Interviewed this month

Interview: Funk Deepstar – Let’s Play House

Last modified on 2012-05-16 12:12:17 GMT. 0 comments. Top.

“I looked around for venues that suit my style of music and asked venue owners to play opening sets for the nights for free. I launched my own website where I would post mixes and pictures of myself playing at different venues.”

Funk Deepstar has been DJ’ing long enough to have started out spinning on turntables not because of some purist ideal, but because there was nothing else going. Having worked for years to build a solid fan-base, he has managed to translate his strong underground following into the Gauteng area, with the help of his monthly podcast, and guest appearances on internationally acclaimed radio show Deeper Shades of House. More recently, he has secured a partnership with Soul Candi records to release Deep House Chronicles 7: Let’s Play House. Nathan got a chance to quiz him on the digital revolution, the importance of building a brand as a DJ and the release of his new album.

First of all, congratulations on the album release. One of the finest Deep House Chronicles to come out to date. How did the project come together?

The project came together through my podcast Let’s Play House. The first edition of Deep Groove Sessions – Lets Play House was aired on 15 July 2008, more than forty shows have been aired every month in the last three years. The show is a very successful podcast (approximately 60 000 downloads monthly).

Deep House in all its different shades is the main genre focus on Deep Groove Sessions, compiled from brand new music and songs the listeners might not have heard in a while.

I have been receiving requests for doing a compilation by my followers on the show and from my fans. The show has been very succesful, it has been ranked number one in the House music category world wide in November 2011.

I approached Soul Candi and made an appointment with Allan (Kid Fonque). We discussed a few things and after a couple of weeks, he dropped me an email, stating that Soul Candi would like me to do their next DHC!

You’ve been on the scene long enough to have played with the late great DJ Monde; what’s been the key to staying relevant yet so deep? What I mean is, there are so many Deep House DJs who were around when you were starting out who have just disappeared, especially from Pretoria.

I remember playing alongside the late Monde, it was at TNG now TUT at Shoshanguve in 2006. I was the youngest DJ playing that night. When you’re a true pioneer and you really who you are, you can stand the test of time. I can name a few DJ’s from Pretoria that have three or four albums that are still here. That’s not easy to come by. That comes with hard work, great music, determination, dedication and a love for what you’re doing.

You do guest mixes on the DSOH (Deeper Shades Of House) how did that come about?

Yes, so far I have two guest mixes on DSOH. I have been listening to the shows for a couple of years to keep myself informed with the latest Deep House music.

I recorded a mix and followed the protocol on submitting a mix for the show. Lars liked my mixing and track selection, a couple of weeks later my mix was published. I have also been requested by Lars Behnroth as one of a few SA DJs to do guest mixes for the show every three months.

My first mix on the show hit 13283 downloads & the second one hit 14614. Lars always says “Funk DeepStar plays a little different from everybody else, definitely digging for tunes much along the vain of DSOH”. I am now appointed a resident guest DJ for DSOH.

What’s been the biggest challenge in building your brand and fan base over the years?

What I have learned and what has worked for me was not putting money first, in life one has to start somewhere and the rest shall follow, building a brand and a profile is vital.

I looked around for venues that suit my style of music and asked venue owners to play opening sets for the nights for free. I launched my own website where I would post mixes and pictures of myself playing at different venues. A lot of people downloaded the mixes, and from my site I was able to be booked across the country without being affiliated with any big record labels.

What do you have in mind when building your set list?

Different people will have different opinions on this I’m sure, but I always try to build up the night. I like to ease people in with some deep vocal but easy going tunes. If I am warming up then I’ll start with some deeper house tunes. I then drop big tunes once the time is right and try and get the floor rocking. I do also drop in a classic tune to get the crowd on my side but I don’t go overboard . I like to play a lot of never heard before tunes and remixes of big ones . I don’t play big tune after big tune as most commercial DJs do; people get tired of them. I always think of what I would like to hear in a club when I am out partying and my favourite DJ is playing.

I don’t usually plan my set ahead, I make sure that I get to the venue atleast forty-five minutes prior to my set to get a feeling of the place and learn the crowd.

If you could resurrect any club/night; where and when and why?

Club 115 down Anderson St JHB, 115 is my personal favourite if I really want to dance and get down, when I was doing sound engineering in Johannesburg this was a chill out place for me. The people down there were friendly and the DJs also had lots of rhythmic music. The phenomenal thing is the crowd would party up until ten am the next morning!

Everyone knows the Deep in Pretoria is unparalleled, what keeps the culture so healthy?

Pretoria is the capital of Deep House, our kind of music is unmatched in any of the cities in the country. That’s why a lot of DJs over here take their trade much more seriously and dig deeper for that exclusive tune. There is a great Deep House community here, every DJ knows everyone and a lot of us are all friends.

INTERVIEW: Nathan Kabingesi

Check Out the Deep House Chronicles 7 Album Review

CANDI CAST #012 – Funk DeepStar Deep House Chronicles 7 Teaser by soulcandi

Interview: Deep Xpressions – Soulful Deep House Done The Right Way

Last modified on 2012-05-11 08:39:31 GMT. 0 comments. Top.

Interview: PHNTM – The voice behind the mask

Last modified on 2012-04-23 09:11:25 GMT. 0 comments. Top.

Friedrich Nietzsche once wrote, “All great things must first wear terrifying and monstrous masks in order to inscribe themselves on the hearts of humanity”

The mask that the Techno phenomenon PHNTM chooses to wear might not necessarily be frightening, but his rampant onslaught of the electronic dance scene in the last year may certainly be called beastly. The groove-based beats he’s crafted for several top labels have darted up the Techno charts; leading to collaborations with the likes of Umek and recent tours of Japan and America. We caught up with him to see what the face behind the face had to say about beats, funk and South Africa.

“Funk and Disco are always present in the PHNTM tracks because nothing makes you move like a good groove.”

PHNTM is an interesting name to call yourself, it coincides well with your visual aesthetic too, specifically the carnival mask and top hat. What, for you, is the significance of the way you present yourself visually?

The idea behind PHNTM was to brand a persona instead of an actual person; a Superman to a Clark Kent if you will. Simple concepts seem to work best, and by combining two common costume items in a unique way (top hat and white mask), hopefully we achieved that. We never reveal who PHNTM may be, so the music always stands at the forefront and ego never interferes. We carry the theme throughout the concept even to the label, Neptuun City, which is the purple art-deco fantastical city PHNTM calls home.

2011 was a big year for you in terms of both the prolific extent of your output and the reception your work has received. Was that something you anticipated or were you surprised at what you managed to achieve last year?

Some things we anticipated were never realized, and vice versa. It’s an interesting business and what is well received may not be what you were hoping for! The two collaborations with Umek both did very well; “Dead Space” remained number one in Techno for over a month and was nominated for the best Techno track of 2012 at the Beatport Music Awards. With all the releases last year I was happy to be on many of the top labels in the industry including Toolroom, Great Stuff, Definitive, Hotfingers, 1605, Neptuun City, and was I really appreciative that people were excited by the PHNTM sound!

What was the very first song you remember being totally addicted to and why?

Tough question! I think music is addictive. It speaks to everyone at some level and that changes depending on where you are in your life. To pick one song is really impossible but the artist that warped my brain the most early was definitely Jean Michel Jarre. Those warm analog synths, twisted fx, and haunting melodies are timeless, and especially at the time completely unbelievable and addictive.

There are distinctive funk and disco elements to your sound, aside from House, what else do you draw upon for musical inspiration?

All music has different elements that can be incorporated into dance music. Funk and Disco are always present in the PHNTM tracks because nothing makes you move like a good groove. Funk and Disco also always manages to put a smile on your face, as it doesn’t take itself too seriously. We also like to incorporate sounds from all kinds of places, then tweak them to sound like Funk or Disco. We make a Techno track, then groove out the baseline. Or we make a House track, and slam out the percussion. There are no rules. Smash the track by any means possible whether it be through samples, midi files, breaking down and rebuilding a popular song, whatever. By no means is PHNTM any type of purist. If it works, it works!

In terms of the progression of electronic music, how would you say the craft has changed in light of the many of invents, such as user-friendly production software and internet distribution, in recent years?

It has made production available to anyone, anywhere, at any age. But now the market is so flooded it’s difficult to find the good tracks. And what “they” tell or show you is good, rarely is. There’s always a motive to why they are telling you that it’s good. We used to think “digging through the crates” was tough, but now it’s a virtual “shovelling through an everest of questionable gigabytes”. The tools are definitely better, and creating a track has never been easier then it is today, that’s for sure. Gone are the days of loading your track on the Akai S2000 and it sounds completely different than it did yesterday, and that’s a good thing!

You’re touring South Africa soon, what have you heard about us if anything at all and what do you have planned for the Techno freaks over here?

Every single person I’ve talked to says the same thing: South Africa is amazing! I’ve never heard such a resounding appreciation for a place, so I have very high expectations, which I know will be met. I’m looking forward to enjoying my time in the cities. Just hopefully I don’t meet my untimely death to the teeth of a hungry giraffe! Usually it’s in and out of a country, but I made sure to spend some good time to explore and appreciate. As far as what to expect musically, it will be that PHNTM sound: Groovy & Techy beats mashed with Disco and Funk with a side of good old fashioned fun.

WORDS: Jayson Geland

Win Tickets to the Cape Town Event Ft PHNTM

Interview: Osunlade – Hanging up the Headphones

Last modified on 2012-04-17 14:49:17 GMT. 0 comments. Top.

Osunlade In The House

As an all-round artist who truly lives and breathes for the various works he creates, Osunlade is almost without equal. Under various guises as a producer he has crafted some of the most enduring and evocative records ever made and as a conceptual artist and photographer, he has brought his unique vision to life with a huge variety of projects.

Having drawn a line under house music production with his ‘last ever house album’ Pyrography last year, his latest mix project Osunlade In The House represents a closing chapter in his remarkable career. Here, we speak to the Yoruba master about the changes in the music industry, the new remixes of Envision.

Previously you have paid specific tribute to your parent’s musical taste with songs like ‘Momma’s Groove’. How important do you think those early experiences were in shaping what you do now?

They were the most important experiences. I mean my musical background comes from the music I heard my parent’s play. ‘Momma’s Groove’ is specifically true to that situation, my mom had Aretha Franklin playing all the time and my dad had James Brown. Growing up in St. Louis, because it was the Midwest we were allowed to hear a lot of the music that didn’t make mainstream because it was a central point. We got whatever flew through from New York or LA, music that didn’t make it into popular music. Funk and soul was very prominent so it was very significant and it is my music.

You haven’t lived in St. Louis for a long time what made you leave in the first place?

It was just after high school the year of ‘88 I moved to LA and my father was very supportive and decided to send me to LA when I told him that I really wanted to do this music thing. I went out there and luckily connected with people in the music business, I believe I was in the right place at the right time. I guess it was just timing for LA specifically. I knew I had to leave St Louis it wasn’t really a conducive place for me. I believe I am a bit more open, it is very black and white. I think the education of music was great but to live there, but it’s a very small town I needed to get out.

I read an interview that you did in with RA a couple of years back in which you said that the music business did not really exist, what did you mean by that?

In my view, music is free because of the internet. If you want it, it’s there. Today’s generation don’t have the culture of going to a record store and taking time search through records. Everything is accessible immediately; if they found out about it, they search it and download it.  So in that respect I think there is no music business. Of course there is an industry but it’s not the industry that we used to know. I think it has come to the place that what we create as artists is sharing I suppose rather than a commodity now and it becomes a promotional tool. Most artists spend their time touring or performing, the project is promotion for that whereas in the past it was the opposite. I don’t know if I would say that there isn’t one, maybe I meant that the industry that I grew up in doesn’t exist any more.

You said your last album Pyrography was going to be your last house project. Has the subsequent success of Envision change your of opinion of making that kind of music again?

No, I think my decision to not do another house album is definitely concrete. The success of Envision is actually interesting because I don’t live the lifestyle of clubbing, so I don’t see the impact of the songs. For me it’s more of a personal thing; I am older now and house has been a great vehicle for me. However, there is so much other music that I’ve created that has been pushed under the rug because of it. I just want to concentrate on other things that inspire me. I would like to challenge myself to do other things and as a 60-70 year old guy I can look back and say I didn’t just have all this club music but I had this substantial music for my soul. So it’s just a personal thing, although I am very happy with the success of Pyrography and Envision specifically.

The thing about house music is that it’s the only genre that I know that you spend two to three years on a project and instantly its out and it’s free, everyone has it and Jo Shmo has done a re-edit of it and suddenly there is like 15 million versions of your song and its like bastardising your soul. In other genres I don’t see it happening. For me it’s really sad and makes me feel bad when somebody just takes what you’ve spent time creating and says “check it out, I did a remix of your song!” That kinda pisses me off.

With regards to the new compilation, you don’t do mix albums very often so what made you decide to do this one?

Well we decided and talked about this last year so it has been a long conversation. I think it was kind of the right time – especially after Pyrography – and for me it’s kind of like a send-off for house music. I am pretty much hanging up my headphones, so this was an important project to for me, closing a chapter. I think it has been four or five years since my last one, this compilation is quite special for me. With this mix I have tried to create – just like most mixes – a journey from deep to techy and with some exclusive remixes and some new releases from the label. I have also included sounds that people don’t usually associate with deep music like techier sounds. The first CD is a bit more of a getting ready for the club in your house, office or in your car. The second CD is more dance and club orientated and a little faster as well. Mostly for me it’s about creating a musical journey. I believe my style of DJing is different because I have not heard anyone that plays like me so the selection is very specific to my sound and what I like.

Osunlade In The House by Defected Records

Is it a difficult thing to release control over a project?

It is the most difficult thing for me to let control go even if it is friends of mine. However, sometimes you get amazing remixes, for instance I actually prefer the Jimpster remix of Momma’s Groove to the original. So very rarely you have that happen, and sometimes you have these remixes that are less interesting, it’s a toss up but I guess it’s part of it. I guess that one of the things is that moving over from house music is to not have any remixes of my music. Hopefully it won’t be the same.

You mentioned previously that the amount of free music that is available is immense, obviously there are so many podcasts and there is much more that people can get for free. What do you try to make it more of, an attractive thing for someone to go and buy it rather than just get a podcast? What do you try do?

I put my face on it (laughs). No, joking, but again its all about the journey the style of DJing and the selection is really specific to my sound. I have music mixes on Soundcloud that are for free but with this mix I put so much thought into it and it’s very geared towards me but with Defected in mind. When I say that I mean to bring Osunlade in with a Defected project together it’s like merging a new thing. People don’t really associate me outside from the releases on my label they don’t associate me with the Defected sound, so I wanted to create a bridge for the two different demographics bringing them together. Most importantly for me it’s always about the journey.

Interview: Greg Sawyer

Osunlade In The House was released yesterday, 16^th April

Exclusive Interview: Mark Knight (Toolroom Records) Brings that Quality to SA!

Last modified on 2012-04-24 11:47:19 GMT. 2 comments. Top.

“Don’t rush things. Really craft your work and give it longevity. I take my time when producing music or when deciding to release something.”

I made a long distance call to the UK at lunchtime last Friday to have a little back and forth with Mark Knight, creative and business head behind one of the world’s most successful Dance music labels, Toolroom Records. Mark and his Tech House goodness, brings his dance floor beat wielding tunes and that undeniable love for party culture to SA at the end of this month for what is set to be a phenomenal tour. Good tunes freaking guaranteed! He tells us about his approach to whipping out quality music, EDM in America and how he got to work with the Black Eyed Peas.

You are a Tech House/ House revolutionary and you have managed to change the perception of the genre with, and especially since, the inception of your own globally successful label, Toolroom Records. What is the main ethos behind this label?

Initially it was an outlet for my own music. I had released on so many other labels I thought I could do it better myself. We attracted artists we wanted to be associated with, we wanted to marry business and quality music. We do our best to remain transparent, down to earth and honest and I think this is what excites people about us. It’s not rocket science really, we just keep at it and remain real.

The great quality of your work stands out exceptionally, this is evidently thanks to the passion and energy that filters so beautifully out of the music you produce. I read somewhere that you have a personal vision for House music in the 21st Century. Have you reached any of your 21st Century objectives you put together when developing Toolroom records in 2004?

Our main objective was to just to keep the emphasis on good music and maintain that in the 21^st century. We try to think of every release we put out as a good track, we do this versus the quantity game. We don’t just receive records and put them out, we give the artists feedback and guide them. There is a way of being commercial, which means a broader spectrum of people will have access to your music, without then also sounding commercial. This is a fine line to walk, but this is what we do. We’re not super underground or super commercial. We have to pick the right records that reflects the quality we represent and that will also produce sales.

You are well known for your love of marathon 7-8 hour sets. What are some of your personal performance secrets that keeps you energised while playing, keeping the crowd still feeling you after the fourth hour, the music intriguing and having the dance floor bumping up until the seventh hour?

The longer set gives you the opportunity to express yourself musically. To make it through a long set you have to be totally immersed in the music and experience, totally enjoying the party with the people. That means for me, having a couple of beers too. Your energy translates into your performance and the crowd can feel that. You have to know your craft and how to work a crowd. It’s about connecting to the party and understanding that you can’t go full speed from the start to finish, you have to know your rhythm. If you can’t do that, you probably can’t DJ.

As a DJ you have held some impressive residencies over the years namely Amnesia, Ibiza ’08, Pacha NYC ’09 and Space, Ibiza last year. Naturally any DJ loves playing in Ibiza the global party central for Dance music. I’m curious about your New York experience. How differently did you perceive the American perception and appreciation of Dance music compared to Europe while you were there?

Right now, Dance music is so big in America. It could probably be one of the Dance capitals of the world, which is very different to about three years ago. The Dance scene is invigorated and so massive there. And they are American, they like getting excited about everything and love being over the top which is great! So can you imagine a crowded dance floor of them just loving the music, all that energy, it’s amazing.

Was it  during this time in New York that lead to you working with the Black Eyed Peas on the ‘The E.N.D’ album?

Not at all funnily enough. I never actually got to sit in studio with them as it often goes in this industry, especially with remixes. You could work with someone and have never met them yet. I’m good friends with David Guetta and he was working with them on the ‘The E.N.D’ album. I had three tracks that he asked for, they listened to them. Will from the Black Eyed Peas liked one of them and I ended up working on ‘Rock That Body’.

What is your take on the modern trend of the lines between Dance music and so many other popular genres like Jazz, Reggae and Pop for example being blurred? Do you think it is positive for the growth of Dance as a genre or do you think it may work away at the authenticity of it?

That is a double edged sword. It introduces the kids and a lot of other people to EDM who other wise would probably not have been into it before, which is great. This helps with the life span of the genre and this has made Dance music more commercialised on a broader scale. A lot of people could start at the more commercial end of appreciating Dance music and then go on to refine their tastes, moving onto different sounds that appeal to them. But like I said, it is a double edged sword. It can be both great and not so great.

You’ve headlined at a few of the world’s bucket list festivals namely Global Gathering UK just last year too, Dance Valley Netherlands and SW4 London. From your experience, what are some of the key things that bring about the best energy and atmosphere at a festival, making it great?

Definitely the people with the right mind sets and attitudes. People coming with the intention to have a great party and they do. One hundred percent. Pretty production set up also helps but the mind set of the party goer is key.

Your annual schedule is jam packed and from the looks of it you are a non stop kind of guy. Do you ever rest?

Unfortunately I don’t take holidays. If this is your career you have to live it, [laughs] it takes over my life completely. My son is nine months and sometimes I will take my family along on tour with me but it’s not really a holiday because I’m working.

SA Tour Dates

Interview: Gaudi – Ragga to Dub, The Electronica Gift

Last modified on 2012-04-03 12:15:29 GMT. 0 comments. Top.

We chat to bench mark setting ‘Dub Alchemist‘ Italian born GAUDI. A musical being who’s impression on modern music has been strongly felt over his three decades of contribution to Electronica.  He tells us about the 80′s, his African experience that led to the production of the album “Bass, Sweat & Tears“, his music being playlisted on MTV in the 90′s and what Dub music really means to him…

Before your ground breaking and award winning release ‘Basta Poco’ in 1991, which turned out to be the first Italian raggamuffin album, I gather that you were also into New Wave and Punk. Which genres of music were dominating the Italian scene back then? When you released the album did you anticipate it would do as well as it did? Especially considering that six of your reggae singles were play listed on MTV.

Commercial pop music has always dominated the Italian chart, back in the days and also nowadays. So imagine me, coming from the underground culture, all of a sudden being catapulted into the top ten chart, introducing dancehall music to an audience that was totally unaware of this “form of expression”, which was more than just music.

It was certainly a bit of a culture shock at the beginning! I always strongly believed in that project, since that day in 1984 when I wrote my first reggae song, but frankly I wasn’t expecting all of that, to sign a major record deal with Polygram and subsequently having six of my singles on MTV, broadcasted in “heavy rotation” for several years to come!

Your progression from Ragga to Dub seems natural considering your need for expansion and growth as an artist. What specifically is it about Dub that has kept you fascinated and interested in the genre until now, since you launched your first Dub project the ‘Dub Alchemist’ round 1994?

The first Jamaican “music bug” I caught was Dub music, it was 1980 and I was 17 years old. What fascinated me the most about this music, was the silence in between the notes.

I felt this was an important element and it should be treated with the same importance as the notes themselves.

That made me feel that Dub is a very ‘respectful’ form of music. I still clearly remember saying that one day I would create my own Dub project experimenting with synthesizers. The problem was that in Italy back in the days record companies really wanted to associate your face to your music, there was no way that a label would have signed you just for the music you composed, you basically needed, for media purposes, to have your music presented by your face, i.e. be a singer.

Only once you were well established, with a good credibility and respected profile could you have possibly released music without necessarily showing your physical persona. Well, this theory created a conflict with my vision of music, where my “music heroes” were artists who’s faces I’d never seen, such as King Tubby, Coxon Dodd, Lee Scratch Perry, or even more accessible examples such as Giorgio Moroder or Brian Eno, do you know what John Barry looks like?

I personally didn’t, but I absolutely adored his music compositions, and he was another of the music heroes I followed.

So, before embracing my dub project, I basically had to establish myself as a credible musician, and also as a public figure.

I did it pursuing my love for reggae music, then in 1994 I could finally release my Dub album without showing my face on the front cover. All those years were very helpful for me to understand the many hidden complexities of the music industry.

