutz and Jane Fitz, and they have brought many other great acts to the table. Their anniversary’s line up is looking very nice too. I heard Fred P playing in Fuse last year and can confirm that he is a very good DJ with his own distinguished sound. I never had the chance to listen Anton Zap, so I am looking forward to his set. 


You will return to play for the party’s 5th anniversary. What is one special track that you will surely play to get the dance floor moving? 

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Do you mind if I keep this secret? I like to surprise people on the night and rather do something unexpected, as I do think this is what dj-ing is about. When I go to listen to a DJ, I like it the most when I don’t recognize any tracks and that the dj takes me on a journey I have never been before…


You recently started doing some studio work. Was this a natural progression for you? How is it going so far? 

Actually I was working together with my brother for quite a few years already. Since 2 years we were going into an analogue studio that we used for processing our sounds and experimenting. We were close to finishing our first EP but Ken decided last summer to go on his own musical direction. For me it came as a big surprise after working together all these years but I suppose that life goes on and I’m going to carry on with what I love doing most. In the last few months I have been focusing on dj-ing and collecting records but I am now looking forward to get on with studio work again. 


Do you have any plans for next year in terms of your musical career? 

Spend time with music as much as possible, hope it will lead to many nice moments in the next year…

Thanks for the interview, guys


Thank YOU Davy! We look forward to your next gigs this Friday at Cymatic London and this Saturday at Cartulis Day


We also look forward to an incoming exclusive MEOKO mix from this burgeoning talented. Keep your eyes peeled for future sounds! 






Chamboche: Under the MEOKO microscope

By Hot Off The Press, News, Under Meoko Microscope


Under the MEOKO Microscope is a feature series on MEOKO where we bring you new and emerging talents that are breaking through.

We caught up with Zleep resident Chamboche this week, fresh from playing with Palms Trax at Dance Tunnel last weekend. Respected by those in the know, he is a trusted man for quality output guaranteed.  Responsible for tantalizing disco fused grooves and re edits on stellar labels such as Tusk Wax, Throne of Blood and Black Key Records, we had a chat to find out how the journey into the depths of electronic fiddling began for the zoology student from Wales.


Let’s start where it all began – Nottingham where you studied at Confetti Music Studios….what did you do there and what made you decide to dive right in to music?

I studied for A BTEC National Diploma in Music Technology. Confetti is a brilliant place, it’s gathered a pretty esteemed rep in it’s short existence.  I’d graduated from Nottingham Uni having finished my zoology degree a year or so before and had worked in a pretty mindless lab job which just twisted my arm into taking the plunge.

What was the scene like musically in Nottingham while you were a student there?  On a personal level I know in recent years house and techno has boomed but prior to this, when I moved there it was mainly Drum and Bass. It is interesting to know how the cities preferences change.

When I was studying there, over ten years ago now, the music scene was as vibrant as ever. Drum and bass was big as was UK hip-hop and break beat had really risen. House might not have been at the forefront necessarily but was represented well along with some techno – The Bomb was in it’s last years but still a massive force. It was a very exciting time farm boy from mid Wales!

What kind of artists were you listening to and inspired you back in the early days?

Coming to uni was real musical awakening for me as I became friends with people who really broadened my horizons musically. We were listening to Roots Manuva, Roni Size, Nightmares on Wax, Stanton Warriors, Photek, DJ Format and that kind of thing. As the breaks scene took off I got quite into that especially Plump DJ’s, and Adam Freeland’s Marine Parade label.

How did the creation of your club night Zleep happen?

I’d been working at Stealth for a couple of years and had been talking about that particular niche not being filled with Ally, Nick and Alex the promoter at Stealth.  Alex was instrumental in getting it off the ground and with a bit of trepidation were given the green light. Since then of course Matt has now become a key member and we have lots planned for London as well as Nottingham which is awesome.

As well as running Zleep, you are also resident DJ alongside co runners Nick Cobby and Micawber. How do you like to approach these residency sets? Do you three have certain slots you prefer to play or do you mix it up each time?

Well Nick, Ally and myself are all quite eclectic but still have quite different sounds so we just decide who would best fit our guest.  It’s always worked very well and are quite happy to play b2b when the opportunities arise.

What tune never fails to go down a treat with the crowd there?

Well it’s pretty difficult to narrow it down to one to be honest! One that stands out would be  ‘The Persuader – What’s the time Mr Templar?’ 