Is the label you founded in 1995 ‘Sub Signal’ after your move to London, a further extension of your appreciation and understanding of the endless possibilities of Dub as a genre? How do you further plan on continuing to contribute to the world of music with this open ended style of music?

Yes, in 1995 I founded my dub label SUB SIGNAL, I did it with the intention to give more freedom to dub music and suddenly I felt totally not free. I was working 24 hours a day to keep the label running, no more time for creating music, which was what I wanted to do in life. That was another good experience that helped me understand what my role in the music industry was: composing, producing and performing.

I have this natural predisposition of adding dub elements to all the different types of music I work with so, to answer your question, I’d say that this is my contribution to dub music, adding it to other music genres in order to reach a wider audience and make more music listeners aware of the existence of this important sonic phenomenon.

The concept album you did with Pauli Atzei on that label also in 1995 was all about the sound of the human anatomy mixed with electronic music elements. What inspired the delving into the sounds and rhythms of the human body? How and when did you pinpoint the relevance between music and the sounds of human function?

It was many years before that, that I had this idea of creating an album using exclusively sounds created from/with the human body, I remember that my girlfriend at the time offered her help and suddenly became my guinea pig for this music experiment.

I was sampling her sneezes, hand claps, finger snaps, yawning, bone crackling noises, then when I started the actual composition of the album I really didn’t like it, it sounded very cold and “antiorganic” so I abandoned the project for a few years. Then I met multi-instrumentalist Pauli Atzei, I proposed him to join forces for this music experiment and “Ultraviolet Zero” was born. We released only the album “Sound of anatomy” where our major source of inspiration was the1966 sci-fi movie “Fantastic voyage”.

Considering the name Alchemist for a moment and your career that spans over thirty successful years in music production, the remixes you have done, the three gold discs & one silver, the movies and the list goes on. It seems as though you are and have been a musical scientist constantly trying out new music formulas to see what works. Mostly, coming up with sounds that are extraordinary. Did this happen purposefully as a result of your intention, or did you simply find that happening with your music as you continued experimenting?

I really appreciated your kind words, but let me say that not all my 30 years in music have been so successful, in my career I’ve had interesting peaks of establishment of course, but I also had many delusional moments, especially in the first decade. All of it in the end has contributed to shape my musical identity, identity formed by multiple faces, because music has so many interesting faces, and i love MUSIC in its totality.

So many different “musical territories” and possibly even more in the future. The sound that I manage to create with my “sonic amalgamation”, is simply the fruit of fearless experimentation; many other musicians seems to be attracted by the idea of opening new musical boundaries but in order to do that, most of them create different “alias names”, as if there’s the need to hide behind pseudonyms in order to have full freedom of musical expression, I’ve personally never took into consideration making music under a different name in order to have “free musical range”, when I released music as “Dub Alchemist” it was exclusively for bureaucratic contractual reasons, at the time I was under a five year recording deal with Polygram as Gaudi and I had to stay with their timing and marketing strategies. By the way, it was the same year when Prince had the same problem and created his alias names Tafkap, Love Symbol, New Power Generation etc.

I’ve really enjoyed listening to the stuff you made in the early nineties to some of your more latest releases such as ‘No Prisoners’ and the music is timelessly genius. Different producers consider different things when making music i.e. to sell, widen or grow a genre they love. What do you take into consideration or make top priority when producing music?

The main thing I consider in my productions is that no matter what music genre I’m working on, I need to make sure that my own style of making music is recognisable enough for the listener to identify my “musical signature”. – we’re going back to the “identity” subject I was referring to it in my previous answer. Record sales? Well, nowadays you can’t really rely purely on royalties, so in my opinion what’s more important for an artist is the longevity.

Your passion and hunger for diversity led you to Africa in 2000 where it said you drew the first burst of inspiration for your album “Bass, Sweat & Tears”. Please tell me what the meaning is behind the album title and what being in Africa specifically did for your own personal growth as well as the depth of your music?

To put it simple, my trip to Africa was the deepest experience of my life, and because my life is also my music, my music got naturally modified and enriched by that experience. Everything I learned from that chapter, unavoidably affected my sound and added to my music vision a radically different prospective, because there in Burkina Faso your awareness towards simple things gets automatically amplified so you pay more attention to details and your senses are much more receptive to. That was in fact when I realized that my music was hiding a dark side. In all my productions until then, I was subconsciously trying to impress the listener with complex textures, intricate arrangements and unnecessary virtuoso, which was exactly the opposite of what I was experiencing in Africa where all was raw and unsophisticated, but with a clearer and more defined impression. This introverted discovery was the catalyst of my “Bass, Sweat & Tears” album, adopting this new formula of “more heart, less brain” I recorded incredibly talented musicians, I met the most beautiful and genuine people (tears), I worked my ass off on the production of the album (sweat), and I achieved the right vibrational satisfaction (bass).

I noticed that the tracks you used to put together on your latest compilation ‘EVERLASTING’ are all downtempo, making for a very inspiring thought inducing mix. What was the idea behind sticking to a mellow sound for this compilation release?

The concept behind EVERLASTING has nothing to do with tempo or genre, but it is entirely based on “music flow”.

I had in mind this two hours sonic journey and I just followed my taste in music, I wanted to express my concept of “music as a style” instead of “music as a genre”, so in order to achieve this result I worked with artists associated with different music genres, using elements also part of my own music compositions such as, electronica, dub and psychedelia.

On that note, could we expect the wonder of your sound travelling to South Africa this time for a live treat of one of your performances?

Bringing my music to South Africa has been in my plans for a long long time. I’ve always been attracted by South African culture and music, I have so many friends from there, but unfortunately a Gaudi live performance has still not happened!

My 2012 tour looks already pretty full but I’ll talk with my booking agency, Origins Music International and see what we can do.

Interview: BIG FOOT – Noisy Bass Foot Steps at the CTEMF

Last modified on 2012-03-26 10:46:54 GMT. 0 comments. Top.

So BIG FOOT is essentially an amalgam of Big Space and 7ft Soundsystem. How did this come about?

MONTLE: My girlfriend told me that she was doing design for Yves (7ft sound) cause he was starting a new record label and she said I should give him some of my music  for a possible release. I was nervous as shit for some reason but I ended up going to his studio under the auspices of a nice jewish dinner, played him my shit and he digged it, and then we made a song on the spot and the rest is history class.

How would you describe the sound of BIG FOOT?

BIG FOOT is all our favourite things put into one salad or broth without any ingredients overbearing each other. It’s dancehall, house, rap, dub and a whole bunch or loose funny shit we love from the era we grew up in, the weird sweet early to mid 90′s.

You’ll be performing at the Cape Town Electronic Music Festival in a few weeks. How important would you say the event is in terms of the electronic scene over here, and what are you hoping to bring to the party?

Yves: Well, with so many electronic producers coming up now in CPT, it’s good to have an event that creates aspiration to rise above mediocrity and a place where talent can present itself. It’s good for the scene. As for what we can bring, I think this particular project carries a different tempo and feeling to our individual stuff, and it’s precision nonchalance.

Montle: It’s important because alot of people and not just myself deserve some credit and shine in the electronic music scene. I’ve been doing this for about 15 years solid, so it’s good to get a tid bit of  recognition even though I dont really give a poo anymore. But hey, Jesus died a scum bag and woke up as a boss bitch it’s, all in due time.

Are you guys planning an official release anytime soon?

Montle: Just now! just now! It’s so good youre going to want to slap your mother for not letting you get into cars with strangers cause were those dope strangers. But hey, thats just my opinion.

Yves: It’s on its way, we’re just focusing on writing as much material as we can at the moment.

What was the first record you remember both hearing and loving?

Montle: For me it was Big Daddy Kane’s “aint no half steppin” or Slick Rick “Mona Lisa”

Yves: “The Simpsons – Sing the Blues ” was the First… but I was 8.

Your favorite part of 2012 so far?

Montle: The mark of my one year anniversary with my awesome girlfriend Anthea, and the soon to be birth of my nephew Dylan Cockroft

Yves: Getting the new “stand high patrol” album.

Catch them Live at the Cape Town Electronic Music Festival – CTEMF this week-end!

WIN Double Tickets!!! – Click on Image

Interview: DJ Marky – Brazilian Drum & Bass

Last modified on 2012-03-23 13:19:34 GMT. 1 comment. Top.

In a career that spans over two decades, Sao Paulo’s DJ Marky has gone from an avid record collector and music enthusiast in his native Brazil to an internationally revered DJ, producer and label owner. From igniting dance floors across the globe to releasing some of the most seminal drum and bass tracks ever to see wax, he continues to amass an unsurpassable list of achievements, all driven by his dedication, phenomenal technical skills and unique flair. Retaining the same passion for music as the day that it all started, Marky remains at the forefront of not just the Drum and Bass scene, but the music world at large.  Toni Tambourine asks him all about it…

The landscape of the electronic music scene has changed drastically over the last five years. Do you think that it has evolved positively and how do you feel you have you progressed?

It has changed massively, but I think a change can only be good and must always be embraced and seen positively. I’ve had to make some changes to the way I produce and the way I perform, but I am also trying not to change too much as I have a person that people have grown used to so I still have to stay true to my old fans as well as try and gain new ones with new sounds and new techniques. I’m learning all the time basically, about myself and about the scene as a whole.

Do you feel challenged by younger producers that are emerging on the scene or do you see it as a chance to use your experience to actively help the ones with potential?

I don’t feel challenged so much as energised by the young guys coming through. They give the scene some fresh perspective with new ways of doing things and they way they reach out to people so it is good to see them coming through. I like to help as much as I can and try and give pointers from my experience working the dancefloors over the past 20 years, so there is quite a bit of collaboration going on now, which is really nice.

Dubstep is a current worldwide phenomenon and many drum & bass producers have started working at 140bpm. Has the scene  influenced you in any way?

Not really. I don’t mind dubstep but I haven’t tried to make any and haven’t played any in my sets. I guess I am a solid 170bpm kind of guy and the slower stuff feels a little bit awkward to me. Plus I like the smooth melodies and deep basslines that you only find on rare occasions in Dubstep.

Tell me about your record label and the key releases. What’s the philosophy behind the label?

The philosophy is simple – good music. I know everyone who owns or runs a record label has the same philosophy when it comes to the music I sign, but I would say I get a genuine feeling from the music I sign and the artists I work with on a regular basis like S.P.Y. or Makoto or Random Movement. The artists who retain an element of soul in their productions, but still know how to make a big dance record. I can’t believe we’re coming up to our 50th release, I want to make it special and say a big thanks to all the people who have supported the liquid side of the genre over the last 10 years.

Do you currently have any residencies around the world, and what’s the vibe that you try to bring with you to them?

The only residency I have is the DJ Marky & Friends one, which I run in Sao Paulo and London at Fabric. The two cities and the two parties are quite different. In Sao Paulo it is pure DnB lineups in a cool club that isn’t too big so it has a lot of intensity and there is an international guest pretty much every time so it is something special for the people who come along. In London we go a bit more diverse and generally have a live element, like a band or something like that that plays before I do an extended set for 3 or four hours. Fabric is a massive club as well with a lot of history so there are two other rooms pumping out quality music and it has a more eclectic kind of feel to it.

I read that you had a residency for 10 years, what did you learn from it?

Never underestimate the public. The people going to DnB nights now, even in Brazil, are so much more clued up on the scene and also each country has a different identity in terms of what they want to hear, so you need to be focused and aware of what the crowd want. Trying to play the same kind of set in Brazil as I would play in London for example, will not work as they are two completely different animals with different tastes.

You have been a firm fixture at Fabric London for a long while, what is it about the club that makes it so different than anywhere else in the world?

The atmosphere I think. People come from all over the world to go to Fabric so it is a really special thing to play there, and especially to have had a residency there for so long. The people want and expect good music and great entertainment and as a result you get more pumped up about the experience and also the crowd are ready to go, so you always get good vibes down there.

Tell me what is happening on the Jungle scene in Brazil, where is the scene, how big is it, and apart from yourself who are the main players?

It’s all about Sao Paulo, my home city. This is where all the really underground stuff happens and where some of the best parties are on a regular basis. The fact that the city is so big as well means that there are plenty of parties to choose from and they are all really good. There’s a few good DJs around at the moment, and of course I signed some of their tunes to Innerground, people like Level2 and DJ Chap. These guys have been DJing for a while but you see their tunes getting picked up by some of the bigger labels now which is really good to see.

Are you working on any new releases at the moment and are you collaborating with anyone?

I am working on some new tunes and I am doing a lot of it on my own. I have a couple of releases scheduled for Innerground around the 50th release which are pure DJ Marky solo efforts. I still do some collaborations with S.P.Y. and just did some work on a track with Calibre, but I am trying to concentrate on my own projects and remixes this year.

Tell me about your big tour dates coming up and places we can see you play?

Well the first date for me in 2012 will be DJ Marky & Friends at Fabric in London, which I’m really looking forward to. Plenty of other shows like the Woolacombe Weekender, a quick look into Brighton before heading off to Dubai for the first time and then building up to a return to Russia in the summer so it’s all looking good this year already!

Interview: Toni Tambourine

Interview: Dean FUEL – The Friendly Hard Working DJ

Last modified on 2012-03-22 13:36:30 GMT. 0 comments. Top.

Interview: Thibo Tazz – Ambient, Dark & Cutting Edge

Last modified on 2012-03-20 13:21:57 GMT. 1 comment. Top.

“That is why I still find myself in Cape Town. I love working hard in what I believe in and I believe this city has far more greater potential than any other place in South Africa as the most culturally diverse in the country. My contributions here are invaluable and I still have so much to offer this city before I can take the leap to head out anywhere else.”

Dude you’ve come a long way since spinning at the Cockpit and having CPS shut down the party because of noise complaints…

Yeah bro those were the days and I still treasure those memories till now. They played a massive part in shaping my love and passion of being a DJ.

I remember running into you at the airport a few years back and you’d just come back from the RBMA in Barcelona, how important was that experience to your all round development as an artist?

That was one of the most important and exciting moments in my life both as a DJ and producer. Those two weeks I spent in Catalunya (Barcelona) at the Red Bull Music Academy in 2008 were some of the best days of my life as a young South African artist. I learned a lot about other musical ideas and how to share knowledge of music across race, age, upbringing, and business of music, diverse musical softwares and different ways individuals approach making music. I made friends in the industry that have gone to become respected in the business and got mentored by some of the living legends on the music scene. I came back to share in the knowledge that I obtained and have been doing so for some time to up and coming DJ’s and producers all over and still enjoy every minute of what I do.

I’ve been to a few of your gigs and you rarely play a track twice, always offering fresh sound as opposed to crowd pleasers; what frame of mind shapes your set planning?

I am still a firm believe of preparing for DJ Sets even now and tackle each set I play like its my first one. I love the deep house music and have been enjoying playing local sounds lately. I like getting to venues early so I can listen to other DJ’s sets and what tracks they play, the response they get from the audience so I can prepare myself in time. So I am always analysing what type of set I will play everytime hence I never play the same music over and over.

You’re also a producer, a highly underrated one if I might add; if you were to describe your sound in five words, what would they be?

Cutting-Edge, experimental, dark, ambient and rhythmic.
Thibo Tazz – HomeComing (Original Mix) by DJ Thibo Tazz

You’ve got quite collection of material, when you dropping an album on us?

I am busy working on my first album later this year (cannot disclose the info yet as I am still finalising the paperwork). I am also going to be releasing a few international EP’s later this year so due expect a lot more out of me this year.

Not many people know you’re a lawyer; any plans to set apply that knowledge in the industry or was that more of a personal accomplishment?

Yeah man I hardly talk about that side of me as I am not practicing just focusing all my time, energy and focus in music. I am already utilizing the knowledge I obtained through various fields I engage in. I am also setting up my first record company so I am surrounded with drafting contracts all the time. Knowledge is powerful, its what you do with it that’s determined your outcome in this industry.

Nurturing your career in Cape Town as opposed to Johannesburg must have its challenges; you think it’s worth it helping to build the scene there instead of seeking your fortune here?

Cape Town like any other big city has been considered by many as a slow emerging city when it comes to the music industry. It’s true that a lot of the action is focused in Johannesburg however I have always admired the pioneers of the local scene who worked to build the scene of South Africa from the ground. That is why I still find myself in Cape Town. I love working hard in what I believe in and I believe this city has far more greater potential than any other place in South Africa as the most culturally diverse in the country. My contributions here are invaluable and I still have so much to offer this city before I can take the leap to head out anywhere else.

DJ’s have to be more and more business savvy these days; anything you wish you had learnt earlier in your career and would pass on to aspiring spinners?

I wish I could have learnt to be resilient on this business much earlier. There were times I felt like quitting and I had forgotten the love of the industry. I also wish I could have obtained the business knowledge and survival skills in this industry earlier. It’s fair to have love of being a DJ but if you cannot turn it into a career then it defeats parts of the purpose. I love spreading the gospel of love and passion of the music to as many people as possible but if you cannot turn your efforts into a brand you cannot spread it to the rest of the world to hear.

Favourite spots to play at currently, local or internationally?

I enjoy playing at Sapphire (Camps Bay) and Alba Lounge on Sundays (V&A Waterfront). The crowds are so welcoming to the style of music I play and give freedom to be more experimental on the decks.

Favourite gig/festival crowd you played for?

I enjoyed playing in front of Rocking the Daisies in 2010 and last year BUT the biggest response I got was Oppikoppi 2011 with well over 1500 strong crowd at 8pm. That was such an exciting experience and one I will treasure for many more years.

Best collaboration on a production; best DJ to share a set of ‘tables with?

I have been working with a fellow Cape Town producer and good friend Karabo Rej and we worked on a track called “We Baloyi” coming out this year. The single has been getting massive response and we have decided to drop it as part of our upcoming releases later this year. I have enjoyed sharing sets with him and Mphoza Fantastik in a number of events we’ve played together but my all time favourite still remains sharing decks with Black Coffee at the Red Bull Workshop last year at Chrome. It was an honour to rock with the great man and DJ.

You’re one of those musicians who personify the word hustle, what can the people look out for from you in the next couple of months?

Look out for my debut album coming out beginning of spring season this year and also my upcoming EP releases will also be coming out through sShadoworkss. I am very excited about both the upcoming projects. And last but not least the online launch of my personal website where you will be able to stay in touch with what I am up to, gig guides and latest and exclusive mixtapes together with any future release projects. There will be more info on the website coming soon.

Interview: Nathan Kabingesi

Catch Thibo Tazz at the Cape Town Electronic Music Festival – CTEMF

WIN Free Tickets to CTEMF!

Click on Image

Interview: Cosmic Gate – Deutsche Intergalactic Trance

Last modified on 2012-03-15 09:02:08 GMT. 0 comments. Top.

Germany‘s trailblazing trance duo, Cosmic Gate have been a household name in the Electro Dance neighbourhood for well over a decade now. With seven critically acclaimed albums, numerous DJ mixes, a labyrinthian plethora of remixes and the coveted rank of #24 in DJ magazine’s 2010 top 100 DJ Poll, it’s not hard to see why. They’ve been touring thoroughly too, and 2011 saw the release of their latest album, “Wake Your Mind.” We caught up with them to talk trance and other things cosmic.

The intergalactic, space-time defying entity known as Cosmic Gate has been going strong for well over ten years now. Let’s take a waltz down memory lane for a second, where did it all start for you guys?

We were both part of the German electronic music scene back in 98 for some years already, when we produced this track on a total chance studio meeting together.

Neither of us had plans at all to create a new project, nor did we have any idea what would grow out of this fun jam session we had back then. We can say that this day changed both our lives dramatically, traveling and touring around the world, and it’s been 14 years now, and no end to be seen.

What initially attracted you two to Trance & Progressive Trance music? Was it something that resonated with you immediately or did you come to appreciate it slowly?

We were trance fans already from the early stage in the growing European techno scene in the 90s, say music from labels like eye-q, hardhouse, bonzai or music man to mention just a few. This influence shows in our productions, we simply see trance in general as the music that touches us the most, and this is the simple reason why our productions have this trance feel.

Apart from the many mixes you’ve released over the years, your oeuvre also consists of more than four studio albums. What are some of the challenges you face when assembling a body of tracks for an album-length release?

Working on an album is something totally different from just producing singles. An album for us is supposed to tell a story and show the variety of music we can produce. Album tracks do not necessarily have to work on the dance floor first, which simply makes the difference, even as most of our songs, even on albums work in the club for sure, this dance floor orientated working is simply in us somehow, as much as the trance touch, that always comes along with our songs.

Your latest album, ‘Wake Your Mind’, bears some House influence and more vocals, including a particularly sumptuous outing with Alana Aldea, than previous offerings. Is this a feature you see yourselves expanding upon in future?

When we produce an album, we just go with the flow, we take risks, do different things, just follow our instincts, we do not need 12 or 14 pure dance floor destroyers first, and so tracks like with Alana happen and for sure they will happen again in the future, this is what we think albums are good for, a bit of a surprise, and we think real music fans appreciate this.
Cosmic Gate – Crushed by CosmicGateOfficial
You’re renowned for your remixes of other artist’s tracks, with examples ranging from the likes of Vanessa Mae to Deadmau5. What goes into taking existing songs rooted in other genres and merging them with your own sound?

Remixing is always a great aspect, as you can play with already existing vocals, harmonies or melodies, and turn it all around a bit. You can put your trademark on top of it. Every remix is different, there are other ideas and things from the original we want to use, in general it is lots of fun and maybe a reason for the bunch of remixes out there from us on the market.

Since your debut you guys have toured extensively, what’s your all-time fondest memory of life on the road and your favorite spot to break out a set?

Best memory maybe is from 2002, so 10 years ago, when we played Trance Energy for the first time. We entered the hall from back stage, and when we went up the stairs to look over the hall, we could not believe it! It was so big, you could barely see the end of the hall, we had no clue this party was so big, we will never forget this, specially as the gig was memorable for us as well. A great memory!

If Cosmic Gate were a superhero duo, which of you would be the sidekick and what would your theme song sound like?

We sure both have our powers to support us as we do in Cosmic Gate and the theme song would be “be your sound” so we’d get Emma Hewitt in and make it a super hero trio! :-)

Your favorite track of 2012 so far is?

Mat Zo’s Bipolar is fantastic. We’ve played it at every gig over the last 3 months, simply a great fun track!

Interview: Jayson Geland

If you are a Trance fan, be sure to catch them on their SA Tour this April!

20 April – Durban

21 April – Joburg

Interview: Giggs – The Sounds of a Superstar

Last modified on 2012-03-14 10:36:12 GMT. 0 comments. Top.

Kalahari Surfers, rabbit-holes and the CTEMF

Last modified on 2012-03-16 14:27:20 GMT. 0 comments. Top.

Tis about Time! The Mother City rises up to officially acknowledge SA’s wealth of Electronic music! Nearly 12 YEARS (yip, it deserves hysterical caps) after African Dope Records bravely unleashed the likes of Felix Laband, Goddessa, and their own merry selves – Fletcher and Roach – into the then rather sad ‘Local is Lekker’ scene, we have the Cape Town Electronic Music Fest from 28-31 March.

The CTEMF promises to deliver all of the variations of digital musics – From good old- fashioned Techno, to Psy-Trance, to Dubstep, Zef-Hop, You-Name-It Glitch, and all Electronic genres besides. Saffa style.

Inarguable founder of SA Electronica, Mister Warrick Sony (aka The Kalahari Surfers), will also be there. We asked the man who begot sampling and mix’n'cutting way back in the dark Eighties – the guy who crafted perhaps SA Electronica’s perfect moment [2000's 'Akasic Record'] – a question or two.

You don’t do ‘gigs’ anymore. From what I gather, you haven’t done Kalahari Surfers gigs since the early Nineties. Why do you avail The Surfer for festivals only?

“I actually played a major tour of the UK a month before the 2010 World Cup, with the African Soul Rebels. However you are more or less right – I only do special invites to special events. My music isn’t Happy-Happy Party music. It’s slow and often sombre.. not light. I’m a bit of a downer sometimes. “We are not a Mickey Mouse”, to quote the son of Gaddafi.

South Africans like HAPPY, so I can’t really bring a cloud of doom over a Friday night dance party. Especially with my new work, which is more lyric driven. Think I should really do folk clubs with a computer and guitar, or theatre, (but then there are actors) Actually I’m a bit of a hermit – bring me my slippers and my pipe!

I burned out a bit on the gig circuit during the post-Punk late 80′s. After touring Europe a few times I assembled a Kalahari Surfers band in the UK and played a lot. Best of the audiences were the Germans, I think they get my music. Enjoyed the East Bloc concerts too. The Russians were also interesting in that they didn’t have the 60′s, so they had their own different foundations of what they were into. They didn’t have Hendrix and Soul music and Gospel – all the things that made modern Rock music – but they did have a different soul. Dark soul…

I liked playing in Moscow, but I think today it’s a different story. They’re pretty much in the same situation as we are, with crime and corruption, and, as Zappa said about communism not working because the people want Stuff – they also want stuff… but their leader is a bit of a nasty, I prefer ours. Ours laughs more and I get the feeling has a better sex life.

In the long run though I’ve always found it frustrating to hear my studio work come out differently to how I imagined it should. I’m not good at bossing musicians around and they are difficult …so Computer OK. Hence the extended DJ-gig thing. I like playing my tunes to people as they should sound. I’ll come to your house and play you my CD – that’s a performance.”

What DJ set-up are you planning on utilizing? What equipment does The Kalahari Surfers wield live?

“I don’t play keyboards too well, so my main thing is my ancient Roland GR09 guitar given to me by [Dutch singer-songwriter] Stef Bos in 1991 or something – it’s totally fucked and can’t play any of its own sounds – but it still converts guitar-playing to Midi triggers which allows me to play all synth, sampler and keyboards from a guitar fret-board, which is incredibly liberating. I use this with Ableton Live & Launchpad, and some KORG controllers. Ableton is the best software out there in my opinion and I’ve been using it since they first invented it.”

Many fans see you as gifted constructor/producer, rather than real-time muso. Tell us what you have in store for the upcoming Cape Town Electronic fest?

“I am playing music no-one has ever heard before. I’m putting together special music for the set and that’s where my energy goes – I’m working through the absurdities of our past. Rehashed, remixed and re-edited. I’ve always liked cutting things up.”

The last time I saw The Surfers live, he was casually juggling two CD turntables and one Vinyl turntable simultaneously; meshing popular and obscure traditional musics with super Avant-Garde composer Karlheinz Stockhausen. Not only did he not miss a beat, he seemed to actually invent beats where none should be. At one point splicing Stockhausen’s crude angles with Ladysmith Black Mambaso’s ululations – then dropping a fish-eagle’s cry into the mix where more mundane folk would pluck a guitar note. Mind-boggling it were!

Check out Sony’s performance at the upcoming Cape Town Electronic Music Fest to hear what he pulls out of his multiple hats!

Last modified on GMT. 0 comments. Top.

Interview: Neelix Returns to SA in March at ESP Night Club

Last modified on 2012-02-29 10:33:29 GMT. 0 comments. Top.

Progressive Trance producer/ DJ known and loved for his Progressive Psy-Tech sound, Neelix is heading to SA for another tour, this time headlining at ESP Night Club in Joburg, 20 March 2012. We chat to him about his previous SA tour encounters, his take on the popularity of Geekdom and his favourite party memories…

You have been out to SA twice now. What was it like coming back for the second time and what are you more prepared for now that you will be visiting and playing a third time?

It was very nice, Love and Light was amazing. Not long but good, I had even more fun than last year! The last weeks I remixed some of my old songs, just to play in the live sets. When I’m coming to JHB all the tracks should be ready and mastered.

Both Interactive Noise and Daydin have played ESP in Joburg and both ended up playing mammoth sets (reportedly 5 or 6 hours) long, they were clearly having tons of fun. When last did you have one of those crazy parties that blew your mind?

It was a few months ago at a club in Melbourne, Australia. I was there with a couple of friends and we all had such a good time. The set worked well and the crowd really seemed to enjoy it.

The last time that I played a long DJ set was in Tijuana, Mexico in 2007. It was after a club gig. The promoters asked me to come with them to a nice after party on the roof of their house. I played a long DJ set and it was fun. There were only 20 people there on that roof, I messed up every mix in my set because I am not actually a DJ, but it was really special. Here is a picture.

Last year you said that you were planning on cutting down drastically on your travelling. Have you succeeded with this, considering your burgeoning career?

Yes, I stopped accepting every gig around the world. I have now only big tours and just a few of them. In the last few years I was sometimes in Brazil six to eight times in one year. I had almost one hundred gigs a year which was to much. My bromance Hannes (Vaishiyas) is taking care on that same thing now. He will only accept gigs with no stress.

What does the global travelling mean for your personal life and are you leaving anyone special behind every time you leave?

I have a wonderful girlfriend in Hamburg. She met me when I was already travelling like crazy so she understands my lifestyle. Luckily she is able to come on most trips with me, especially the long tours. I wish I could spend more time with my family and friends, but when I am at home I need to spend most of my time producing music in my studio.

South Africans love your sound! From your experience having played out here in Cape Town twice before at the Love & Light Outdoor Festival, what do you think it may be about your music that we interpret into so much fun?

A lot of people tell me that they connect emotionally with my music which is great to hear. I try to produce music with ideas and stories inside. This means my music takes a long time to produce, but hopefully translates to more connections and fun on the dance floor or the living room.
Neelix – I´m Useless by neelix

Your set at ESP night club in Johannesburg will be indoors this time around. How differently do you tailor your sets for a gig at an outdoor vs an indoor event?

I don’t play a different style of set indoors or outdoors. Every set at every party is different and I make them based on what the people in that place seem to like. When playing in a country for the first time the crowd often expects to hear tracks they know. Many of my older tracks do not have the best quality any more because production standards in electronic music has improved so much in recent times. This gave me the idea to make new versions of some of my older tracks. I started with the idea to change only the kick and basslines but ended up with entire new arrangements! Hopefully people in Joburg will enjoy these tracks, as well as some of the unreleased tracks.

You call yourself a computer geek, and being nerdy is superbly trendy these days. Do you consider this era we live in as one that belongs to the nerds of the world? How do you intend to continue to take full advantage of it?

It’s funny you ask as I have recently adopted my ‘nerd glasses’ (as seen on the cover of the Nerd EP) as my new logo. The nerd image is definitely popular at the moment, which is great for me because I am a total nerd. Suddenly I am very cool and trendy! I have started using the new glasses brand on stickers and promotional material, and I’ll be bringing some to Joburg to give away at ESP.

When you played at the last Love & Light party, a crazy fan jumped up on stage and proceeded to give you a surprise hug, the look of shock on your face was priceless. For the fans in Johannesburg, what sort of gestures do you appreciate most from fans and if they wanted to buy you a drink, what is one of your favourites?

What I appreciate the most is when everyone is having fun together and making a real party on the dance floor. Although I don’t drink alcohol any more, I really have fun watching people getting drunk and rowdy at parties!

See you all in a few weeks

Henrik

Interview: Khainz – Trance Goes Techno

Last modified on 2012-02-28 14:27:44 GMT. 0 comments. Top.

I started DJ-ing Trance in 1996 so that’s like sixteen years back. When I focused more on its production and with time trance started to get very formulaic to me .I didn’t find good inspiration and it even got very hard to find enough good  tunes for a long DJ set. So I decided as a change to make some different music that I liked and began to do work on producing Techno. I really had fun doing it and kept trying different directions of 125-128 bpm tunes.

With time I lost a bit the focus and appreciation with Freakulizer as I felt way more musical freedom in the Khainz project. The range of [production styles I do is quite wide. I really like working on a track that I'm in the right mood for; instead of doing something that I kind of know how it will sound in the end, this is what happened in trance for me.

I'm quite sure I will do some music as Freakulizer sometime again in the future. But I'm keeping focus on Khainz also with Live shows and DJ sets.

You have toured all over the globe, which country has surprised you the most and why?

It's difficult to say. It's quite different from country to country. Mexico and Brazil for example have more "Raves" with huge crowds. I like to play big parties. But I mostly prefer the smaller parties have some more personality between me and the crowd. There is more eye contact with individual people. I guess my favourite places I have been until now are Australia, Canada and Japan. I guess it's not depending really on countries. It's more about what parties you play there.

How have you grown as a producer sound wise from the stuff you released on your debut album 'Modul8' in 2009 to now?

I guess its a goal of every artist to grow production wise and musically. I guess my new Album (Simple as That) has a bit more variations and its way more musical then Modul8. My debut Album was more Techno/ Progressive house, the new album more Techno/Tech House. I'm sitting daily for hours in the studio if I'm not on tour and that helps me growing in production and musically I guess.

Which musical flavours have you gone with for your latest album release 'Simple As That'?

I tried to do an Album that has a lot of variations. Not sticking to one style. As I find it a bit boring to have an album where all tracks sound the same. I guess its a mix of many styles but you can still hear that this is a Khainz Album.
Khainz - Simple As That (Album Teaser 30 mins mix) (Out Soon) (Echoes Rec) by Khainz

What does the rest of the world probably not know about Dance music in Switzerland?

Switzerland has many Clubs and Festivals even if its a very small country. People are very outgoing and enjoy to party till late. It's also one of my favourite countries to play as many people are musically educated and open minded. And for sure because its my home where I can party with my homies. There are many great producers not too many are well known, but I guess that's just a matter of time until you will see more Swiss acts on line ups around the world.

What is top of your personal playlist right now?

Morcheeba - Big Calm (Album)

That's a timeless album... it's travelling with me since many years and i never get bored of it. Always when I listen to this album it brings back great memories.

Is there any chance of a SA tour any time soon?

Unfortunately there is nothing planned yet. I played in Cape Town some years back and it was wicked. So I hope to be back soon!

Interview: Erefaan Pearce - The Cape Town Deep House Taste

Last modified on 2012-02-22 09:17:55 GMT. 0 comments. Top.

Erefaan Pearce. A Deep House veteran. He has been bumping his dreamy, emotional music at popular Cape Town bars and clubs since the inception of the now burgeoning Dance scene in the city. We chat to him about his latest release,  'What Happened' Ft Kylie Auldist playlisted on 5FM, the growth of the local House music scene and his own digi label, 77Soul.

You have been playing Deep House at some of Cape Town's most classic Long Street bars for more than a decade. How has the House scene developed or changed from your view?

It's close to like fourteen years. The scene has blown up and like a bomb just fragments everywhere. House used to have no colour now it does. It was commercial House or Underground, with nothing in between, now we have so many variations of it. There are many reasons that led up to this change, but if I had to point a finger ironically, it was the smoking legislation, the proverbial smoking gun so to speak.

Cigarette companies provided a lot of sponsorship for the House scene back in the day. The companies took to doing private events and to maximize their collective marketing budgets the scenes where broken up to market demographics which in turn produced attenuated performances by local/international artists that they deemed to be part of that demographic. I think it doesn't take an Einstein to figure out what happened next liquor companies followed suite and BAM its 2012. On the positive side there are loads of producers coming up and representing South Africa but it can be rather linear in terms of sound not enough diversity in the local house scene.

We also have this culture of not paying to come to events to contend with, which is a by product of clubs desperation in the wake of the recession. I always remember the first thing to be cut during a recession is entertainment. This is my second recession I have weathered by the way.

What is your best memory from the early 2000's whilst DJ-ing?

That's a hard one to call as I have loads of fond memories. I think one of my favourites was coming home from Club More at like 3 am and writing 'Thursday Morning'. That whole track, melodies, chords etc. was written in like 2 hours. The actual production took a lot longer but definitely a highlight. Another favourite was playing at Club More at like 2 am and all the DJ's yes the DJ's were dancing to my beats.

That's a rare feat for any DJ I think, then to make things even better have Jef K from Silver Network (he was the international for the eve) halfway through my set giving me props for the music. That left me smiling for days.

How did you go about deciding what your main objectives would be with your own digi label 77soul? How have you gone about achieving them?

Well 77soul has been very quiet my life has changed rather drastically making U-turns left right and centre. You start a digi label thinking wow things are going to happen now but it does not quite work like that.

I was managing the label on my own and writing most of the music for the it. The original intention for the label was to push out deep material from South Africa.

I ended up releasing guys like Javi Lopez from Spain which was loads of fun. I think the goal this year is to put out material of consistently high quality. I have entered into partnership with another gent (we will keep his name on the low low for now) with loads of experience in the distribution game. I want to finish my album and get it out there by any means possible.

Your latest release 'What Happened Ft Kylie Auldist' recently enjoyed some air time on local national radio station 5FM. What was the production concept behind this track and who do you think it appeals to?

I never really think about it I simply hear music in my head and it kinda reveals itself. I always like dreamy/emotional chord progressions so I think I wanted to convey some of the drama. It started with this guitar lick I heard in my head.

I don't play guitar so I simply synthesized the patch in logic and played it. The groove on that line was important I wanted it to have a township kwela like feel. Then my love for classical music well at least the sound kicked in. I played some chords on a rhodes emulation and then structured some fake strings over it. Something that is very important to me as a producer is rhythm and I'm not talking about the drums. Every note played or not played adds or takes from that rhythm so spacing and timing is super important.

Conceptually I wanted to kinda convey how I was feeling I did some work with Kylie Auldist before on another track called Love Life & Lies, I loved her vocal tone so much I hit her up. I think it appeals to anyone who can get pass the fact its house and is really listening to the music.

You have been working independently since you first started building a career for yourself as a DJ/Producer. What has been the most challenging for you?

You pay a heavy price for being a DJ/Producer, people look at DJ Kent & Euphonik thinking that we all killing it. The reality is a much different story. I wear many different hats just to pay the bills. I do events, DJ, produce, design & promote. The other challenge is that every two/three years the scene flips the kids that used to come to your events or support you start having families etc. and you have to reintroduce yourself to the next generation.

What do you believe, your events 'Soul Revolution' and 'Soulmates' contributed to the Cape Town Dance music club culture?

I think for a while it was a benchmark to a certain extent for a lot of house events but we are but a wave in the sea of the entertainment world. We have kinda been the "face" of house for a little bit but that is fading now. In terms of our work ethic we always try and do the kind of events that we would love to see incorporating the things that we value in performance. Musicality & improvisation meets form, would be the ethos. Contributions is something I shy away from because never at any point did we think of it like that. Simply two guys trying who continue smiling doing the thing they love the most, music.

Interview: Enough Weapons - Slick Dance Floor Mayhem

Last modified on 2012-02-20 09:39:34 GMT. 0 comments. Top.

Marathon live sets designed to leave your toes rattling in your boots? Check. Brain-bashing beats rugged enough to usher in the apocalypse's after party? Roger that. A plethora of diverse sounds brimming with more than sufficient vibrancy to stage a long overdue resurrection. As if you even had to ask. Cape Town breakbeat duo Enough Weapons have been bonafide boogie-down enablers since their debut in 2008, carrying the lumo-glow torch ever since for all those in the dark as to where the party's at. We hauled them from their turntables to discuss beats, beliefs and dance floor feats...

You guys have been turning dance-floors into blistering saunas and giving the bedroom head-bumper something to sweat to since your debut in 2008. But how far back does Enough Weapons really go, where did it all start for you two?

We’ve both been big music fans for as long as we can remember. The dance scene also came early for us and we’ve been DJ-ing dating back to the late 90’s. The two of us together are quite a mix with the genres we’ve evolved from. In 2008 we meshed our talents and experiences and decided to start something new and exciting. We draw heavily from our other projects and genres, (house and rock being two of many!). We try to complement each other’s ideas with contrasting suggestions. The result is pure Enough Weapons.

Operating chiefly in the Electro-Dance scene, you're renowned globally for your jump-and-stomp-inducing beats. What goes into transforming a nightspot from boredom central to bedlam in the space of a set?

Enough Weapons has always been a live act and we always play our own productions during a set. We think that’s what it’s all about - the live element and unleashing our sound on the crowd with the intent to cause mayhem. We spend a lot of time in the studio, combining our experiences into the tracks we produce, we also focus on how it will flow into our live set. Our sound is very unique so when we produce, our aim is to get the crowd jumping. At the end of the day we are just bass junkies who make music for that peak time dance-floor.
Mr Bong vs Enough Weapons- Enough Bong Ft: Crosby (Enough Weapons Vocal Edit) by Enough Weapons

From the live performance perspective of the craft, how aware would you say you are when it comes to determining how well something you've cooked up in the studio will fair in front of a crowd? Are there certain rabbit-in-the-hat tricks sure to work every time or is it purely instinctive for you by now?

It is hard to gage how a new track will fair for the first time on the dance floor. When we wrote our first set of tracks we had to wing it and hope for the best, until we had a chance to play a live set and try them out. It was a bit tricky to start, but after a few years of playing live, we think we’re pretty good at it. Both of us DJ so we have that expertise, and of course we have a those EW tricks we use to give a set or a track a kick. Sometimes a track comes together and we just know it’s going to murder - it's always killer when that happens!

Having released a slew of material on several international labels and been nominated for two International Breakbeat Awards, what can you say of the current standard of local electronic dance music when compared to global acts’

The local standard of producers is high and honestly getting better by the day. There are so many well-established local producers. Many of them are writing amazing music that can hold its own against many international producers. The evidence is in the increasingly amount of guys who are getting signed to big name international labels and it inspires other local producers to up their game, and write better music. With the industry and technology today, it probably won't be long before we have a slew of major producers competing on the international scene.

You're also the founders of On A Break Records, a Cape based label with sub-labels branching out into Dub, Dubstep and Drum n Bass. What's it been like juggling the discovery and releases of other artists in addition to sustaining your own output’

Starting On a Break Records was one of the best moves we’ve made. It’s opened doors for us to be able to work and connect with some amazing producers - locally as well as internationally. Drawing inspiration from our peers and being in contact with a variety of producers often inspires us when we make music. Another benefit is collaborations and remixes - which is a lot of fun, and also gets us onto other platforms.

If Enough Weapons were tasked with scoring the soundtrack for gargantuan budget Hollywood blockbuster in return for the handpicking the star of the film, who would you choose and why’

It would have to be Benicio Del Toro, because he is fu*king dirty.

Your favorite tune from 2012 so far is’?

A promo landed in our email a couple days ago- Dr Fish- Influenza (Access Denied Remix) - definitely a favourite for 2012 so far!

Already achieving as much you already have, what's next for Enough Weapons’

So far in 2012 we’ve been putting a lot of effort into our productions. As we see it we’ve laid the foundations, now we spend a lot of time working on new tracks and our sound. We have an overflow of new ideas on how we want our sound to evolve. We’re also aiming for a venture abroad, so we’re putting some time into that as well. Ultimately, we want as many people as possible to hear our music and dance to it!

INTERVIEW: Jayson Geland

Interview: White Nite - Eclectica Done Right

Last modified on 2012-02-17 09:21:36 GMT. 0 comments. Top.

White Nite. Ecletica Musica, the way you like it, put together the latest BPM Life Podcast. Aran Neidhardt, a Hip Hop veteran since the nineties and DJ who brings together the best in Beat music, Dubstep, Juke, Hip Hop and Garage in his sets and latest productions. We talk to him about his Marvel days, his identification with the street culture associated with Hip Hop and his art for blending music, the right way...

Hip Hop is and has always been a steady influence for you; in what seems like both your personal and professional life. Who are some of the artists that triggered this core influence for you and why?

I started out listening to the kind of stuff you'd expect in the late 90's. Until I woke up to 'A Tribe Called Quest' that kind of changed things. Probably my favourite group ever, in any genre. That whole feel-good vibe, perfectly balanced samples and tough drums really got me. I'm also a huge fan of the Dilla school of hip hop and the subsequent beat movement that spawned out of his production style.

You deliver a sensory pleasing combination of genres such as Beat music, Dubstep, Juke, Hip Hop and Garage. What is the one thing that helps tie in the relevance of all these for you?

I went through a lot of musical phases growing up - Classical (Compulsory if you study music!), Metal and Punk, Cheesy ass Rave music, Blues, Jazz, UKG and Jungle. Before eventually really getting into Hip Hop and then Drum&Bass. I think all of those influenced my taste in music so a lot of the time I don't really always know why I like a tune. My taste in music is always changing. It freaks me out sometimes. Lately (and even in this podcast) I tend to gravitate to a lot of electronic music whose production reminds me of the LA-style beat movement, which I am really into. Some call it "wonky" - bit of a cringe word for me. For those who don't know, pioneers of that vibe are guys like Flying Lotus, Hudson Mohawke and Devonwho etc.

Do you have a favourite live music instrument?

That depends on what you class as a live instrument. From my side, I'm tempted to say an MPC or a turntable as those are more in line with what I'm doing and/or listening to. I scratch a little and I consider scratching an art-form. I played guitar for many years but admittedly haven't picked it up in a while. Does my Korg synth count? Is Ableton an instrument? I WILL learn to play drums before I die.

What did you choose to put together in this podcast and why?