Since originally taking place in Nottingham, Zleep made the move to London a few years ago now. Has this change of location and venue brought differences to the night at all?

The venue has allowed us to just concentrate on having one guest who we build the night around but musically I would say it’s pretty similar. It’s nice to do big 2/3 room events but there is also great satisfaction in having it all in one intimate space with one special guest. I’ve recently trained as a primary school teacher so have taken a bit more of a backseat in recent times and admittedly am not so up to the minute as the other guys. The other are on it in terms of suggesting guests. I generally agree! 

When not Zleeping, what other parties in London do you like to go to?

Not so many these days but I’m a fan of all night Dance Tunnel and have been known to frequent Secretsundaze and Tief from time to time.

As well as DJing, your productions have caused a stir since your first release in 2009 with ‘Ipso Facto’’. How did the move from simply producing music to having it become a physical release come to be?

A former resident of Stealth, the legend that is Dave Congreve passed me an email of a guy that was running a cool little edits label called Jiscomusic and he just happen to really dig the stuff and it coincided with him wanting to start a new label which was Under The Shade.

Since 2009 your productions are still going strong now, how would you say your sound has developed to what it is now?

Hmm, it’s definitely evolved and has become a little less naïve but still very melody-heavy.

Your remix duties are equally as valued amongst the electronic music community, most recently with Simoncino and Robert Owens on the ‘Some People’ track – what is it you like to achieve when given a tune to remix?

Well I suppose it’s all about just taking elements and seeing where you can go with it. I like to create something quite different from the original otherwise I don’t see the point.

Which has been the favorite or most surprising remix you have produced along your musical career?

I think the most recent one, it was great to work with a great vocal from Mr Owens.

You’ve worked with some amazing labels such as Tusk Wax, Retrofit, Under the Shade and Delayed Audio along the way…which labels are currently stocking up your record bag at the moment?

I’m a big Aniara records fan so all that, along with Running Back, Secretsundaze , Clone/Royal Oak.

What can we expect from Chamboche in the near future?

I’ve got my first ep in a couple of years about to drop. Can’t say which label but it’s one that is close to my heart 😉


Chamboche will be playing alongiside Joy Orbison and Ryan Elliot as Zleep returns to Nottingham on October 17th. Full event details can be found here


Keep up with Chamboche over on his Facebook page here

Keep up to date with the latest Zleep events in London here



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Dee Bufato: Under the MEOKO Microscope

By Hot Off The Press, Interviews, MEOKO Exclusive, Under Meoko Microscope


Under the MEOKO Microscope‘ is a feature series on MEOKO where we bring you new and emerging talents that are breaking through. 

Dee Bufato is certainly an artist to keep an eye (and ears) on. Hailing from Brazil, his productions and DJ sets are filled with mysteriousness and emotion. It is obvious he has that passion for music. Addicted to collecting and mixing vinyls, his track selections are enviable. Both a DJ and a producer, Dee showcases his micro house sounds through a set and a track for Romanian label, Tzinah Records. He released an EP, ‘Avenue du Parc‘ on Not For Us Records, which has been remixed by producers Ney Faustini, Blagoj Rambabov and Dubshape. He tickles your ears silly as he manipulates electronic sounds in his latest album with well-renowned Brazilian producer, Bmind, titled ‘Yemj’ and released on Archipel, a minimal techno label, which includes artists such as Rudolph from Birdsmakingmachine, and Kozber from Toi Toi Musik. He is currently playing around Europe, such as Chalet in Berlin, to showcase his strange, dark and strong sets, but very humbly, just as his personality shows. MEOKO caught up with Dee to find out more about his music and himself.  


You grew up in Brazil and you are living there permanently. Where do you like playing the most in Brazil?

Independent parties are always a good place to play. People are more open to music, and they are there mostly for this reason. But of course it’s also good to play in a club with a great soundsystem such as D-edge. 


Do you plan to keep Brazil as your base?

At the moment I think I’m staying in Brazil to focus on my own productions, but moving to Europe is still an option for the future.


You are a resident for Brazil’s group, WAN (Without a Name) and made their second ever podcast. Can you describe your relationship with this group?

This is a group focused on music discussions. It’s mainly composed by brazilian artists, promoters and journalists. The main idea is to promote local artists.  

We established a good connection since the beginning. They are nice people, really interested in music and I hope they keep their eyes and ears open for good artists.


How did you start DJing and producing? Which one came first?