For this one I went with some of the "Bass Music" that I'm feeling at the moment as well as some unreleased bits from artists all over the world, which I'm also feeling, obviously. There's quite a variation from soulful, P-funk style Dubstep to straight up wonky house, UK Funky, Garage and some "130" stuff (basically, music around 130bpm that nobody is brave enough to put it in a box). There's also some Juke/Footwork thrown in there which is essentially 160bpm bass music, originally out of Chicago. Producers are getting really creative with that tempo lately.

Your best memory from your Friday night residency at Long Street's Marvel?

Wow that was a long time ago... back when Marvel was kind of a hot-spot for different genres. I have fond memories of playing the 1-4 slot on a Friday and having that place packed out with people just getting down to classic Hip Hop and knowing every joint. I guess one memory that sticks out was dropping Danny Breaks's "Jellyfish" at like 4.05am after the manager had already forced me to turn the music off and everybody losing their shit. Good times.

What can we expect next from White Nite?

I'm sitting on a lot of my own productions and collabs that have not seen the light of day. I'm really keen to get those out this year so I can hit reset and start making some new stuff. Also, my group ETC's album will be dropping finally after a seriously long wait. Other than that, just looking to keep my DJ game up and consistent. I'll be doing weekly Thursday nights with my man Remy Gold at The Waiting Room in Long Street from this month onwards - tell your friends!

Follow him on twitter - @whiteNiteDJ

Interview: ChianoSky - Soulful Diva Talent Beyond Her Years

Last modified on 2012-02-16 12:20:15 GMT. 0 comments. Top.

The tradition of the emergent South African pop songstress is a coiled trail leaden with sign posts bearing the names of countless wannabes, should've beens and wash-outs peppered with the occasional break out act. Indeed, luminaries such as Miriam Mkeba and Brenda Fassie have each walked the oily tightrope of Diva-dom to varying degrees of success. Enter ChianoSky. Hot off the heels of a hit radio single with a tantalizing, yet classy, video to accompany it, we caught up with her to discuss the life of a star on the rise.

With highlights ranging from your performance at the Miss South Africa event to the lava-hot reception your first single 'Sick Sick Sick' has garnered, 2011 must've been a whirlwind of a year for you. How would you describe the transition from regular teen life to jet-setting diva status?

Its been wild, I get to do what I love every day, though I wouldn't say that I have changed or am better than anyone else at all now that my vision has become a reality , I was as they say as cliché as it may be  'in the right place at the right time'.

You're fifteen again, and having a solo dance party near the pc speakers in your room, or vibing to your headphones whilst waiting to be picked up from school. What are you listening to?

Kyle Minogue, Amy Winehouse and at the time I was a sucker for Bjork - I would probably have her song 'Its Oh So Quiet' on repeat too.

There's a definite shade of 60's and 70's soul and Jazz to your vocal stylings, which you've managed to modernize for a contemporary pop audience. Other artists to swim in these waters include the late Amy Winehouse, Adele and SA's Lira. How do you feel about probable comparisons to the aforementioned songbirds?

Firstly they are all great artists so being compared to any of them isn't exactly a insult at all, people don't know my sound yet so I can imagine them to make comparisons in the early stages.

Your two singles out at the moment 'Sick Sick Sick' and 'Walking Away' display song writing finesse that dizzyingly belies your age. Lyrics like "My heart and my head are at war" and "I want to know what it feels like to be haunted by you" capture precisely the emotions present in both songs. How long have you been writing your own songs? And what's your usual process, if you've got one?

As one gets older you learn to appreciate and understand so as I was growing up I really began to grow a mad passion and love for music I started singing at the age of 10 and writing from the age of about 12 I think. The writing process is actually very spontaneous , it  starts from a different corner every time.

The music video for 'Sick Sick Sick' looks like it was fun to shoot. It both encapsulates and balances the stylishly sultry with the elegantly tasteful, and your sleek dance moves are sure to make some people forget what it was that they were in the middle of doing before they saw it. What was your involvement in the creative direction and general aesthetic of the production?

I definitely felt like a vixen in that music video, felt it right to the bone. I came up with the concept of the music video which is really simple , sexy , cheeky and intimate - basically an introduction as an artist. I also wanted a warm treatment and chose the retro hair and makeup , I was very lucky to have such a creative team behind me.

You've made 'Walking Away' available as an mp3 through your Facebook page. It's no secret that the internet has forever changed the landscape of music distribution in the last few years, with many artists choosing to release online as it could possibly broaden their audience. Is this something you see yourself doing more of in future?

Yes , let's face it social media is king at the moment - I plan to  make my music available to the public online and I'm going to definitely make sure that they have a hard copy to sleep with at night  too

Your debut album is scheduled for release in March. Could you describe it as if it were a movie?

A wild hot romantic that collides into a heart dropping thriller which slowly moves into a tear jerking drama then a quick sci-fi moment which makes you question the impossible and just before it gets too far-fetched it turns into a naughty naughty comedy which evolves into an independent women chick flick  ending off with a scene quite similar to when Rocky finally climbed those hundreds of stairs like a champ ! Haha !

Your musical career aside, what else are you excited about in 2012?

Just seeing where all this chaos takes me I have a campaign launching this year with Woolworths, I am the new brand ambassador for the Jenna Clifford Wisdom and Youth Campaign, doing some great magazine spreads and saucy interviews, a London trip on the way, collaborations with other artists and I'm so excited to meet new people and artists.

INTERVIEW: Jayson Geland

Interview: Isaï Pollet The Djembe Heart Beat Thumps

Last modified on 2012-02-08 09:42:51 GMT. 1 comment. Top.

Interview: The WildKats Touring SA with Excuse The Mess

Last modified on 2012-02-07 08:18:13 GMT. 0 comments. Top.

The Wildkats production trio from East London made up of DJ's Stuart Sandeman, Scott Dickie and US import Corey Baker, will be touring South Africa in February this year. They will form part of the next Excuse The Mess party series taking place in Cape Town, Durban and Joburg. We chat to them about their sound inspiration, New York Disco and what they anticipate on their SA tour.

How popular is the Groove, Dubby Disco sound in East London?

Yeah the House and Disco sound is really popular in East London. East London is bursting at the seams with cool music and great club nights. To be honest, there is a great scene for all sorts of music. People generally love to go out and party, so the place is buzzing.

Any specific reason you chose to go with this sound when forming your trio?

We've never really had a plan to go with any particular sound when we initially got together in studio. We all had a similar love for house music and just started putting sounds together that we liked. I'm not too sure what genre of music our stuff falls into, I guess its under the Deep House umbrella, but we do use a lot of groove and disco sounds.

What is it about Funk and New York Disco that inspired you guys to develop your particular brand of music?

Yeah the sounds used in 80's funk and Disco have been a great inspiration to us, the drums they use back then were bad boy, some great fills, toms etc. Some of the 80's disco bass lines are ridiculous. We have incorporated a lot of these sounds in our productions, but we put our own contemporary twist on it.

The WildKats bass line is sold as part of your trademark. What about it makes it so special?

When we first started making our Wildkats tracks it was nearly two years ago now. Back then it seemed like a fresh approach to house music along with the other parts we had going on in the production it worked well. I guess from there our tracks kind of made a mark as having solid bass lines. Moving forward we have lots of new music on a different tip, some new fresh exciting stuff.

With the very modern trend of artists revolutionising the face and sound of House music and it's make up, where do you place yourselves in this future?

I see three Wildkats, a packed dance floor, some great electronic music, a few hands in the air... [Laughs] just kidding. I guess we are going to continue to develop our sound and have fun with what we are doing, hopefully people continue to enjoy our music and DJ sets. With a lot of great new artists coming through the ranks, I guess the sound and make up of house music will continue to evolve. It is great to be a cog in the wheel of this process.
Wildkats – Perpetrating – Hot Waves Sampler Vol 2 by WILDKATS

Michael Kennedy asks a few questions…

Excuse the Mess has been building up a nice name for themselves over the last four years in SA, how does it feel to be part of their tour for 2012?

We have never been to SA so we are really excited to be part of this tour, play some cool parties and get to check out the country. It’s nice to do this as part of the Excuse the Mess tour, we know the guys from London, where they throw some wicked events. So I’m sure the parties on their home turf in SA are going to be equally successful.

You must be used to playing gigs to large crowds. How do you feel about your upcoming Cape Town leg at Chukkachurri, with a drastically intimate crowd of 150?

We love intimate venues and intimate crowds, some of our favourite parties have just been 150 people or less! You can get get a great vibe going with smaller crowds and can get a bit more adventurous in your musical choice.

What are you most and least (if anything) looking forward to from your SA trip?

We love to DJ so I guess what we’re looking forward to most is our gigs and what are we least looking forward to I guess are the sharks!

Catch the WildKats at the following events:

17 FEB – Chukkachurri – Cape Town

18 FEB – TRUTH Nightclub – Joburg

25 FEB – Origin – Durban

Exclusive Interview: Apollo 440 on their latest album release, out this week!

Last modified on 2012-02-03 08:54:10 GMT. 0 comments. Top.

We chat to Apollo 440 about their indiscriminate sound, their off set in the nineties, what they think of Dubstep and what we can expect from their latest release ‘The Future’s What It Used To Be‘ out this week.

Your sound is made up of many different musical influences. One description is that of an industrial underground glitch infused with Dub and Alternative Rock, with a whole lot of humour and energy. How would you describe it?

Yeah, I can’t do any better than that: the best description I’ve heard in ages!

Terrific, so what can we expect from your new album?

The usual: stripped-to-the-bone classic rock riffs that groove and dance beats that rock plus some epic cinematic soundscapes and some damn fine wordplay. Even though he’s sung on odd tracks on our albums going back to ‘Electro Glide In Blue’ in 1997, this is the first LP that’s featured Ewan MacFarlane as lead singer throughout the album and he makes his singular charismatic presence felt.

How different would you say the creative experience is when making music for films and TV ads?

It’s all about working to a brief: when we make Apollo records our brief is coming from within; working with film directors and especially with ad agencies and the clients means the aesthetic and format decisions are much more specific and restrictive. This can be both good and bad. I’ve scored a couple of French-language movies over the last couple of years (“Une Affaire D’Etat” – 2009 and “La Proie” – 2011) and have really enjoyed the challenge of enhancing the drama and mood of scenes with sometimes the smallest nuances of sound design as well as full-blown orchestral mayhem. The job is to represent unspoken aspects of character as well as add pace and import to action. Making @440 LPs is much more straightforward: if we’re all getting off on one aspect of a track, the decisions make themselves.

Looking at when you guys started in the early 90′s. What were the unique challenges for you in the music industry with your hard to box sound?

The whole rock/dance dichotomy that seemed so desperately important when we started is almost a non-issue anymore. Audiences have a much greater breadth of music at their fingertips now and are less hung-up with categorization. The rise of remix culture broke down a lot of prejudice and people became used to hearing musical and lyrical ideas juxtaposed in new contexts. The negative fallout of this means that it’s now much more difficult to surprise and shock.

What do you make of the Dubstep trend, fad or future?

I came to the dubstep scene through working with UK grime MCs in about 2005 and it’s been interesting watching each turn of its evolution into the very specific set of rules and production-values that underpin it today. The parallels with the drum’n’bass scene are obvious. Any music can now be made-over and formatted into the dubstep template and some of the best work ends up being remixes of non-dubstep tracks. Personally I like to be surprised and shocked into submission: the crazier the juxtaposition, the more fun. One of the best guys is Skrillex who’s come at it from a more rock’n’roll place than ‘pure’ dubstep and aint it always the way? Pendulum brought metal-consciousness to drum’n’bass and ripped the scene up ten years after we’d laid the initial blueprint. Even Led Zeppelin would have been half the band they became without John Bonham’s supercharged heavy funk beats. Dance grooves have got to rock. You cannot stop it!

What’s the coolest thing about being a ‘Scouser’?

Everything!

What was it like touring in Ukraine – did you receive any musical influences from your Eastern cousins?

There’s always been a lot of deep love for Apollo 440 in Russia and the old Eastern Bloc countries. They get it. We probably have most fun playing there and touring Ukraine was one of the highlights of our live-performance career so far. Oleg from TNMK (one of Ukraine’s best rap acts that we toured with over there) appears on the track “Odessa Dubstep” on the new LP to great effect after freestyling with us onstage a few times. The song reminds us of our adventures in Odessa: private planes, Crimean pink champagne and all!

Any chance of a South African tour anytime soon?

Wouldn’t that be nice in 2012?

Interview: Rachel Briant

Interview: DJ SkinDeep serves Soulful House

Last modified on 2012-01-26 13:30:31 GMT. 0 comments. Top.

There’s straight-up innovation and artistry at BBB Music, as evidenced by recent successes of some of their artists namely Liquideep, C.9nine, Deep Xpressions amongst others. Driven by passion and a love for Deep House music. What began as an outlet for local talent has now acquired status that’s earned the respect of local & international DJs /Producers alike.

This time around however; credit should go to their recent unleashing of a virulent Deep/Soulful triple disc installment of sonic bliss ably titled ‘BBB Music Series’. A feel good tonic with a fine balance of groovy dance-ability doubling up to an after hour dance floor soother. I caught up with DJ SkinDeep who tells us more about the series and why he sees himself as an ‘avant-garde’ DJ….

What was the inspiration behind the compilation (BBB Music Series)?

The inspiration behind the compilation was to put together a compilation that not only showcased our label’s catalogue but also represented the history of the South Africa house music industry.

We also pitched the idea to eTV and suggested we collaborate with their popular TV show Club 808. They instantly loved the idea because it was relevant to their vision and we fitted perfectly. For us it’s more than a compilation. It’s a product, a storyteller and the label’s digital brochure.

We also made sure the packaging also represented the album contents. We wanted to break boundaries and move away from the norm, a brand within other brands.

Where within this inspiration do you see your contribution (Disc 2) fit?

I see my album [titled – ‘Origins’] as a storyteller. I compiled it in a sense that it showcases the different stages our local House scene went through. It begins from the 45BPM era (DJs @ Work & Tamara Dey), when it went underground to 115 (Antonio Lyons,Troye and Nomarema) until it became so popular that it had music videos (Sis ‘n Jones, KB).

‘Origins’ is a souvenir; everyone has to listen to it to be able to know where we come from as a South African House nation.
BBB SERIES Sampler by BBB MUSIC

You’ve gone back to dig in the SA House music archives (to compile Disc 2) and selected numerous golden oldies. Was it just out of nostalgia or were you trying to make a certain statement?

It was both a statement and nostalgia; most of the songs represent a certain memory to me and I wanted to share that with the rest of the nation. Every song in the album will remind you of a certain moment in your life, whether you were happy, sad, confused, with a friend, alone or in a club.

I think its credit to this project that tracks like Tim White’s ‘Sunday Lounging’ and Tamara Dey’s ‘What am I to do’ could just as easily be released today as 10 years ago. With that in mind, which aspects of the SA House scene have you seen immense advances?

Obviously the scene really changed with the evolution of technology, a lot of young producers are emerging from nowhere and releasing their songs with international labels.

As long as you have a PC and software programme, you can be easily produce a song and release it digitally. It was a different story back then because it was very difficult to break into the scene. The easiest path was to become a DJ; now it’s the other way around.

One thing I’m happy about is the facts that now House music has moved from being DJ oriented to being performed live i.e. C.9ine, Liquideep, MiCasa, Black Coffee, etc. That that has become one of the highest selling ideas in the country and it inspires most of us to even work harder.

How about a statement that ‘the more things change, the more they stay the same’.Do you think it applies to the local SA House scene?

Things have really changed [in a music business sense]; independent labels are slowly taking over and with enough resources. It will soon be pointless to release House music with major labels. The only thing that has stayed the same is the fact that the same independent labels don’t want to work together to enhance the standard of our local House scene.

In terms of ‘audience sentiments’ how has House music (including the authentic SA interpretation) changed from the House sound ten years ago?

In South Africa the scene has become somewhat pop influenced; people can put any lyrics on a 4-to-the-floor beat at 125 BPM and that can easily be called [or misinterpreted] House. There are obviously other popular artists/DJs that have kept to its pure form and yet popularised it in a good way. Ten years ago House was somehow underground, there was only one radio station that really pushed it and it wasn’t even national.

The standard of compilations also has dropped than what it was 10 years ago. Compilations have no longevity; DJs are recycling the same songs making consumers [willingly] not to spend their hard earned cash on albums that are “bubblegum”.

There are starting to be more ‘artist albums’ that there were ten years ago, the artist now has a voice unlike ten years ago when DJs were more celebrated/admired/given credit more than the artist.

The audience composition has changed. The scene has managed to crossover to all races hence the increment in sales and artist/DJ popularity. Brands also now believe in House DJs/Artists [as influencers]. They now make them spokespeople/ambassadors for their products.

In terms of the cataloging of House music do you see any overlaps/cross pollination of ideas or has House maintained its independent pillars on which it was derived?

The [primary] genre maintains its core pillars from its strongest Deep House sub-genre in South Africa. The rest of the sub-genres are sometimes diluted. In South Africa however, it has somehow become “Kwaito”; the tempo, arrangement, etc is similar. All they do is add vocals.

There is now a thin line between Kwaito & House music locally, hence you sometimes hear an international House DJ drop [sometimes unknowingly] a Kwaito tune in his/her set, thinking it’s a House tune simply because of its arrangement.

I take it you play/DJ regularly. What keeps you stimulated; DJ’ing week in and week out?

I’m stimulated by the fact that my sets are very eclectic. I don’t only have to select House songs for my sets. I’m also up to date with Nu Jazz, Broken Beats, Lounge and Hip Hop. I don’t only get booked for House gigs; I get booked for a diverse range of events.

Even the radio interviews that I attend [or invited in] are not only based on one genre that I play. That always keeps promoters and the audience curious as to what type of set I’m gonna drop. That maintains my relevance to the audience. I’m not in a box. I can easily pull magic at any gig that I’m booked for. I’m what they’d call an ‘avant-garde’ DJ.

How much of planning will you be putting into your sets on each stop when touring the country promoting this project?

I take a lot in planning my set, mostly in the type of music I’m gonna play. It’s not necessarily the exact titles because you might find you’re playing at a gig with DJs with your similar taste in music. You just have to find that gap that will make you unique from the rest.

Another trick is to also get a clear perspective from the promoter as to what type of audience you’re gonna be playing to. I also sometimes ask DJs that I know who have played at the event/venue. To me planning is key; it’s the same as a live musician doing rehearsals for his/her shows.

Apart from music, what else do you collect and why?

Do musical DVDs count [laughs...]? I’m a book-collector. I use them to enhance my knowledge. I strive to learn more about what I do and about life itself. I also collect magazines. I use them as my source of inspiration to work harder and for branding purposes.

What is the worse club you’ve played in? Why and what happened?

To be honest I can’t pick any specific club because I’ve had crap experiences in different clubs. I had never taken anything negative from them however. I take every bad thing that happens to me as a lesson. It helps build my character, whether it’s a bad set or bad treatment from club staff or owner, even when a promoter doesn’t pay me [laughs...].

INTERVIEW: Nduduzo Smalz Ngobese

Ryan Sullivan’s Swiss Experience and Dutch Love

Last modified on 2012-01-20 10:57:33 GMT. 1 comment. Top.

We chat to local Techno/ Minimal DJ/producer Ryan Sullivan about his tasty Swiss Tour in November last year, his noteworthy imprint Triplefire Records boasting Dutch releases and the dangers of an artist’s sound getting pigeon holed…

Your production style is neatly described as Techno. How much else would you say makes an influence on the music you make and why does Techno resonate with you so personally?

Techno, just like any other genre label is dangerous and I think many other artists have shared their feelings as to why. It’s the pigeon-hole thing. Personally I think the older sounds of progressive house are still my main influence whether I want it to be that way or not. I’m talking about the sounds of Sasha and John Digweed, Danny Tenaglia, Hernan Cattaneo etc.

I’ve had many different influences over the years, from the old Jungle records and artists like Prodigy through to the world music sounds put out by Peter Gabriel and his Real World Records.

I guess my is sound labelled as techno today because artists like David Guetta, Swedish House Mafia and the like have claimed the Progressive House term, so the older prog sound kind of automatically shifted to the techno genre. It’s quite funny actually.

The sound just hits me because it does. I know that doesn’t make any sense but I really don’t chose to make the music that I do. I mean I do chose to sit down in the studio and work on an idea but often I intend on creating one thing, like a harder techno record and end up with something completely different like deep house or anything else but what I initially intended.

What were some of your main aims with the Gut Feel Radio Show you hosted in 2009?

The mission with the show was to showcase Gut Feel Records’ artists and other artists who we liked so we were hosting big name guests alongside the labels artists to spread the music further. It’s always been important for me to show people the sounds I like, so it was all about showing South Africans what the world was up to and at the same time showing the world what the South Africans were up to.

It was going really well and the old shows still recieve loads of downloads and listens but we’ll see what happens with Gut Feel in the future.

What has moving to Cape Town in 2009 taught you about yourself and your career?

I’ve been in Cape Town for just over two years now and it’s been nothing short of amazing. You could never grow tired of the lifestyle and surroundings here. Since moving, I’ve learned not to take myself too seriously which has been really good and I’ve almost taken a back seat in the music world, well at least socially. In Johannesburg I was out at every club and event every night and since moving I’ve been focusing more on the business side of Triplefire Music. It’s also led me to composing more music for film and television which I’m very happy and grateful for.

Finish the sentence SA Dance music needs more…

Dedicated dance music producers, agents and managers. On the production side, we have many talented producers but the dedication is what I battle to find. Too many artists talk of sending demos and never do or send them and don’t follow up with the necesary information to be able to release a record. It’s very frustrating and I end up releasing more music from elsewhere around the world rather than South Africa. It’s gettting better all the time though!

What was the creative concept behind your latest releases ‘MDH’ and ‘Chase’?

This is a perfect example of where the initial idea and final product are quite different. MDH and Chase weren’t planned to be on the same EP but Eighth Dimension Records liked the two and got some really cool remixes together from Jaymz Nylon, Iron Horse and Stereo 77. MDH is kinda like my take on the old Deep House sound bit with a modern twist. Chase on the other hand was one of the few tracks that came out as expected. I wanted a record for my sets, that was really groovy and had melody but didn’t break right down and build up as dance tracks usually do. So in Chase, the break down is actually the large part of the track and where it kicks in is quite subtle.

I never knew what to do with these tracks as they’re very different to my normal sound but they were great tracks to work on, so that’s when I thought that Eigtht Dimension would be a good label to approach as they always have something different to offer and they were very happy with them.

Ryan Sullivan @ Fun & Floor, Hacienda, Switzerland, 12 Nov 2011 by Ryan Sullivan
Considering your November 2011 Swiss Tour. How would you describe the Dance scene in Switzerland?

I never thought that the minimal sound would still be so huge in Europe. The events I played at were quite different though. The Fun & Floor crew in Sierre host amazing events incorporating live painting, mc’s, turntablists…very urban, very eclectic, even incorporating jazz sometimes. I was playing my groovy house/tribal/tech sets over there. You can pick the box it belongs in, haha. Quite slow and chilled but still dancefloor driving.

Any plans to go back there?

Absolutely! Nothing arranged as yet but I loved my time spent overthere and will make sure I get to go back some time. Triplefire Music and Oh So Coy Recordings are working on some colaborations together. They are a label operating from Laussanne in Switzerland, so I’m sure I’ll be back that side soon.

What can we expect next from Triplefire Records?

The label is picking up all the time, we’re still new on the scene so we have many highlights still to come. The Triplefire Music nights at Sapphire in Camps Bay have been great and we have a few more lined up for Summer 2012. We’re also working on the second volume of our Deep South compilation and have a great line-up of releases for this year. First for 2012 is Captonian artist, Helmut J who will be followed by other international artists Wael B, Daphnia & Ouroboros, Will Konitzer, Syo and many more.

On the business front, our publishing department is up and running smoothly. It’s being handled by a large publisher in The Netherlands so we’re gaining momentum quickly.

Hmmm lotsa Dutch fans ey?

Haha, I guess there is some presence there as I’ve released on a few Dutch labels. Last year I signed a single titled Anemone to Manual Music. They’re a really hot label so I’m quite chuffed with that. Eelke Kleijn has also signed one of my EP’s to his Survival label, that should be out in the next few months.

Check out Ryan’s Fanpage for Triplefire releases and Gig dates

Interview: Edu Imbernon – SA Tour This Week-End!

Last modified on 2012-01-19 08:54:10 GMT. 0 comments. Top.

We chat to DJ/ Producer Edu Imbernon a few days shy of his South African tour this week-end at Trinity in Cape Town and Truth Night Club in Joburg. He has been rocketing to worldwide recognition and success since his hit “El baile alemán” (Liebe Detail, 2009)  was named “Best Underground Track of the Year” by Beatport. He tells us about why he digs Nu-Disco,  how much he loves South Africa and what sort of releases he saves for Eklektisch…

A lot of emphasis is placed on the fact that you are young and successful, with ‘El baile alemán’ being named Best track of the year by Beatport. What are a few of the things that have helped you soar so quickly?

Yes that track helped me to make myself heard. I think there are some things that have helped me this past years. The remix of THE XX- Crystalised was also key for my career, as it came out in the right moment, when the band explode world wide and on a great label such as Young Turks. There have been other friends like Coyou, Uner , Los Suruba that are also taking off and we have also helped each other.

Releasing in other important labels such as Get Physical,Noir, Skint, Stil vor Talent to mention some, has also helped me a lot. Hard work from me and the people helping me with my career.

Is there any difference to the work you release on those reputable labels to your own imprint Eklektisch?

Eklektisch is my own label as you said and I just release very special and intimate tracks. Young Turks for example has released a remix of The XX, where the track contains a lot of the original one.

How popular is Nu-Disco in Spain and why is it you enjoy adding this flavour to your music?

I think its a world wide trend but when I produce I don´t think about any concrete markets, I just do what I feel. I think making the tracks a bit more poppy in a way makes them richer, it permits me to include vocals, melodies but also the bass. It has to be also dancefloor oriented. My sets are usually 2-3h long so there is time enough to play different sounds, it should be like an amazing trip!

Edu Imbernon live @ 5uinto, Brasilia by imbernonmusic

You have pretty much toured around the globe, what has been your favourite destination so far and why?

Well the greatest thing is that the world is amazing! there are many places that are special, each of them for its own reasons. South Africa is probably one of the most beautiful countries ive ever been to. My last set at Truth was epic. Another great place is Peru, the nature, the food , the people… and of course IBIZA for being the capital of dance music and such a beautiful island!

Thanks for that Edu! What can the SA audience expect from your set at Trinity and TRUTH?

Everything! The last gig there was so special that I can’t wait for this saturday. On top, I’ll have many of my best friends from spain with me and also some good SA friends from last time I played there , which will make it even more special !

I’ll play all my last productions, which hasn’t been released yet and will be out soon on labels like Get Phsyical. So all new stuff and good energy!

Do you have any pre-DJ rituals to calm your nerves?

Just setting everything up and making sure my ipad is correctly linked with my mac. that can be a pain in the ass!

Your best and favourite personal remix work?

The XX- Crystalised!

WIN Free Tickets to JHB Event

Interview: A Little Bit More than A STEREOTYPE!

Last modified on 2012-01-13 08:41:27 GMT. 0 comments. Top.

Interview: Eelke Kleijn delivering ‘Out The Box Music’

Last modified on 2012-01-12 09:21:04 GMT. 1 comment. Top.

“People take dance music far too seriously nowadays.”

If you have been on digestion mode of  Dutch Dance Music lately then you definitely have been getting in some of Eelke Kleijn‘s distinct beats. His latest EP ‘Levensgenieter’ (due for release 16 January 2012) off his own label Outside The Box Music is supported strongly by the likes of  Nick Warren, Dosem, Hernan Cattaneo, Nic Fanciulli, Axwell, Pole Folder, Dave Seaman, Paul van Dyk and Markus Schulz.

This latest offering hosts a sound that is a swirling anthem-top-heavy synth laden release, placing this talented and hard working producer at his unified best; deep, grooving and exquisitely executed. Through harvesting his love of deepness with a luxury of rhythm he has created an idyllic escape for any dancefloor gathering. With the b-side ‘Flierefluiter’, he peels back the edges of his recent darker sounds to reveal a downtime flow that has a distinct techno crunch which, with its deliciously warm melody line, possess all the energy necessary for that perfect dusk-to-dawn crowd pleaser. We chat to him about his debut release, the concept behind Levensgenieter, playing in Ibiza and Beunos Aires and who he makes music for…

What do you think it was that made your debut album ‘Naturally Artificial’ stand out so that Global Underground took notice and released it on their label?

Well when I sent them the album it was only half-finished, I had about 6 tracks ready. I think it was the mixture of more traditional elements such as violin and guitar with electronica influences that made them take it up. Most of the tracks I sent them were not really typical dancefloor material, but on the edge between electronica and downtempo stuff. After they had heard the first 6 tracks they were quite eager to pick it up and I got a free hand to work on the other tracks.

Finish the sentence. I make music for…

Myself. I’ve always had this little voice in the back of my head that tells me to make music. I can’t really sit down and not make music. For some reason I start to feel extremely guilty. It used to get too much sometimes, nowadays I’ve learned to take a Sunday off and not spend it in the studio, but before I could often not sit on the couch and do nothing because I’d start to feel guilty about not writing music.

Describe a set at Privelege in Ibiza and how would that set differ to one you played at Moonpark in Beunos Aires?

Well if you compare the two, Argentina is a country with a much more underground scene for music. The set I played at Moonpark was quite deep, for one because I was warming up for Hernan Cattaneo, so I’d start at about 122 BPM and build it up slowly. But in general the scene in Buenos Aires is really great for underground music. Privilege on the other hand is much more of a commercial club these days. I can’t get away with playing deep house there, everything from the first to the last record has to push exactly the right buttons.

Why do you think the Dutch have such an affinity for creating Dance music that people love?

I think it is because we’ve been ‘fed’ dance music ever since the late 80s, early 90s when it was already booming here. A lot of the young generation of producers that you see move up the scale nowadays, have listened to electronic music their entire life. It’s not an underground thing in Holland, it’s been very mainstream all these years. So even though we are a small country, you have a huge amount of people and potential ‘new producers’ getting exposed to dance music

What was the creative concept behind your latest EP ‘Levensgenieter’?

Well, I wanted Levensgenieter to sound like a modern production with some of those terrible 90s influences. Like the cheesy drum rolls and ‘woooo’ sample halfway into the track. I wanted something that would push this record over the top. In the end I’m really happy with how it turned out. It’s a fun record for having fun on the dancefloor, and that’s exactly how it was meant. People take dance music far too seriously nowadays.

Check Out his latest EP Levensgenieter due for release next Monday!

Eelke Kleijn – Levensgenieter / Flierefluiter by Eelke Kleijn

How do you maintain a fresh outlook on your production?

By listening to other music and by writing other music. I’m in the fortunate position where I get to write a lot of music for TV and film as well. And that is really what keeps me going. I would get bored if I had to write dance music all the time, but then again writing music for ads all the time isn’t everything either. It’s the combination of the two that keeps me going strong. After working on a scoring project for a few days it’s great fun to do a dance record and think about the nightclub for a change.

Your second album ‘Untold Stories’ seems to hold a deeply personal meaning for you. What is the title reminiscent of and is there any reason you released it on Manual Music instead on ‘Outside the Box Music’?

What I tried to combine on the album was the more traditional ‘Eelke Kleijn’ sound that most people are familiar with from previous releases, and the scoring influences. Generally speaking it turned out alright, the reviews have been mixed but generally positive. I don’t know if I would do it exactly similar the next time, but I think each album is a process that you can analyze later on and learn from. At the time I did not want to release the album on my own label. I’d been so deeply involved in writing it, that took nearly 2 years, that I didn’t want anything to do with the whole distribution and promotion chain, so I asked Paul whom I’ve known for a long time if he was interested in doing it on Manual Music.

Are there any other exciting things to look out for from ‘Outside the Box Music’ this forthcoming year?

Definitely! For one I am aiming to release more of my own music on the label. Originals as well as remixes by myself and other artists I admire. I’ve also got a great line up of artists ready for future releases, including Federico Epis, Jim Rivers, Rauwkost, Dosem and Blind & Folds.

Exclusive Interview: Mobilee Records Marcin Czubala Goes Africa

Last modified on 2012-04-10 07:31:31 GMT. 0 comments. Top.

Marcin Czubala, hailed as Mobilee Record’s Techno maestro made it all the way to Cape Town shores last night and played at Zula Bar in Long street. Just before his gig we met up for drinks and a friendly chat to talk bout ‘Your Mama’s Friend‘, his DJ Mag recognition and the on set of  his ever growing and changing music producing future. If you are in Joburg you can catch him at TRUTH for the NYE Party next!

Mary: How do you feel about being named number 15 in the DJ Mag Top Compilation charts?

It came as a big surprise to be honest, not really expected at all. Right now we have received a lot of support from DJ Mag. They also listed my own label ‘Your Mama’s Friend’ as label of the month this year in October.

Mary: How would you describe the dance scene in Poland?

These days Europe is really like one place. It’s all merged and everything has become one style with most of us taking the lead from Germany. In Poland itself we don’t really have such a big market and have like four or five major clubs and Dance music is the main music market. We do have a good momentum going though and we are getting a lot of exposure.

Mary: How would you say your production has changed since signing to Mobilee Records?

In ‘07 and ’08 there was a big speed up globally of Minimal sounds and Mobilee was leading with just that and whatever they put out was blew up and they gained a lot of respect that way. The last single I did for Mobilee was focused on that German clubbing sound and I tried to keep it similar. Now it’s calmed down a bit and I’m taking my music exactly where I want to now. I’m doing my own thing making it more bassy and groovy with Old school Speed Garage and R&B samples.

Your Mama’s Friend 01 – Marcin Czubala – Forever Young ep preview by Marcin Czubala

Dev: The second disc of ‘Back to Back’ you used live instruments and vocalists. What is your favourite live instrument?

[Smiles thoughtfully] I really like the big acoustic Timpani drums.

Dev: Your own label ‘Your Mama’s Friend’ that you recently started, how different will the stuff be coming from this label to what you putting out on Mobilee?

It’s going to be completely different because we won’t be focussed on Dance music only. We doing slower tracks at like 115 Bpm, we are using genres such as R&B, UK Based House, Old school Garage and Chicago House.

Mary: I find it interesting that you incorporate R&B, because for a lot of SA Dance producers, R&B is a swear word…

Really? Well it’s the way of the future everyone’s sampling R&B tracks using the vocals etc. take James Blake for example; you see it just has so much soul. I love that.

Top of your personal playlist

I listen to and play everything by ‘Eats Everything’ he is also the DJ Mag breakthrough artist of the year. He is definitely the man of the moment. I’m also listening to Red Axes from Tel Aviv and Fusion Electro newcomers, Viadrina that we just released on ‘Your Mama’s Friend’. Another one is Ellen Alien.

INTERVIEW: Dev Weitz & Mary Honeychild

Exclusive Interview: Dino Psaras, Deedrah & Absolum

Last modified on 2011-12-27 10:31:54 GMT. 0 comments. Top.

Three heavyweight psytrance producers are part of this year’s international line up at Rezonance NYE Festival 2011-2012. Each one of the three have influenced the genre from as early as the Goa days of the 90’s right up to now where they continue to be stalwarts of a scene that continues to evolve and survive. Dave Mac caught up with each of them for a quick Q‘n A just days before they blast us into 2012.

Dino Psaras

It has been a long time since your Cydonia days [Dino’s early 90’s psytrance project]. When last did you listen to one of those tracks and have you ever considered remixing any of them?

Yeah I have listened to a few of them and I was quite surprised by a lot of them that they didn’t sound so bad after all these years, but the production these days is so much better so it’s hard to fit them into a modern day set.

Cydonia was great Goa trance but Tortured Brain was cutting edge in my opinion. Do you still get requests for classic tracks like The Dealer to be dropped? (PS: A remix of this due, hint, hint)

Well its funny you should say that because The Dealer is one of the tracks I’ve been thinking about bringing back to life, but let’s see if I can find any of the parts. I’ve had about ten studio Macs since them days and samplers and stuff but I’m seriously thinking about it.

3. 138 BPM seems to be the new 145 in some circles of trance. What’s your take on slowing down your DJ sets and productions?

Basically for me I started of playing underground club music; techno, rave etc. before trance, and in the beginning of the trance time when it was really underground the music was 130 bpm to 135; In my opinion it’s a much more sensible speed in many ways firstly, because the sound is fatter and there is more space between the sounds and then not to forget funky! Also when you are working at 145 it’s very limited the kind of basslines etc. much less space to fit in melodies and stuff but I don’t want to get boring either. But the main reason for me why it was a bad idea is because it gave birth to the mentality that faster harder more crazy equals better which is far from the truth and my way of thinking is that music should be stylish, original and memorable. Trance music lost all those qualities the day that everybody thought it was ok to do the same 16th bassline every time. Okay when Xdream did it great but, everybody doing the same signature things in every track really ruined the trance as we once knew and loved it, so for me the move from 145 to 138 is what stems from the scene getting diluted by certain people in the scene. So now I think this is just a healthy way of refreshing the music back to the state it originated from which is how it was in the Dragonfly [seminal 90’s UK trance label] days and Concept in Dance days,[Dragonfly compilation series], all 130 to 135! Also a very important point is that if you look at all other music genres from trance to techno to house to electro they all sit around the 128 to 134 bpm area so if you want your music to be played by anybody else except a small group of trance djs you have to be around that bpm nowadays.

Since your first set here in South Africa in 1998 you’ve come back every few years. Naturally each time your sets have evolved but it has always been your own signature psytrance sound. What’s in store for Rezonance this year?

I will play two kinds of sets not to disappoint my diehard fans who expect to hear something more close to my old sound. To be honest I think whatever kind of music I play whether its slower or faster it always has my kind of twist on it which is crazy basslines some tech flavours and trance influences but I just would like everybody to have an open mind to all kinds of music because trust me, there are too many killer tracks around in the scenes at the moment to just play one kind so if you are open minded you will, for sure, be going to a much fresher place musically and with lots of diversity so I hope everybody will like it.

Psytrance used to be the ‘rock n roll’ of dance music but these days there’s a lot more diversity in electronic music. What’s the most exciting thing to happen to the genre in the past 5 years?

I think the fact that all the djs from all kinds of music are not sticking to their particular styles; they are fusing lots of flavours together. Say ten years ago if you saw Tiësto he would just be playing commercial trance, now he plays electro, techno… all kinds and same with a lot of the other artist so the fact that people are prepared to cross music barriers now makes it much more open to play a more interesting selection of music in a set. I think that’s the most exciting thing about the last few years of music seeing a progression and development of new styles.

You are a legend in DJ circles (particularly psytrance but other genres too) – name one DJ that has always impressed you over the years.

There are too many djs and bands that I have loved over the years so it would be hard to name one, but I just love fresh quality music no matter what style it is, as long as it’s got a certain magic to it and rocks the party. Anyway I’m looking forward to coming to Cape Town again. See you there happy Xmas.

Dado [Deedrah / Transwave]

I see you are back making Deedrah tunes. I listened on your Soundcloud page. Sounding phat mate. Are you excited to be creating new Deedrah tracks?

Yes! I am so thrilled to be reaching the final steps of the recording of this album. It took me a while and I’ve experienced a few hard and tough moments but now it’s all coming into place and I am very happy about the sound. I am having lot of fun mixing it, and the overall sound is somewhere at the level I wanted. But you know while I am still at work and before the release date everything can move quickly . All files are there and I use my Fat Bastard mixer which has a hub to link the digital world to the analog part of my studio so I can easily recall the setup and usually after my set I first go to the studio and modify what I think could work better. Having the dancefloor in mind this time , it s still a very personal album and I am having issues trying to categorize it or to put a particular label on it . Pure Deedrah shall I say.

I am sure you have been playing them out at gigs before completion. Have they been well received?

Sometimes yes , sometimes a bit less ‘cos it all depends on many parameters and as I am playing live it’s hard to change a track list quickly. But as I see it from my last tour with Kromepressings (my label) or as Deedrah it’s all working as expected . I am very proud, actually, to play this music and I get great pleasure seeing people dance to it…

It has been a long time since you were last in South Africa. Are you looking forward to coming back? What do you remember of the place?

You bet! I am dying to come back and I just hope this time it won’t be 4 years before return! I loved it the first time I came and I look forward this time… big time!!! Actually I can’t understand why it s been so long, Dave! [smiles].

I think I saw somewhere that you were teaching electronic music production in Ibiza. Am I right?

Yes I did some sessions in Ibiza , but I am on a more important project called the EMC (electronic music consulting), involving master session and studio building consulting etc . Basically something that would teach you from ground up how to build a studio , use it , and play the music you want to produce in it . This project has an international dimension although it will be based in Sao Paulo at first. I hope I’ll be able to give you more news about this sometime in February .

How is the music scene in Ibiza these days?

I left Ibiza after 11 years last year. I live in Barcelona now. The scene is very active there. Somehow I found that Ibiza could be very limiting… I am looking to diversify my activities away from just dance music and I needed to take a break from the Balearic madness!

Which artist (electronic or not) is your current favourite to listen to?

Skrillex

Christof [Absolum / Transwave]

The past several years have been a tough ride for music labels and selling of CD’s. Has there ever been a time when you thought of giving up on psytrance like some producers have?

Evolution is part of the human story. I do believe it applies to everything… means that you must adapt to new environment or you die no? I have been pretty sad seeing the Trance scene collapsing those last years, after all what we achieved to build all together, worldwide: but what can we do: still believe, hope and love this music….I have never thought about leaving the trance scene, but I am more & more involved in my techno projects (iBZ Recordings / Take No System): this is where I come from originally and this gives me a good balance…

Did moving to Ibiza change your approach to your music making?

My friends were a little worried when I told them I was moving there 8 years ago: it did not affect my style at all. It was just a personal decision moving there, not an artistic one: trying living a better life with family.

Which country still remains your favourite to play in?

I would say Japan for the crowd, SA for the craziness and Portugal which is the biggest scene in Europe for such a small country.

Which music artist (electronic or otherwise) would you say had had the biggest influence on your life in music?

Depeche Mode

You have been to South Africa a few times now. What’s your impression of the South African psytrance scene?

Wild & Crazy: love it… see you there guys!

Rezonance NYE Festival 2011-2012 kicks off this Friday for 3 nights and 4 days of New Year blasting.

Don’t miss the action!!!

Interview: Andy Baxter – Pacha Resident and Eclectic Electro Muso

Last modified on 2011-12-27 07:57:05 GMT. 0 comments. Top.

Andy Baxter will be in Cape Town, South Africa playing some fresh day tunes at the New Year’s Day party at The Grand Cafe & Beach, 1 January 2012. We catch up with him via online channels to pick his brain about his favourite tunes, spotting young talent, his eclectic music taste and his favourite Ibiza memory…

You are known for mixing a variety of genres in your sets. How do you balance this and manage to sound fresh and original?

The thing is, I like – no, sorry, LOVE – so many different types of music, keeping on top of everything is impossible… otherwise I’d be a possessive junkie spending my very last cent on music! I just do what I can with the time I have, checking out as much new music online as I can, online and from different record shops. I admire guys like Gilles Peterson – he is constantly up to date with new, great music… he is an inspiration to me.

Describe for us a session at ‘We Love… Sundays at Space.’

Playing for We Love… is a totally different experience for me, as the musical outlook is very different to Pacha. It’s a younger, more festival-style of crowd. I dig around for more electronic, eclectic and Detroit influenced sounds to suit the flavour of the party.

How different are those parties to your weekly residency at El Chiringuito?

El Chiringuito is my weekly retreat from the hustle and bustle of disco business! It is simply amazing, and has grown to be my favourite restaurant over the past few summers. Here I can get into a beach style frame of mind, browsing through an endless supply of across-the-board beats. Oh… and did I mention there’s a guy slicing the finest Iberico ham right beside the DJ booth every Sunday? Mmm…

The Fix with Andy Baxter on Ibiza Sonica 2011 by andybaxter

What are some of the things you look for when scouting for new talent?

The first thing, if I can visually see the talent, is that person’s charisma when playing music and then their sounds. It is always nice to be surprised when listening to their sound, for variation, originality and depth of musical knowledge.

Regarding your propensity for genre mixing, what can we be expected to be treated to at the New Year’s Day party at The Grand Cafe & Beach?

Expect groovy rhythms, tribal beats, warpy bass and a few classics thrown in to remind us why we love house music.

Your most recent and favourite Ibiza story?