From 2005 to 2007 I had been following my friend DJing in the best clubs of São Paulo. Then I got really interested in DJing and also interested in knowing how the music on those records he was playing were being produced. It took me a while… I started DJing first, around 2008/ 2009.


Can you describe how you feel when you mix two vinyls?

I feel really involved and connected to the music. Playing with vinyls is a pleasure. 


You once said that you would like your music to make people dance, and more. What reaction are you looking to get from your music?

Actually I want to make people feel better, pleasure them, surprise them…


You blend micro house with techno. Why micro house and why techno?

Micro house is kind of dry but it still makes you dance. And I consider that techno is the base of everything. 


You released your track, “Nona” on Romanian label, Tzinah. What attracts you to the Romanian sound?

Their music is subtle, rhythmatic and deep in the real meaning of the word. 


Your EP, “Yemj” released on Archipel is an adventurous journey into the jungle. Where were you when you produced this EP, and what influenced your sounds?

I produced this EP with my friend “Bmind”. I spent some weeks at his studio in the countryside far from the city, nearby the mountains and connected with nature. Bmind is a very spiritual person and his studio is in a blessed place, I’d say. The mountains and nature guided us into a different dimension. 


You mentioned this year you are working on collaborations. Is there a particular reason for this? What do you prefer? Collabs or going solo?

I’m still developing my own style, so my solo productions are kept to myself and close friends. I’ll release them when I feel I can contribute with something really interesting. It’s been good to produce with other people. 

It depends. Sometimes I prefer to produce alone, and sometimes I prefer collabs, but they have to be done with people which I really feel comfortable to produce with.


You are travelling around Europe now. How has it been so far? What gigs have you played and will play during your trip?

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It’s been amazing. I played at Chalet and also on 31337 Records Show Case in berlin. I realised that here, people are more relaxed when they go to the clubs, so the relationship between artist and the public is easier, which is better for the DJ and also for themselves. 


What can we expect from you in the near and far future?

I’m still experimenting a lot and developing my own music. I also bought a new drum machine that I have been searching for a long time. So you can expect some different tracks as I follow this particular path. Oh… and also more white hair on my head for sure. 


Thanks for doing an exclusive Meoko mix for us! What are some of your highlights in this mix?

The new Ruta5 by Sonja Moonear and also the track by Diogo Magalhães which is special to me for many reasons.  Thank you for the trust, guys. See you soon. 


DEE BUFATO MEOKO Mix: Listen here







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Harry McCanna Interview: Under the MEOKO Microscope

By Hot Off The Press, Interviews, Under Meoko Microscope

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Under the MEOKO Microscope is a feature series on MEOKO where we bring you new and emerging talents that are breaking through.

We caught up with Undersound resident Harry McCanna this week. If you are not too familiar with his productions, mixes or live sets then you have three reasons to read this interview and check out his ‘Soundcloud’ page. Harry’s productions exemplify rhythmic precision and standalone outside the confinements of pigeon-holed styles. Preferring to generate original quality rather than regurgitated quantity he releases rarely but always with clinical class. He can be found regularly toying with the ears of the Undersound audience. A humble, placid guy that speaks volumes through wax.

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Picture by Daddy’s Got Sweet


So you have a residency at  ‘Undersound’, how did that come about?

Well I met Kimbo and Giovanni who run Undersound quite a while before the party started. We were often at the same nights around London and just got chatting, mainly about music. Just before christmas 2011 Kimbo told me that they were going to start a party and their plans for the first Undersound. I can remember thinking to myself “I wish I was playing”. Luckily enough, a few weeks later they asked me to play at the afters, and after that they asked me to stay on as a resident.

Is there a sound or style you like to play at under sound that you wouldn’t normally play or get to play at other parties?

I often find that at Undersound I push myself more. We have a crowd that is very open to new ideas, so it’s the place that I can experiment the most. At the same time I want to make sure i’m really giving my best. Kimbo and Giovanni both have a really great knowledge of music, so that keeps me on my toes. I try to make sure i’m bringing different ideas each time, but still keeping in a style that I feel comfortable playing in.

I caught your set at ‘Keep On Going’ a couple of months back and was captivated throughout, especially by some of the unreleased productions you were playing that I later found out were your own, what kind of set-up do you produce with? With regards to the software you use and any analog or digital synths or drum machines that you like to play with?