My memory is a bit hazy whenever I am asked this question – I don’t know if that is a good thing or a bad! But here is one of the most recent: two weeks ago I held my monthly Pachatronica party with some of my closest friends DJing with me. After an amazing party wrapped up at around 6am, we heard there was another party still going on at the infamous Underground club. We drank, we laughed, we danced, we vomited, and at the end of the day we were all playing records in the glistening sun, enjoying the fact we are ‘gente de Ibiza’.

Top of your personal playlist this week?

Wow, there you go again with the tough ones, This week I’m torn between a brand new Guti track called BAM, which is about to be released on SAW, and the awesome Touch You Gently by Art Department which is also due out in January on the brilliant Crosstown Rebels record label.

Just in case a fan would like to say thanks for the set that will surely be rocking, what is your favourite drink at the bar?

Without a shadow of a doubt, my favourite drink – and I do have a term for this beverage as the drink of the gods – dark rum and coke, preferably Havana… but I’m not fussy!

Interview: Ben Fonnix – Entertainment from the Soul

Last modified on 2011-12-22 14:20:28 GMT. 0 comments. Top.

Ben Fonnix, a Joburg based high energy DJ and an Electronica power fuelled, producer who has been blazing up dance floors at major clubs in the Vaal, outdoor music festivals and high profile concerts nationwide. A  self confessed Tech House, Minimal and Techno junkie he keeps things original by juggling the balancing act between diversifying and and remaining true to his own taste…

You label yourself as a Tech House, Techno and Minimal artist. How important is it to you to keep your sound pure to that feel?

Since the early days of my DJ career, I’ve always looked past the norm and attempted to push the boundaries of what can and will be played. I think that real entertainment comes from the soul and you have to feel what you play! I never plan my sets as this keeps things fresh and original! Techno, Minimal and Tech house is what I derive the most energy from. I like to incorporate many different sub genres of these styles. I’m addicted to the heavy bass lines you could say! I get mounds of energy in my sets from hearing the speakers bleed with hot sounds and vibrations!

dePSYfer_aka ben fonnix_nov_2011_techno_promo_mix by benfonnix

You have played at many different events and festivals in your time as a DJ. Name one that distinctively stands out in your memory and why?

The gig that stands out for me the most without a doubt would have to be playing at H20 – Deadmau5. Firstly I am a massive fan of the legendary Deadmau5 and to see him perform has been a dream of mine for many years! It was truly a privilege to be included in this massive event’s artist line up. I completely rocked the floor with an unbelievable and original set; without a doubt my favourite event of all time.

How different would a set of yours be at Black Orchid to a set at Manhattan night clubs in Joburg?

I keep all my sets fresh, at clubs like Manhattan I would be spinning funky tech house with a commercial feel. I also like to incorporate loads of sexy house tracks to keep the masses entertained and jamming hard! My sets in the past at a venue like Black Orchid were very experimental, I used the fact that the crowds are so mixed and different to experiment with multi genre sets! Some nights i would be seen playing deep progressive sounds and moving slowly into an up beat electro mash up!

How relevant do you think it is for producers to cross genres and diversify the make-up of their sound?

Producers need to keep to their originality as much as they have to keep to interest in their production. I strongly believe a good producer is someone who can balance them both.

How long would it normally take you to produce one track?

Tracks that ive made in the past took me anywhere from a a week to a month to make, im a perfectionist to say the least! If  I don’t feel a hundred percent about a track I’ll scrap it then and there! Production is amazing and can show your creative side but I’m a club DJ through and through!

What do you think South African Dance music could be still be missing at this point?

I don’t believe we are missing anything, South African dance music has come a long way over the years and the tracks that are out i believe are of international quality. South African producers are taking things to the next level and most definitely putting SA on the map with the world wide dance community.

One thing your fans will be surprised to know about you is…

I love these questions!! Something no one knows is that I listen to Jazz. I don’t see it as a bad thing, I appreciate good quality music regardless of the style and i find that after a night spinning beats at 130bpm there is nothing better than some chilled out Jazz music to let your ears heal and your body rest.

What can we expect next out the kitchen?

As everyone knows i promote many club events, 2012 is going to be a huge year filled with many massive events. There is much to be excited about for 2012 including MASSIVE festivals and huge international artists who are coming to rock your socks off!

Interview:Inner City – ADE 2011 Interview Amsterdam Studio 6

Last modified on 2011-12-21 08:54:01 GMT. 0 comments. Top.

A chat with Inner City team at ADE 2011 on their 21st Century comeback, the other projects, the creative process and how it is that they manage to stay relevant…

It has been close to a decade since you last put out an original Inner City record. What have you been doing in the time that has passed?

Kevin: We have not released a lot we have been with our families, we all have kids now and just been taking a break. We had a big run over the years with what we have produced. It was about time to sit back, take care of our families and other parts of life. I have done some other things too, I have been DJ’ing. Ann has been writing, singing with plenty of other projects, touring and taking care of our babies.

Which are the other projects that you have been working with in the past time?

Ann: Going back 10 years I’ve worked on ‘Blackwater’ and ‘Artic Wall’. I have worked with Defected parties “Connected” and taking care of my kids.

So it’s not like Inner city never really went away anywhere?

Kevin: Yes the voices are here and the writing creativity is here. Sometimes with creativity you don’t push it, you don’t force it you just let it happen when it’s meant to be. When time allows it you just feel that inspiration, I guess that the creativity is the back then.

Its autumn 2011, I believe this is the new embarkation, the new chapter of Inner City. What is the philosophy behind your plan? Why are you back now?

Kevin: Our philosophy why we want to come back now is simple, we love music. We are creative people we think that there is a void in music. I play all around the world and you don’t hear as many songs on the dance floor. We know that we had a great impact we believe that we can offer that again, inspire some people and we are re-inspired.

With the new track for the future, some people are saying that it seems slightly autobiographical with the lyrics can you tell us a little bit about it? How it came together and what it’s all about?

Ann: Paris and I got together Kevin had sent us some music. It was basically us feeling the music. We were all going through different things at the time, we were thinking of the economic situation and different things that are going on in the world today. We wanted to address that and we always use our lyrics in order to so. That’s why we decided to talk about what was going on.

The title of the track is very forward looking is there any relevance to a retrospective aspect down to it or is it totally something new? Or is it forward looking rather than back looking?

Paris: We want to go forward, it’s basically what we learned that we have taken from that and are taking it forward, in to the future just like the song says.

Over the last 18 months or so, there has been a surging popularity of tracks which looked back onto what you were saying, taking the old school sound bringing it up to date. Is that something that you have noticed or is it a factor in the time you are coming back too now? Do you think that your sound is becoming even more relevant today?

Paris: I’ve always known Kevin as being more forwarding ahead. What he takes from the past is usually something growing from his own experience and his own creativity. Imbibing those elements whit what he thinks is missing and puts out a new sound. I guess Kevin can speak for himself of how much of an influence the past has had on your music writing

Kevin: I think the past with different artists, there’s definitely a lot of young artists that are taking old songs like our songs or other songs. They are either looping them sampling them at the end influenced by them and putting them back out now. I am conscious of it because I DJ all over the world and several of my records were done that way. I am definitely aware of it I believe they are looking for something.

They don’t know how to find it within themselves, so they go back because those times were some great moments and it’s always easier to back. Because if you keep going back then nobody might not even have a chance to know what those songs were all about, its’ in that age and within that generation. It’s like then the new word out there goes “did you hear that new sound”. However, it’s just a loop that has been modified and updated most of the time it sounds good. That’s the way younger producers have done it, it’s when you get a sound in one record and it becomes a hit, then other producers start doing same then it becomes some kind of trend. We have been around since the beginning of this music evolution therefore, for us creating the energy and these new tracks its still us, we are from the past but we are also in the future.

In terms of the writing between you, obviously Kevin does a lot of the production and you guys contribute lyrically and the song writing. Does one come before the other or does it happen at the same time?

Paris: It always starts with Kevin creating some sort of beat, rhythm and idea. Then he gives it to us to take it too the direction we want to take it. After that he comes back in, it’s back and forth. There have been a few tracks from the past where we requested a clip track from Kevin, then suggested him a melody and lyrics asking what he could do with it. But mostly Kevin knows where the music is at, more than I say myself. I trust him as far of the direction of the music.

Touching on the seminal records that you have been involved with, that a lot of people knows you for as “Big Fun” and “Good Life”. They are some of the most enduring tracks in House music. Why do you think that those amongst others have endured so well and are so well recognized in the House scene now? Because a lot of tracks from that era were lost sadly as it sounds. However, these have not been at all, why do you think they resonate with people today?

Kevin: I think our music in the way it’s written in the melodies, its very hooky they are spiritually connected and they make people feel really good. It touches them from the inside.

Paris: They always came from a good place when they were written. I just remember being in a good mood listening to Kevin’s tracks when the lyrics and the melody came. It was not like a forced thing or a struggle, I was walking to the mall when “Pennies from Heaven” came to me and I was in my room dancing when “Big fun” came to me. At that time I just felt good when I heard the songs, what I felt is what other people feel when they hear the songs today. I believe that’s why it lasted for so long.

How about your plans at the moment? Do you have a tour as it is a large and significant part of a musician’s income as there are not enough earnings in actually releasing a track these days? Is that a plan for next year is that something you are going to be doing more?

Kevin: Touring definitely, we went out on tour just a couple of years ago just to get a tease and to slow down my mind. Performed for big and small audiences, I still enjoy it. The time is now therefore, that’s definitely something that will be a part of our plans.

In terms of your live setups specifically what is it? You guys are singing and doing other things as performing.

Kevin: With live sets it works in multiple ways it can work as well as in Ann and Paris just performing vocally a straight up PA. It can also work with me having my drum machines, using Ableton , my little computer setup controlling it with a percussion player . It can also work with two key boards and another percussionist it can be up to 8 people. We have done it in various ways the last two years usually when we do the big tunes with all the musicians in the U.S.A. We hope to bring some of that over here in the future.

A final thing that I would like to ask all of you is what the track means to you?

Ann: Hopefully it means that Inner City is going to be around for a long term into the future. That we have written a song that everybody can relate to something that everybody has gone through someway and somehow. I think that means so much because it is so real.

Kevin: It doesn’t matter if it’s good or bad, anything that happened in the past, find a way to move forward keep a positive attitude on life and things will be better if you do.

Paris: What the future means to me is touring and I like the idea of getting to meet the people that like Inner City’s music, when we go out to photo shoots, perform and interviews. I like meeting the people that support us, it is probably one of the most fun things for me it always has been and it will always be all the way in to the future, see you all.

The Kenny Larking Tension Mix of  ’Future’ has been blowing up Beatport charts!

Kevin Saunderson presents Inner City ‘Future’ (Kenny Larkin Tension Mix) by Defected Records

Check out the video for ‘Future’

Interview: Sebastien Leger at Hello Techno

Last modified on 2011-12-12 10:35:14 GMT. 0 comments. Top.

French born and brewed Funky Tech House  guru, Sebastien Leger graced South African shores this past week-end, treating local fans to some clubbing goodness and some of that good tech tunage. We had a chat with him at the HELLO TECHNO Party just before his Live set at Trinity Night Club on Friday night…

What have you experienced since landing in SA?

Mountains, the sea shore and the Upper east side hotel. I have just been relaxing since I flew in yesterday and this is a very beautiful city.

What does the world not yet know about the Dance scene in France?

Probably that there is no real Dance scene in France. That is why I have moved to Amsterdam and is where I live now.

What prompted your visit to SA?

A friend of mine told me that Deep House was really big here a few years back and for that I was very curious to come check it out. Then I got offered a few gigs here so I took the opportunity.

Things you never fly without?

Ear plugs and a sleeping mask!

When you first started Mistakes Music, what aims did you set out for it and were they reached?

I would say that we are almost there, it’s a slow process but it’s moving. The one plus and aim that we have reached and maintained is 100% sole control over our music and the types of productions we pump out. For me this is the first and foremost important thing and I would like to keep it this way.

Aside from the Daft Punk remix ‘Around the World’ what is one of your more recent other favourite remix?

Yes, it definitely is a track by Format B titled ‘Dog Tag’, that’s my favourite.

Format:B – Dog Tag (Sébastien Léger remix) – Formatik Records by sebastienleger

While you are playing a set, what are some of the things that can take your set from good to great?

You know, it’s always the crowd that make a good party. I could be all excited jumping up and down but if they are doing it too and cheering it just makes the whole party that much better!

Interview: DJ Ganyani – Urban House

Last modified on 2011-12-06 14:24:26 GMT. 0 comments. Top.

The flash of life and vibe that House music has brought into the music industry has been translated into many different sounds, remixes and interpretations. The front runners in this genre have managed to sustain themselves and stay on top of their game long after they entered it.  One such a man is DJ Ganyani, I got the chance to catch up with DJ Ganyani and tap into his thoughts of the industry today.

You are one of the oldest names in the SA house game. Are you proud of the progress the genre has made in the last decade?

Yes I am, especially with South African House music doing so well.

How do you stay relevant in such a fickle industry?

Well for me it has always been the love of what I do as well as my ability to adjust with the changes in the industry.

Not much has changed in terms of your busy schedule. What do you do as soon as you get some downtime?

I spend most of my down time in the studio.

“You’re not so far” is doing great on local charts and it really is a staple on any good set. Do you feel there’s a good support base of local DJs in the industry?

No, not DJ’s anymore BUT music producers.

Dj Ganyani – Not so far by DJGanyani

You were once a rookie DJ, one who taught himself how to play and mix. If you could tell that young guy something, what would you say?

Dj’ing is not all about fame, ladies & money, though we need money to make a living…it is all about entertainment, passion & of course the love of it.

Tell us more about the project called “Ganyani: The Family, First Gathering”

GE Family is short for Ganyani-Entertainment Family. This project was started by the legendary Dj Ganyani in late 2010 (in 2011 it was changed to “The Family” due to name clashes). It is a fuse of different projects with different producers, writers, vocalists and DJs. This led to the creation of unique, profound sounds under the sun. Realizing the great potential in these sounds, Dj Ganyani decided to turn this project not only into an album but a team of great musicians. The Family – The 1st Gathering is one of many great albums to come from Ganyani Entertainment. It’s not just House Music, it’s a musical journey. A journey travelled by people who remain true to the art of making bodies dance, an art that heals souls and keeps happy memories alive. This will be an ongoing project and as the name suggests “The Family”, it’s a combination of different characters. The way we interact in the studio is reflected in our music, the ups and down the great times we have in our gigs.

Is your success at its peak or do you feel you have way more to do?

Not as yet, though it’s a bit more challenging now, i still feel there’s a lot I still have to achieve especially in the music production side of things. Been a dj for quite sometime now, have achieved a lot, still enjoy doing it BUT i must admit the traveling side of it is getting to me.

And after years of mastering this craft, Ganyani remains humble and motivated to take it to another level. This South African house veteran is not slowing down and the dance floors all over the world are not complaining either.

INTERVIEW: Star Khulu

Interview: Mark Kinchen – Defected Records

Last modified on 2011-12-06 13:22:56 GMT. 0 comments. Top.

MK – an influential House music producer of our time

Marc ‘MK’ Kinchen is an artist-producer who straddles boundaries as few others can, partly due to being the protégé of the legendary techno god Kevin Saunderson. On the one hand, he’s revered by lovers of house and garage music worldwide. His classic 90s productions such as Burning, Always, K.E.L.S.E.Y’s Boy and 4th Measure Men’s For You remain floorfillers to this day, as do his 200-plus unmistakable remixes for artists ranging from Bizarre Inc to Blondie, not least his mix of Nightcrawlers’ Push The Feeling On, which became one the biggest house crossover hits of the decade. He’s cited as an influence by countless leading producers – including, significantly, Todd ‘Godfather of UK Garage’ Edwards. This pre-eminent status is reflected in the fact that he’s the latest artist to be featured in Defected’s House Masters series. Here he gives Toni Tambourine a snapshot of what’s going down in his world…

Do you think that throughout your career you have learned pretty much everything there is to learn as a producer and DJ? Do feel like you have earned the title House Master?

MK: As far as being called a House Master, when I look back at all my productions in one track listing I guess I can kind of see it, because there are plenty of records out there maybe 50. As far as Dj’ing, I’m more of a producer than a DJ. I do enjoy DJ’ing especially lately when I see people react to my tracks and sets. I did not really use go to house clubs all the time. Because I did not DJ in the 90s, let’s say 90 percent of my records, I’ve never heard in a club before.

Let’s talk about your background, how did you come about studying music, a lot of people have a classical background how did you learn?

MK: I kind of got into music through the 80’s. I loved Dépêche mode, Skinny Puppy and Ministry, a lot of weird types of music. I was always interested to learn how they made that music. So I taught myself, I bought books I read them and studied them. They were a few times where I thought of getting lessons. However, I thought to myself if I take lessons I might get cheesy, so I decide to go on a hundred percent pure feeling.

Going your own way meant you developed your own style, that MK style! How would you describe that MK sound ?

MK: The key element in a MK record is by getting a good melody out of some type of vocal piece you treat it like it’s live or die. Most of the time I’m doing remixes I would start with a vocal piece, I would figure it out in any possible way I could. I would listen to my sampler, a vocal, load in my sampler and literally play the button.

How did Detroit and New York influence you?

MK: Detroit influenced me because that’s where I grew up. Detroit is like dance music House music Mecca, no matter what type of music it is if you listen to on the radio every sound on the radio they play they “speed” up, pitch up so you can actually dance to it. And then hearing and meeting Kevin Saunderson influenced me then things started to happen. I moved up to New York and that sound mixed with what I grew up on gave me the perfect idea, I knew where to go. New York was known for being more mellow smooth underground type of sound and in some way I knew how to give it energy how to make the sound more alive.

Talking about Kevin Saunderson, how did he help you with your career? Is it true to say that you were his protégé?

MK: Yes when I was in Detroit I was pretty much Kevin’s protégé. At that time working with Kevin I never really recorded in a studio before. I never really worked with somebody that knew what they were doing, a lot of times going in with Kevin I used to watch him and see how he did things. The funny thing was that it was pretty much the same I knew all that it was just different equipment. I felt more confident I felt like I was not so behind just because I was so young and starting.

Anything in particular that you feel you’ve learned from him?

MK: Watching Kevin’s drums, he always had like the hardest hitting drums. I was not going to clubs in that age in 80s so I did not really understand why the drums’ had to be so loud hitting so hard. Coming from making alternative music those drums never had hit like that, the pressure of the drums sound good together. Then watching Kevin he used to kill the drums it used to hurt my chest, the drums had to kill you.

House Masters MK by Defected Records

I would consider your signature tracks which are “Burning and 4 You” did these records change your life?

MK: When I made “Burning” I don’t know if it changed my life it’s weird because I was so young when I made that record I was 18 I did not know the feedback. I put the record out myself and distributors kept calling back to reorder. I had nothing to gage it on, I did not know if those numbers where bad or good or average, I was thinking it was average it was not 10 million copies I had enough to buy a new car I guess it was ok.

‘4 You’ another beautiful record and tell me about the re-rubs of Maya Jane Coles?

MK: I did a record called ‘4 you’ in maybe 1990. The way it came about I was living in New York at the time and I went back home to see my mum. I was asked to do a little remix for a Reiss project. Kevin had a new singer named Rachel with very good vocals so i was asked if could come and make a remix. I accepted and went down to KMS Records. A lot of times I just went there to record just by myself, there was no engineer and Kevin was not there. I did not even hear the original song I just got Rachel’s vocals, she is a really good singer excellent voice, so I started sampling her vocals. I realised I can’t give this to Kevin. I was playing it loud and really enjoying the drums. It got me that I couldn’t give it to Kevin, I had to have it. I called him and said Kevin I can’t come up with anything so I going home. That’s how that record came about.

There was a period you when you were not so active is that true? When did you decide that you wanted to get back into action?

There was a period around 1996 where I was getting bored with the remixes, because everybody wanted something that sounded like The Nightcrawlers. They didn’t really know about the real underground scene, they just knew about the success of that record.

Then eventually I met a guy called Jay Brown who was working with Quincy Jones. We ended up talking. I did not tell Jay Brown that I was MK he just thought that I was a producer living in New York. However, I had a $20,000 Dollar watch so I kind of looked like I was good at something.

I gave him a CD of my pop and r’n’b productions which he took home to L.A. The next day the president of Quincy Jones Music called and said “Quincy wants to sign you”. So Jay Brown started managing me, teamed me up with Jay-Z and I started to produce with him and did a couple of pop songs. Also through his connections I produced Snoop Dogg, Tevin Campbell, SWV and Dave Hollister. At that point I had no desire to go back to House music as there was nothing interesting out there for me.

How is your relationship with Pitbull?

MK: In 2009 he was pretty popular on the radio and was more like a hip hop artist, I noticed he had a song coming out I heard on the Mix show though they were mixing The Nightcrawlers with Pitbull. A couple of weeks later I actually heard that Pitbull sampled it and my first reaction was that’s great. I called my brother Scottie D and asked him if he could call Pitbull asking if I could do a remix. He said yes, after I started to work with Pitbull quite often.

How do you balance making credible, underground records with huge pop anthems?

MK: It’s a lot harder balancing the two styles than people may think, especially when on the one hand I’m working with Willow Smith which is more edgy kind of hip-hop, compared to on the other doing stuff with Pitbull which is more totally commercial. I keep trying to bring back MK, but it’s pretty hard to juggle which is why it has taken so long to do a new MK record.

Do you have any underground records in the pipeline?

MK: The underground records are coming; it’s good that I DJ right now and am touring. Like I said I don’t DJ that much, but doing a couple of shows, playing certain MK records has shown me that people go mad when I play my tracks. I guess that this is the type of sound that’s ‘in’ at the moment, the ‘MK sound’. I have just done a remix for Morgan Geist under his ‘Storm Queen’ guise and I will be working on more material soon.

MK Housemasters is out NOW on Defected Records.

WORDS: Toni Tambourine

Deadmau5 at St Yves: Press Conference

Last modified on 2011-12-01 10:27:28 GMT. 1 comment. Top.

Yesterday [30 Nov '11] we headed to St Yves in Camps Bay for South Africa’s first glimpse of the iconic Deadmau5, greeted at the door by hostesses rocking evening wear and tight smiles in the middle of the afternoon.

Sponsored by Olmeca tequila we were offered an option of bottled water and one tequila sunrise if you wanted. A far cry from the ‘crazy party’ image Olmeca has associated themselves with. This press conference had none of that glitzy, party friendly loosening up pretense us journos have become accustomed to.

With all the country’s major and minor league media in attendance we sat down for a little back and forth with Shaun Duvet and Joel Zimmerman (Aka Deadmau5). Whether for the lack of vibe, or general lack of interest or the restricted drink rationing (we were told to buy our own drinks at R20 a shot), the talk took on a strained fashion with awkward silences in between the odd question being asked. So much so that Deadmau5 himself felt obliged to point it out. To fill this gap Duvet and Joel chatted about well… themselves and we all got to listen in, privy to what seemed to be insider info… or something like that. Somewhere in the middle of this Joel grabbed the tequila bottled in true ‘artist-being-sponsored fashion’ and gave it a quick swig from the bottle. Awesome, we always love a little bit of personal show-boating. We also got to hear that he and Paris Hilton are no longer talking, how much he misses his cat and how far along his home renovations are coming.

Fortunately we did manage to get a few decent answers to some of our questions; here is what was asked and how he answered.

Were you surprised that you had so many SA fans?

Yes! I’d never seen so much anticipation for a tour before. The day I got to announce the tour details my Twitter and Facebook fans and followers increased rapidly and still is.

This is your first visit to our country, what made you decide to come finally?

I have friends who have been and everyone has just been telling me that it’s crazy and you gotta go. Now I’m here and this is the first time I tour a country and actually do a semi-formal press conference. It’s really exciting that I have such a big fan base here.

If you were a BPM (Beats Per Minute), what would you be?

[Laughs] 20 BPM, I’m slow.

How do you go about selecting artists for your Record Label, Mau5Trap?

Every artist I have ever signed has been a weird chance happening. I heard some weird warped stuff a few years ago from this young guy named Sonny. It was some crazy out there music and I thought about it and knew that because there wasn’t a market for this yet, I would be taking a chance on this, but I did release it anyway and it was a success. I like to be a conduit for other producers with my label who are talented and working hard and who need that push. I’m not interested in some young kid who doesn’t really want to be a producer, who did one track, put it on a CD and now hopes to get famous from it.

Can we expect a trip down memory lane with some of your earlier 2007 stuff in your sets on this tour?

Yeah for sure. I’ve got some old classics that the die hard fans would love to hear!

What are the elements that can distinguish a set for you while playing from good to great?

Nothing is really on the spot or spontaneous. It is all pre-empted and planned, the surprise and the ideas happen when I’m prepping it before I play. But while I’m playing it’s all very structured, we even have people with placards and timers on everything we doing because it’s a big production.

When the dust has settled and the party is over, how do you measure the success of the performance?

The glow sticks and how much shit is left on the floor afterwards! The messier the floor is the better I feel and just know it was rocking. Not the big glow sticks though that people throw around and damages the rig and stuff, but the small ones are great. Fans throw them at me and I can feel it on the mau5 head and it goes ‘ting-ting’ I love it. So bring your glow sticks!

Catch him tonight in Cape Town at the CTICC, 2 Dec in Durban at The Wavehouse then finally in Joburg on 3 Dec at H2O.

WORDS: Mary Honeychild

INTERVIEW: ALL ZENNED OUT – ZEN MECHANICS

Last modified on 2011-12-12 10:45:38 GMT. 0 comments. Top.

Zen Mechanics returns to Cape Town this weekend for Vortex – “Let There Be Light v:3″ happening at the “Circle Of Dreams” in Riviersonderend. Dave Mac chats to Wouter Thomassen and discovers a real Psychedelic Freedom Fighter whose love for Psytrance and its ethos is as strong as ever…

I have to ask you this as a Dutchman. What’s the deal now with the Red Light District and the Smoking shops? I believe this is on its way out in Amsterdam?

I’ve been hearing this for decades…don’t trust the rumour mill or media is all I can say :)

Why are Dutchmen always so laid back? I’ve never met one who isn’t super chilled?

Are we? I dunno…must be the fluoride.

Are you super chilled?

I’ve been called that…obviously not by people who’ve witnessed my occasional outbursts of road rage and countless run-ins with suits… mainly power-tripping airport security and custom officers, etc hehehe.

Although you started to produce in 2003 and right from your first releases, Zen Mechanics was a big hit – it took you until 2008 to release your debut album. Was there a specific reason it took so long?

My life became pretty hectic after my first few releases…I’ve been practically travelling nonstop since 2006 and on top of that it can take ages to finish a track. I guess I get bored easily and always work on many different projects simultaneously. Working on albums is a long process for sure, mainly because once you’re done with a new track,  you wanna go back to the earlier tracks and update them…it never ends really.  I had a deadline to catch though, so I was kinda forced to let it go at some point.

In fact other than “Re:modified”, an awesome remix album by the way, you have not released another album. Any plans to do so?

Cheers mate. Yeah I’m currently working on a new album which contains mainly collaborations, also I started a project with Ace Ventura (named Zentura for now, surprise, surprise). It’s strong straightforward chunky stuff for the big rigs and open-air dancefloors with lots of oldschool Trance flavours thrown in the mix…big riffs and such. We plan on taking it on the road next summer.

Whilst ‘full-on’ trance in its various forms still exists, are you also being drawn toward the sub-140 BPM beat these days or do you still like it 142-145?

I don’t really think in terms of ‘Full-on’ or ‘Progressive’, I just see it as Trance (or Psytrance in case someone asks me if I do stuff like Tiesto), I’ve always been into both slower, groovier stuff and more dense up-tempo stuff. Though it’s been a while since I made anything above 142 BPM (besides a remix for Fearsome Engine I’m working on)… 138 BPM is where it’s at for me these days. 138 is the new 140!

As one of the top Psy artists – but one that has never tried to release ‘commercial trance’ – well not as Zen Mechanics anyway – can one still make a decent living out of travelling the world playing at parties?

As long as u get enough bookings, I don’t see why not.

When will we be seeing some releases from SOURCECODE [Wouter’s new label]?

We’re gonna launch the label early 2012…we have a couple of EP’s and compilations under construction that will make some waves no doubt. We’re a small crew of dedicated people who’ve all been highly active in this scene since the mid 90′s and all share a common passion for quality Trance. Our aim is to release albums like those glorious old comps on Flying Rhino Recs etc. I’m talking proper deep, edgy Trance, none of that trendy clubby stuff that’s dominating the Beatport ‘Psytrance’ charts these days. Also there will be a sub-label dedicated to Ambient/Downtempo called Dreamcode. The website’s almost done so keep your eyes on that www.sourcecode.nu

Is the Psy-scene globally shrinking, getting bigger or has it reached its limit? i.e. staying constant.

I don’t see any signs of it shrinking… on the contrary; there’s more festivals than there’s ever been. And no it hasn’t reached it’s limit…it won’t stop till the entire planet is one massive permanent psychedelic playground.

You’ve played in SA before. What are your memories of your previous experience?

Yeah I played at Vortex Easter party which was epic. A proper psychedelic bonanza in the great outdoors the way it’s meant to be. The Vortex crew know what it’s all about. The location and vibe was top notch… though I was pretty shocked to hear about the bushfire (the day after I left), but as far as I know no one got hurt too bad and the punters and crew dealt with the situation like champs. And thank god the powers that be didn’t use it as an excuse to ban outdoor parties around Cape Town. Could be worse!

What 3 things make an awesome party?

Confetti, clowns and the absence of Cops

And lastly, what’s your favourite drink when hanging/playing at parties?

Coconut with a straw

Interview: Sibot – Synth Scratching Thug Life Speed Rap Boss

Last modified on 2011-11-28 12:53:44 GMT. 0 comments. Top.

Sibot is a thrill to watch perform live and a revolutionary at thugging out Synth Scratchy and sometimes Kwaito Electronic beats. It’s been a head bopping, hip bumping, fist pumping pleasure to jam out to his sets at some of the best Electronic Music stages at some of the sickest festivals and parties this year. His diversion from turntablism and growth into the exploration of Synths is the delicious treat of  sexy grungy music satisfaction we get from him today. We track this crazy boy down for a little one on one.

You’ve been in the game for a minute now, what keeps you motivated?

Performing, TV games, hotdogs and isolation from music.

Your music is near-impossible to put a label on, how would you describe your particular sound?

I suppose its a mix of straight hip hop, electronica like chris clarke, a bit of kwaito and nerding out on technical production technics.

You’ve collaborated with a pretty diverse range of artists in the past, how do you go about deciding who you want to get involved with musically?

Colabs always have to be natural …you can wanna work with someone but they have to wanna work with you if its gonna work.

You’ve played at clubs and festivals al over the world, what energy do you find the most satisfying to connect to, the massive outdoor crowd at festivals or more intimate club/private party crowds.

Any crowd is cool if they on your side. There’s a point in a good gig where you realize that the crowd REALLY gets you and no matter where you go next they’re coming with.

What’s been your worst case of Murphy’s Law at a gig? (what can go wrong, will go wrong)

So we’re playing on a farm …hmmmm? The old bergie/bearded sound man sabotages our gig by unplugging the bass bins, tries to kiss spoek and theres a dog on the dance floor …. #musicwasabadchoice

Favourite place to play in the world?

Oppikoppi vs Switzerland

No question by sibot *gravy*

How does the local festival culture compare to what’s happening overseas?

Its a lot smaller but its in a very good place …we’ve come a long way in the 10 years Ive been involved.

A lot of our more experimental hip-hop artists seem to be getting a lot more love internationally than they are here at home. Any comments on this?

I think its great, Die Antwoord has done a lot for our scene. It took international exposure to break them locally…silly.

You’ve done some work for some of the biggest brands in the world, how does an artist who’s reputation screams non-conformist getting around making music that is so obviously “tailored to taste”?

Over the years I’ve built a business making music for commercials, this has taken the pressure off relying on the music closest to me to make a living… more money more paper.

Of all the musical collaborations you’ve been involved with, what has been the most creatively fulfilling?

Markus Waddy and Spoek Mathambo are the ones but working alone has been the most fulfilling.

INTERVIEW: Nathan Kabingesi

Interview: Deep Candy (DC-8)

Last modified on 2011-11-24 08:47:34 GMT. 0 comments. Top.

Minimal, Techno and Deep House DJ Deep Candy, known to fans from her days back in 2003 as ‘Lady of the Deep‘ thanks to her legendary performances at Joburg party nights ‘How dirty is your House‘. She is the one sugar coated half of female duo Candyflip along with fellow female DJ iCandy. We talk to her about how her London experience affected her South African perception of Dance music, what it means to be a female DJ and the experience of judging the KGB Vodka Music Production Competition.

What kind of influence did London have on your sound, how did it inspire you?

It was in London mid 2000 that I started my collection of music, the influence was huge as I was exposed to alot more variation and availablity of music, then in SA at that time. I was completely blown away at how “advanced” and professional the scene was compared to SA. It was a breath of fresh air to me as I realised that THIS interest I had in music could realistically grow into a more serious and professionally acknowledged Art.

I was fortunate enough to have friends that had been living in London for a good few years that had grown into the scene. I was introduced to DJ’s, Club Owners, Managers, like minded people that all shared the same interest in music and became an inspiration to me. Music was part of my Everyday life.

When you came back to SA in 2003, how different was the industry to the one you had become accustomed to?

Coming back to SA I noticed that we are behind in terms of technology and knowledge in the industry. We lacked the training facilities and we are unexposed and uneducated as opposed to the already established industry in London. In SA I found that the attitude towards DJ-ing was not really taken as seriously as people hadnt been educated or exposed to the ART of DJing and didnt really have an understanding of Electronic Music. Our industry lacked variation, and what we had been exposed to was just the tip of the ice berg. I also found people followed the masses and it was quite difficult to introduce new sounds.

Which do you most enjoy, playing as a resident where you get to know your crowd as time goes by or playing at various gigs, where reactions are unpredictable ?

As an artist and underground DJ, it’s the unpredictible response from a crowd that gets me going. The underground scene in SA is still pretty small and the same faces are often seen at all events and clubs. My sound is constantly growing and changing and whether I’m a resident or not, when I am booked for a gig. I have my own unique sound and strive to be as creative as possible to get that WOW from each gig.

Deep Candy – Live @ Next by deepcandy

You are part of a small group of lady DJs in SA, what do you think about the reaction towards your gender in the industry, does that stifle growth at times ?

Yes I am fortunate enough to have been recogonised as a professional DJ and artist. Being part of a group of talented female Artists is an honour for me. I think its awesome that Females are being recogonised in the industry and this group has given woman a platform to grow in a male dominated industry. I do find that being a female DJ, I have been booked at events in the past for no other reason than people thinking a female DJ will pull people regardless of my sound or mixing ability. I find it unprofessional and an insult to Female artists. Talent and Passion are often overlooked.

It’s one thing entering competitions and winning them, it’s another thing to be chosen out of a list of hopefuls to actually judge a prestigious event like KGB Vodka Music Production Competition. That must have been a stamp of approval on your talent.

Wow… Yes when I was asked to be one of the judges I was pretty blown away. I was chosen purely on my taste and ear for music which obviously shows in my performances. It was a huge confidence boost for me and inspired me to grow even more as an artist and trust in my creativity and continue to express myself through my sound. I am recogonised for my sound and the effort that I put into my performances.

Finish the sentence: Music should be…

FELT

INTERVIEW: Star Khulu

Interview: DJ Louis on opening for Deadmau5

Last modified on 2011-11-23 12:22:54 GMT. 2 comments. Top.

DJ Louis, the story of the man who has the hottest gig in South Africa this December party season. A veteran of the early nineties rave scene and a DJ who has proven his ability to keep clubs hot, packed and bumping. Yesterday there was a lot of curiosity around who he is once the Deadmau5 support line up for his tour was announced. We decided to catch a word in with him and talk about how he got to this point, what we can expect from his set and just how he landed that coveted spot on all three legs of the tour.

1. You started DJ’ing back in 1997. Aside from CD’s replacing turntables and laptops now replacing CD’s – what else in your opinion has changed for DJ’s behind the decks over the past 15 years?

That’s technology for you and it will always change. As we know more & more Dj’s have turned their Dj sets into a live act/performance and experience not just with equipment but also with visuals, dancers, robots, LED boxes/screens and the list goes on… It’s not just about the music anymore it’s about the experience.

2. Relating to the same question above, what would you say is the major difference between clubs and parties today, say compared to late 90’s, early 2000’s.

Clubs and parties back then were special and unique in its own way because it was so underground and new to everyone. Now the clubs are mostly commercial and there aren’t that many parties either because we don’t really have the numbers like anywhere else in the world where people go out to cool clubs and big parties every weekend. Also if all the genres were exposed on radio like back in the day it would make a huge difference to the number of people going out and getting educated.

3. You have 2 DJ compilation CD’s under your belt, plus you have played at umpteen H2O parties, as well as many others in JHB, so this no doubt confirms your ability as a DJ – yet somehow people are asking who DJ Louis is after the Deadmau5 line-up was released? So c’mon tell our readers. How did you land the best gig in the country right now?

To the thousands that are coming to the shows and to the people who don’t know me yet, I have worked long and hard and have performed with some of the best in the industry. I was a resident at club Truth for eight years and been a resident at H2O for the past 10 years. I have done opening sets for Paul van Dyk, Judge Jules, Cosmic Gate, Fat Boy Slim to mention a few. I have always been very humble and grateful when promoters book me, and if they believe in me it must mean something… right?

4. And what can people expect from your set?

Expect the unexpected!

5. What do you think of the rest of the DJ’s on the line-up in the different cities?

Absolutely awesome! I always enjoy performing with my friends and hearing new acts.

6. Other than, of course, Deadmau5, who else are you looking forward to hearing play?

I have played alongside most of the artist on the bill and have always enjoyed listening to them and for this tour,

CT – Chris Jack

DBN – Martin McHale

JHB – Boogie Knights

7. Describe your DJ style in 5 words…

Passion, Electric, Dirty, Energy Fuelled

8. What’s the first thing you do when you wake up?

I play with my dogs Titan & Texas

9. Any pre-gig rituals you like to follow?

Two double Vodka, Lime & Soda [Laughs]

10. What one thing will you always find in your fridge?

Water…

11. Favourite drink?

Vodka, Lime & Soda.

12. Shout outs to?

First of all to the promoters and event organisers who believe in me and gave me this once in a lifetime opportunity thank you!!! All my fans, my friends, family and all the people who work so hard to keep this scene of ours alive every day, thank you!

Interview: Hip Hop MC Youngsta

Last modified on 2011-11-17 13:34:35 GMT. 0 comments. Top.

“I’ve seldom been told I can’t rap or that I’m bad at rap, and if anybody said that it’s either genuine hate or because his girlfriend keeps playing my music and he can’t stand it. I’ve learnt to accept the bad with the good. I can’t please everyone you know.” – Youngsta

Well, the crowd seems pleased, every time. The new hip hop sensation Youngsta, the Emcee from the streets of Wynberg, speaks to us about his rise to fame, from a time where Rapping wasn’t considered a real career. Well, not in Cape Town anyway…

The name Youngsta is somewhat symbolic in the Hip-Hop scene. Does it affect the subject matter of your raps/ style/ image?

The name Youngsta will grow up with me, but the name won’t change. I could stay young forever but it’s all in the mind. 2Pac said ‘I never planned to be a man it just wasn’t me’. So I’m in a similar situation where I don’t plan to age when it comes to the music. My image will evolve as time goes on, my raps will have to adapt to whatever state hip hop will be in and my style will always be fresh no matter what. Youngsters in general are taken for granted because of our age but, life has a way of making you older than you are so I think Youngsta is already a senior.

Your music is upbeat and covers a variety of pertinent issues on the flats that have been around for years. You have admitted to having laid down tracks about your own struggles but say that you are waiting for the time to be right. How will you make that decision?

When Hip hop is my career then I’ll give the listeners more of me. Personally I’ve been through a lot and since everybody has a story I’ve learnt to respect the next man’s struggle so that I can be thankful for my position in life. When I’m on a bigger level of stardom I think then I’ll be able to share my past and present with the fans because they’ll be familiar with my story and want to find out how I began and what I’ve experienced.

So Twenty two mix tapes in twenty two months? That’s bold. Being able to put down that many tracks is a gift. How do you work so quickly and still give music on such a high level?

Dedication, Persistence and Faith, and a team as crazy and hard working as I am. But most importantly it’s my undying love and passion for the music. I would never be able to make another song if I didn’t love what I was doing. A 9 to 5 working job is not what I had planned for my life because there was no joy in that for me. Studying didn’t really seem worth 50k you know? Hip Hop makes me feel free and gives a chance to expose my natural given talent free of charge and it’s only cost me a few pennies. Love will overpower anything if you open up and let it.

Home Grown by Youngsta

How do you deal with the negative responses that come your way since your rise in MC stature?

Haaaaaaaaaaaaaaaters! [Laughs] I love it! The fact certain people out there dislike me because I rap lets me know that I’m good at it. I try to be humble and kind to everybody I come in contact with from the man or the druggie on the street begging for change. But some people just have that black in them and there’s nothing you or I could do that will change that.

You’ve worked on multiple Genres, ranging from Techno, House to Funk. What something different can we expect next from you production wise?

I’ve rapped on like 10 electro house beats so far. I’m releasing my 23rd and 24th mix tape The TRANCEPorter 1 and 2, and as you can see in the spelling it’s a fusion between trance and hip hop music so that’ll be available soon from my team. Dubstep, Jazz, Funk…whatever! If there’s a beat let me ride it! I appreciated music so much more since I started rapping because crafting your own music is a journey and it’s exciting if you’re in love with it so yeah man, if it’s funky then I’ll funk with it.

As far as the next step in his musical Journey, Youngsta plans to release another album. Judging by his fast pace and ability to throw out a Mix Tape a month, it is very much to know that this boy is bursting with yet to be released flavour.

He has recently formed super-group called The FLY Kidz which consist of a dancer, rapper and a DJ/Producer. Look out for this.

‘The Y Generation” clothing range will also be launched soon.

Follow him on Facebook

INTERVIEW: Shana Genever

Interview: Deep Filth (PlasmaPool Records – Germany)

Last modified on 2011-11-17 11:50:50 GMT. 0 comments. Top.

Deep Filth aka Byron Kleb is a Trash Electro DJ/ Producer who has been climbing international ranks on Beatport TOP 100, with hits from his self titled EP at number 75 and 50 this year. He is also signed to well known PlasmaPool Records (Germany) and owes much of his success and drive to good old fashioned hard work in the form of blood and sweat for his passion. With many an admirable trait in his approach to his personal life and a few ideas to share on the SA Dance music industry, we catch up with him for a little Q&A in order to get to know him a little better.

What is the significance of Trash Electro to you and why have you made it your focus genre?

Trash electro appeals to my personality to be honest, its crazy Filthy and out of control! Most top trash electro artists are performers rather than a DJ, they are high energy characters witch bring the crowd to life. I love it and it is recently becoming very musical instead of just head banging basslines. I just wished SA had more of a following nationwide instead of just residing in Cape Town.

What has your career been like since signing to renowned PlasmaPool records (Germany)?

Its been unbelievable, being signed to such a well known record label really pushes you to work at your best and my music has drastically improved! I get to work with artists who I have idolized over the years. It’s also a label that I have admired over the years and their success speaks for itself, they have had countless Beatport number one’s!

You are from Durban, how does the local Deep House sound lend into your own taste and production style?

This is bait embarrassing but I’ve never been into the whole deeper sound vibe, its great for bars and lounges, but to me its seems like it never seems to progress. You can go to Durban now and guaranteed they still playing the same old deep house from ten years ago! But saying that I used to get really loose to the deep funk at TILT nightclub every Friday.

How important is it for music to be ‘face thrashing and in your face‘?

Well as a trash artist if its not something that is going to make you loose your mind then you not doing a good job! The basslines and synth sounds must be very aggressive and want you to explode on the dance floor. Just go to The Assembly when Haezer is playing and you will see for yourself!

Deep Filth – My City By Night(Original Mix) by Deep Filth

What do you think the local SA Dance scene could do with more and less of?

This is a question that seems to be going around a lot lately. SA dance scene is dominated by the Commercial scene. Very chilled music that you hear on the radio. I think SA could do with promoting successful electronic acts more! There are some already witch have done so much internationally but but still the locals have no idea who they are. SA definitely needs to have more a more variety of artists and performers rather than seeing the same faces every week.

I have to ask, why the ice hockey mask and what is the symbolism behind it?

[Laughs] It’s an Ichigo Hollow mask. I saw it in an animation series and fell in love with it years ago. Its symbolizes Deep Filth’s character my alter ego. When it’s on expect madness and abusive body damage, nothing can stop me except for the power cutting out!