Thank you, i’m glad you enjoyed the set. In regards to my set up I work on ‘Logic Pro 9’, with a ‘Presonus 44VSL’ and a pair of ‘Yamaha HS7’s. I have a couple of drum machines ‘Korg ER-1’ and ‘Vermona DRM1 MKIII’. I also use a little ‘Mooer Reecho’ guitar delay pedal for adding a more live element to some tracks.

Is there anything or anyone that specifically inspires your production style?

In the time i’ve been DJing and producing i’ve gone through quite a few different styles and sounds. There’s different elements in each one that I’ve loved and I try to apply these in my own way, to better myself.

From 2008-2010 I was listening to a lot of the UK steppy stuff that was coming out, that got me really excited. I can remember hearing the music ‘Hessle Audio’ was putting out for the first time and thinking “what is this”? but in a good way. The whole UK scene that has come from Garage, and Garage itself continues to influence me now. It’s that rhythm, really works for me.

At the same time labels like ‘Perlon’ and ‘[a:rpia:r]’ really strike a chord with me too, and of course I can always take influence from Herbert or Villalobos. There’s a whole wave of labels and artists working at the moment that really inspire me too. I feel because it’s happening now, I can see what is possible and that pushes me to work harder on my own tracks.

Finally, one of the main things that I don’t think I’ll ever stop taking influence from is the scene in London. There’s such a great selection of different parties and music every weekend, and the extended group of people you meet across this scene are really inspiring. You can share ideas and hear different views every time you go out, from people of all different cultures and backgrounds.

In the past year you have recorded mixes for ‘’s Unknown 500’ series as well as ‘Project London’, ‘Ibiza Global Radio’ and now ‘YAY Italy’, what do you aim to express when constructing a recorded mix?

I find recording mixes at home a real struggle. It often takes me ages to even get an idea together, and then even longer to get a recording I’m happy with! Each time I try to go through a variety of styles, not really settling on one sound for too long. The main thing for me is that it flows well, even if there are some quick changes in style I try to keep the energy consistent.

When listening to other mixes which mix series or DJs do you find most interesting?

There are so many mix and podcast series now, I find it quite hard to keep up! I probably don’t listen to as many as I should really. When I do, I tend to listen to mixes from friends and people I know – Sam Bellis, Joe Williams, Antony Difrancesco, the Odd boys etc. there’s so many great djs in London. I always enjoy mixes from Francesco Del Garda, Alexandra and Mattia Lapucci as well.

 You have a track coming out called ‘Clearer Skies’ which is a personal favourite of mine, which label is this due out on? And do you have other releases coming out soon, if so when and on which label?

At the moment there aren’t any real plans to get this out. We have the Undersound net label ‘UndersoundLAB‘ and I think it could work on there, but there’s nothing concrete as of yet. My track ‘Ordeal’ will be out soon on the next ‘Delooped’ release. It’s a double pack VA with some really nice tracks on, i’m really happy to be working with these guys. There’s a couple more possible releases soon, maybe a full EP or two, but i’m not saying anything yet.

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I see your playing in Pescara, Italy later this month sounds like a great opportunity, what party is that for?

Yeah i’m really looking forward to Pescara, i’ve not been there before but it looks like there’s a great scene there. I’m playing at a new party called ‘Kulture‘, it will be their third one. The first was with Isherwood and Francesco Del Garda and the second one is this week with Riccardo Buccirossi and Domenico Rosa from Imprints Records. I’m playing with a really good DJ called Niff, I’ve met a couple of times through the Undersound boys and he’s a lovely guy, it’s going to be a lot of fun.

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I will be very surprised if you are not playing in Europe a lot next year. Which venues would be your top 3 to play? And why?

Thank you, that would be nice. My top three would be Robert Johnson, Panorama Bar and Guesthouse. I’ve been to both Robert Johnson and Panorama a few times each and both have such good atmospheres. Listening to music in Robert Johnson was like listening to music at a friends house, it felt really familiar, comfortable almost. Panorama Bar I think is the holy grail for many dis across Europe. You have a fantastic crowd to play to, a big system and what looks like a nice booth to dance around in. I’ve never actually visited Guesthouse, but it seems like there’s a constant after party going on there, and I like that.

Last of all, if you could only ever listen to one piece of music again, what would it be and why?

Ah man, this is the ultimate question, I think about it quite a lot actually. There’s so much amazing music, it’s almost impossible to choose. Probably something by Radiohead There There or Weird Fishes maybe, but don’t hold me to that.





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