Look Out for his next EP titled ‘My City By Night’ coming out next year with massive remixes by Nadisko, Pascal & Pierce, Enough Weapons and Riot Squad. He promises that this EP is going to be a monster and is attracting a lot of interest from everyone who hears the tracks.

For his latest gigs check out his Facebook Fanpage

INTERVIEW: Mary Honeychild

Exclusive Interview: Day Din (Germany)

Last modified on 2011-10-27 09:31:36 GMT. 0 comments. Top.

Day Din is in town to rip up dancefloors both in Cape Town @ Trinity – 28 October and in Joburg @ ESP Nightclub – 29 October

Dave Mac dropped him a quick email this week to get to know the man with the slinky, sexy psy-tech beats just a little better ahead of his two-city tour. Here’s what he had to say…

Are you excited about your first visit to South Africa? Have you heard much about the country?

Well, to be honest I‘m always excited and maybe a little nervous when I‘m travelling to a place I‘ve never been before. It reminds me of the time when everything started. In the past I was always so nervous before going abroad, nowadays I‘m used to keeping calm. Ahead of my trip to South Africa, I started to read a little bit about this country – the usual look into wikipedia, you know. In Cape Town I hope to have the time for taking pictures of the Indian & Atlantic Ocean :)

With Germany being such a creative hub for electronic music I am sure you were exposed to many different styles growing up. What made you settle on Progressive trance as opposed to House Music or Minimal techno for example?

One‘s sense of a human being looking for something – actually all the time. In the 90‘s, after visiting my very first progressive party I felt like I’d made my first step. It‘s a feeling that you cannot describe – I just belong to this scene.

Do you remember your first release? If so what was it and on which label was it released?

My very first release was called „Strawberry Cheesecake“ and was part of the legendary Area 51 compilations from Hamburg by DJ Magical. Area 51 was actually a very famous party there, quite possibly from the beginning of our trance movement from Germany.

Do you still play it out?

Of course not :) It‘s a very old piece of music and doesn‘t fulfil the zeitgeist of nowadays anymore – neither regarding arrangements nor sound quality. But sometimes I listen to these ancient tunes of mine at home and lose myself in good memories.

If you could remix one track (any music style) what would you choose?

“Purple & Lunar – Subtle Thrust“ or „Antix – Hiding Place“ … one of the best tunes ever and I‘d really like to do my own interpretation of them.

What is the most challenging part of travelling as much as you do and what are the three things you always have to have with you when flying?

Well, the most challenging part in our job is not losing yourself someday. If your life starts to exist in between frequent flyer programs, hotels and being on stage all the time, you have to watch yourself. My most beloved things that I always have with me are 1. a picture of my girlfriend 2. my computer and 3. my smartphone.

From your experience in making people dance. What is one of the most important lessons you have come to learn about what makes a ‘Stunning’ party?

Good music and fair prices at the bar ;)

I’ve heard that trance parties in Europe (except OZORA) have become a bit stale. In other words they are not so good right now. The vibe has been lost a bit. Is this correct?

Absolutely not. Life‘s always in motion. Our scene is always in motion. The audience changed, that‘s for sure but I cannot say if it‘s better or worse – it became different. Less Goa, more trance, maybe a fusion in between. The vibe‘s still outstanding though.

What country do you love re-visiting, not only for the parties but also for the place itself?

Switzerland has almost become my 2nd home and I really found some very good friends there. It doesn‘t even feel like leaving my home when I arrive in Zurich.

Are you an adventurous eater when in foreign countries?

I love food from abroad. In Brazil you‘ll get the best Sushi on earth, believe me ;)

What is favourite drink at the bar that fans could get you? (Just to say thanks for the rocking beats)

I‘m a big Whisky fan.

Free Tickets Up for Grabs: Joburg & Cape Town

Check out the trailer to the Day.Din Doccie

Interview: Terje Bakke (Norway)

Last modified on 2011-11-01 10:26:39 GMT. 2 comments. Top.

Heather Mennell Chats to Techno/ Minimal and House DJ/Producer Terje Bakke (Norway)who headlined at the TRUTH Monster’s Ball this past Saturday.

Introduce yourself…

Salute, my name is Terje Bakke, 24 years old DJ & artist from Norway! Currently living in Copenhagen, Denmark. weeee

You’re from Bergen, Norway – does the city have a vibrant club scene?

Bergen is a small city, approximately 250 000 and we don’t really have any scene here for underground club music, as we know it in rest of the Europe. The biggest reasons for this is strict closing policy and the lack of proper soundsystems and clubs. The doors close at 2.30 am so you can just imagine how difficult it is to build up a music culture and tension in the crowd like you see in the morning everywhere else where the door closes later. It doesn’t help that people come out late to the clubs either. They go out 1 am and expect to be smashed in their face with something instant and main room. So, where is the love, the deep sexy, long repetitive grooves with subtle vocals and melodies? People over here have no clue and understanding for this kind of culture and music. They don’t even know how to dance. They are just jumping drunkenly around completely blind by the media. I might sound harsh, but I just feel so different from this and it’s very frustrating and also one of the reasons I finally moved.

On the other hand, Bergen has a very strong scene for music in general, especially independent music. We have a couple of very interesting bands and people around here and they all support each other in an inspiring way. The music gets noticed nationally and internationally, and the Norwegian media they just refer it as “the Bergen wave” – because there are so many strong acts hailing from here.

Describe your style and sound?

My style and sound is all about modern rhythms. I like it deep, I like it different, I like it sexy, I like it warm, I like it repetitive, I like it subtle, I like it futuristic, I like it raw, I like it melodic, I like it minimalistic, I like details, I like everything. The key for me is to find music that sticks out from the mass. It could be everything really. But I do spend a lot of time trying to find the right tracks for my sets. I also do spend a lot of time producing my art. I want to play and create timeless music. Music you can play for years. That’s why I’m so proud of my latest releases. “Chere Madame” came out over one year ago, but big DJs and myself are still playing it when the atmosphere is right, and I will keep doing so for years.

What have your personal highlights of 2011 been?

There have been so many highlights this year! I’m still up and coming so this year has been the first year for me to travel around the world playing. My personal highlights is defintely all the cool cities and cool people I’ve met on my travels. This is what it is for me. I feel honoured that I have the possibility to travel around and meet new peoples and cultures and try out local food. It’s me slightly starting to living my dream. Another highlight was to finally moving to Copenhagen, Denmark to finish my studies. When I graduate, I will go all in with music.

Tell us about your latest releases

My latest release was Terje Bakke – Cotton Factory EP [Be Chosen]. Be Chosen is my home and the guy running the label has done so much for my career. The biggest track for me on the ep is definitely “Ekaterinburg” and this is the typical “timeless” track for me in this package. I will play it forever. The feedback for the whole ep has been good and it’s been on heavy rotation the whole summer. Beside that I’ve done some remixes. An alternative one for Hamburg based Hfn Records for a Danish group called Darkness Falls. The original was produced by Trentemöller and the release package also included a Trentemöller remix. Next up is a remix for a local Bergen based label called Untz Untz. This remix is also a little bit alternative and melodic from me. It will be released in a week or so.

Terje Bakke – Cotton Factory – BECH014 – Snippets by be chosen

Describe a typical Terje Bakke set

A typical Terje Bakke set contains a list of wisely chosen tracks that have been harmoniously put together in purpose of giving the listener an interesting and inspiring music experience. My goal is to impress the listener. I want to present new and old music on what my interpretation of modern rhythms is. The outcome should be something different from the mass and it should sound whole, not track by track. I play tracks with emotion and love, and all my choices during a set is made with purpose. Another aspect is length. My dream in the future is to be able to play long long long sets. That is when the magic happens.. when you get more than just 2 hours to twist people’s minds.

What have you heard about the South African Dance scene?

You know what, I’m a big fan of the South African music scene actually. I’m a music lover, how could I not be? A good friend of mine once found a South African electronic dance music store called Afrodesia and we kept this store as our secret for months, even years. As a matter of fact it’s still a secret and now I’m revealing it for all Europeans that are reading this interview. This store has so much treasures of local African talents that you will not find elsewhere. And I love the African drum rhythms and the way they build those drums. My favourite artists from there is def Black Coffee and Zakes Bantwini which of course is now getting massive attention in the rest of the world too.

Any special message for the SA fans?

All I can say is that I feel extremely honoured to get this opportunity. This is a huge milestone gig for me and my career and I want to thank all the people who have messaged me now before the gig. I’m so proud that my music has reached South Africa!!

INTERVIEW: Heather Mennell

A DAY IN THE LIFE OF A DJ’s Girlfriend – Ryan Dent & Linda Green

Last modified on 2011-10-25 10:50:16 GMT. 1 comment. Top.

Dancing to the beats until the sun-peeping early hours of the morning with the expectations of the fun to never end, while the artist behind the decks is in fact your special boo. Who would have thought.

Hoisted up on a mini platform delivering his love, passion and taste of music to the dancefloor – you spot him and oddly enough… your view of the music and the party is slightly different to everyone elses.

A day in the life of a DJ’s Girlfriend.

We chat to Linda Green the fiancé of one of SA’s most influencial DJ’s ,Producers and songwriters Ryan “The Dentist” Dent. Ryan has been a recognized name of success in the scene for 16 years and is also a member of the successful SA band “Flash Republic”.

Linda Green

Age:27

Occupation:Pilates Studio Owner and Instructor

Company: Body Synergy Studio

How long have you and Ryan been together for?

We have been together for 3 and a half years and we are getting married now on the 11th November 2011.

What kicked off the love affair between you and Ryan?

I was a professional contemporary dancer, for the pure love and passion of my art form dance, I worked 6 days a week for really no money. Tamara Dey, a friend of ours, approached two of us from the dance company and asked us if we would join their newly formed dance trio, Flash Republic. With much excitement we jumped on the band wagon and little did I know that I would meet my partner in crime. For nearly 3 years we toured the country and performed on many stages with Flash. Ryan and I used to have really long, meaningful conversations on the tour bus together but only after I stopped dancing for Flash, did we become single and available for each other. At the Coke Fest, we bumped into each other and literally couldn’t leave each others sides, we spoke non stop, ran around like to little kids in love for the first time and had such an adventurous time like never before. While my favourite band, Muse was playing, he politely told me that he was going to kiss me and the rest was history.

Before meeting Ryan, were you a fan of his music?

I am 9 years younger than Ryan so at that stage we were separated from each other, he was Djing and I was still in primary school. I asked my brother, Steven to please collect a cd from this guy, Ryan Dent as I needed to choreograph dances for Flash Republic. My brother was like: “Are you joking… me? do you know him? and I was like, “who Ryan, he is some dude in this new band I’m dancing in? ” his response was quite simple one of someone who has been to a party with the Dentist. “only the best freaking DJ in this country, I have danced hours to his sets!”

Do you often hear comments on the dance floor about Ryan and if yes, do any in particular stand out?

I hear comments all the time. I think sometimes it’s easier for fans to approach me cause I’m there with all the peeps dancing and chatting, the funniest one was at a really young party, some girl said, “Oh look it’s Mark Stent” now if you know the size difference between Ryan and Mark it is significant to say the least. I am often so blown away by Ryan’s fans, they are always so supportive, so complementary and certainly know how to have a party.

Are there any favourite or specific tracks that Ryan would play during a gig, that you’d both know its for you or your favourite?

Oh yes, we both huge Deadmau5 and Daft Punk fans. If he drops any track of theirs it’s like an unsaid thing between us and our eyes will always meet in a “YEAH!” kinda way. Any track from theirs is enough for us to go ape.

If you could make one of Ryan’s Dreams come true it would be?

I made Ryan a special scrap book for Christmas, it took me nearly 4 months and inside I had flyers and photos of all the gigs he had played at locally and internationally from the very beginning. It was such a journey that I went through and I found out things about him that blew me away.. He has really achieved amazing goals, opening for nearly every single huge Dj in the world. I would like to add to his dream by giving him the true status that he deserves. The Dentists World Tour, Sold Out! Us travelling the world together and Ryan showing the world what makes him Ryan Dent

Ryan’s Biggest fans don’t even know that he…

He is the best cook ever! He spends hours in the kitchen cooking up the most decedant dishes. I’m spoilt rotten and it is the best thing to come home to Al’ Denty’s Kitchen to see what he has in store.

What are your thought’s of the current state of SA Music?

I think we have incredible talent, artists who go above and beyond to become successful. I have huge respect for anyone who follows their dreams and sacrifices everything to make it happen. There are always personal likes and dislikes with regards to who’s your favourite band, Dj or artist but overall I feel there is always room for improvement with regards to what the industry offers them artist.

INTERVIEW: Dev Weitz

Exclusive: We chat to Kevin Saunderson – Detroit Techno Pioneer

Last modified on 2011-10-10 13:32:16 GMT. 3 comments. Top.

Kevin Saunderson is well known and respected for being one of the three revolutionary Detroit Techno pioneers in the late eighties along with Derrick May and Juan Atkins. A legend in his own right and a shaping hand in the modern Dance music we all know and love today. His most successful commercially recognised project INNER CITY has had 12 Top 40 hits in the UK, two Top 20 albums, with combined sales of more than 6 million. INNER CITY has also achieved many awards for outstanding accomplishments, such as ‘Best Dance Act in the World‘ by DMC in 1989 and 1992. Inner City have also received 4 Gold singles, 1 Gold Album and 1 Platinum Album.

In an exclusive interview with Kevin Saunderson, a few weeks ahead of his appearance at The Rocking Daisies Festival 2011 in the Red Bull Studio Live Stage, I got to chat to the legend about what Techno has grown into, his alter ego E-DANCER and what the idea was for INNER CITY…

Techno was founded in Detroit and is now loved largely across Europe. How much of it has changed in your opinion since it left home and got continuously reinvented over the years?

Yes, Techno has changed because of the Evolution of time and of technology. Generations of new inspired producers remixers and DJs have become a part of the genre and it’s just kind of branched itself off like a tree with limbs. So, it’s not the original sound that we started and you can’t expect it to be the original sound. We started it with a vision and people are inspired in different ways you know. But the great thing is that it’s still around. I think Techno will always be around because it is strong and has progressed in many diversions from what the original form was and nothing stays the same completely.

What are the elements that make up a good Techno track for you?

I think it’s just the groove you know, it can be slow it can be fast. It’s the energy you put into it and the effects you use. More importantly, you have to be able to feel the warmth and the rhythm and of course being able to dance to it.

Why did you decide to part INNER CITY with Virgin records in 1993?

I think it was a mutual agreement to part with Virgin Records, things had a changed a little. You see, record companies can be like that, they always looking for the next chart topping record. We were fortunate to have chart toppers but it was never our intention to try. I have chart top records too and we didn’t want to to be a group that’s a complete Pop focused.

You know all set on success by having hit records, I like to make music and just put it out. I don’t know if I am gonna sell one copy or a hundred or a million. I just like to put music out because that is what we love doing and we want to keep that focus. So, I think at that point it was always about, how can we get the next chart record and performing on top of the pile and stuff like that. It was a good experience but it wasn’t something that was a necessity for us any more.

As a Fan, how important would you say it is to know the history of the music you enjoy and why?

Why do I think? Uhm… Well I think it’s good to know the history of anything because then it gives you a better kind of over view of what you involved in and it helps you, maybe inspire and shape your thinking and can give you an understanding. It’s not a necessity, but I think it does help in those kinds of ways.

What can SA expect from your set at Rocking the Daisies in the Red Bull tent?

I myself don’t really know what to expect from South Africa, I have never been. But from me you are gonna hear music that’s true that’s real, that has energy. You are gonna hear some stuff that’s Housier. I play across the board, I play good House tracks, Tech House tracks, Techno. It just depends on the atmosphere I’m in and which direction I’m gonna go in. But I usually like to build my set.

Will we be greeted by E-DANCER your alter ego for some of that Good old fashioned Techno?

Well I am E-DANCER and I will be there so you will definitely have some E-DANCER Flavour tracks played as well.

INTERVIEW: Mary Honeychild

Be sure to catch Kevin Saunderson at the The Rocking the Daisies Festival on Sunday the 9th October 2011 at 00:30 in the morning on the Red Bull Studio Live Stage

WIN Tickets to Rocking the Daisies – Click Here

Interview: DJ Shannon – Her career and what feeds that creative streak

Last modified on 2011-09-29 09:33:29 GMT. 0 comments. Top.

DJ Shannon- One of Cape Town’s most sort-after Fem Dj’s. With skills on the decks, brilliance in her form, a no-nonsense attitude to her work … all complimented by her beauty, great sense of humor and love for all things music, she is on a go-get it train to making people dance land. Hop on!

If you could choose one musician/DJ to collaborate with, who would it be, and what kind of music would you create?

My husband Jonno Sweetman, He’s a mad skilled drummer, I haven’t seen a collaboration with drums and a DJ yet, so I’m very interested in putting something cool together. I would go the swing genre for collaboration like that. I won’t say much more, you gonna have to follow my movements to find out more.

It’s fair to say that DJ-ing is a pretty creative process. What is it that feeds your creativity?

So much! You know that feeling you get when you hear a song for the first time, you don’t quite know if you should scream or laugh, that feeling alone inspires me to get involved. I want to share it with everyone I know, every floor i play at, it reminds me why I’m in this game to begin with, and it makes me want to produce music all day long. And of course hearing musicians perform live is a huge boost for me. I watch quite a lot of jazz bands perform, and the musicality that is performed is something quite special. And at times, silence feeds my creativity, with a clear mind great things can happen.

Out of all your mixes, what is your favourite track and why?

I have the album of royksop on vinyl, id have to say that stands out the most to me at this point, i have’nt played it for quite some time, but i find the vocal incredible and think the production is brilliantly done. But, that is a REALLY tough question, so many good tracks out there!

DJ Shannon – Tech Mix by DJShannonSA

Have you ever experimented with live instruments in your mixes or will you?

I have loads of ideas and plans, i have had other musos’ perform with me live, mostly sax. Iv been wanting to play keys for a long time while mixing, i did sing while performing at opium back in the day, dont think i’ll do that again in a hurry.

You have played at some of the most popular venues in Cape Town. What has been your favourite?

HANDS DOWN Opium! Such great memories and i know people reading this are all agreeing with me! For me it was extra special because it was the very first club i performed at , had a weekly residency, and was brand new to cape town, so i met most of the friends i have today, there. Oh, and i was still playing vinyl back then,and dirty dirty basslines, haha, GOOD TIMES!!

For every musician there’s always a critic. What has been your biggest challenge?

Well, for those who know me, know that if i have an idea, and my heart says yes, i jump in the deepend and make it work. That’s exactly what i did with Djing. The only struggle i found was gaining respect from the guys who had been playing for years. Back then there werent many girl djs, so i found i had to really be constant in who i was for them to respect me and trust me. Now we all mates and it’s rad!So my advice to anyone keen to get involved, is GET INVOLVED, just do it, and do it with a good heart, good intentions and a strong foundation in who you are.

She’s hardworking, spontaneous and ready to share her gift with others. DJ Shannon is definitely worth looking out for and is certainly not done surprising us just yet. Her “dirty bass-lines” will get you pop-grooving until the early hours up on the dance floor. Check her out every Saturday and Sunday at the internationally renowned Moyo in Blouberg.

Follow her on Facebook

INTERVIEW: Sarah Robyn

Interview: Lady Lu Chase on her upcoming album “Star mate”

Last modified on 2011-09-27 09:08:41 GMT. 0 comments. Top.

We chat to multi-dimensional, multi talented Miss Lu Chase who is a Lyricist, Vocalist and Actress hailing from the largely underestimated streets of Belhar in Cape Town. She is also very lovingly known as the Cape Flats Diva. So, when meeting her and sitting down for a chat, what becomes very obvious is the pointed passion in her spirit that got her to this point in her career. She not only focuses on her own personal projects but also writes music for varying different successful South African Artists. She is currently recording her latest solo album, “Star mate” to be released in February 2012. The first banging single off of this glitter, sparkley delivery; “Mercury” was released in April this year.

Lady Miss Lu found her passion for music at the age of five. Seriously though can you just picture that? She says… “When I stepped onto the stage into that Spotlight, it felt so warm, I can’t explain it. I didn’t want to leave it”. She never did.

“This is the one relationship that’s going to last forever.” – Lu Chase

How did the Miss Lu Chase story come to life?

Growing up I got into classical music, performing in musical theatre plays and operatic performances When I left school in 1999, I phoned in to Bush Radio to send a dedication to my classmates, and instead I sang “I’m missing you”. The presenter told me to hold the line, and when she asked me to sign with her label, as a naïve 17 year old, I grabbed the opportunity.

What so far has been the ‘Pinch-Me-Moment’ of your career?

I performed for Quincy Jones (1997), and I said to him, “look, I’m in South Africa, and Dianna Ross is in America, but everyone wants me to sound like Diana Ross. I can adapt my voice to sound like that, but, it won’t really be me.” And he said to me, nobody is going to come from the USA to South Africa, to buy something from the USA.” And that was the turning point in my career; I knew that if I didn’t continue in the path that was rightfully mine, I wouldn’t be original. I wouldn’t be telling my story.

Tell us about the creative concept behind your upcoming album ?

The album is inspired by the planets and the stars, and how the earth is changing. I’m doing songs on this album differently to my previous albums that were danced based. Dance music isn’t something I’ve ever been into, now I’m at the point where I’m finding my own style. There’s nothing distinctly African about my sound, but South African audiences seems to love it. I think they love it because of the intention behind my music. And that’s what this album is. My music has a frequency of truth.

Tell us more about this frequency of Truth…

It comes from an honest place. Sometimes I feel like I’m channeling, I’m not even part of the performance. That’s why this album is so important to me. It was written last year, when I was very clear about what I wanted to say. It’s that I’ve been an observer. And that the world is changing so fast. I wanted to spread the message of love. We are never going to die, we were never born. Our bodies are our package, but it’s our soul frequency that inspires us. That speaks our words. So a lot of the songs on the album are inspired by stories that people can relate to. It will resonate with the audience.

When it comes to the music, this is Lu’s business, but most of all it is her passion. Aside from the album, Lu is shooting the second season of “Montana”, a South African Soapie based on the Cape Town Suburb. She plays a beauty therapist that fell pregnant at 17 and has put her dreams on hold. The character could not be further from Lu but in her flare for perfromance and artistry she gages all aspects of her role with gusto.

Check her out on Facebook

INTERVIEW: Shana Genever

Interview: Infinity (Greece) LIVE AT EQUINOX FESITVAL 1- 2 OCTOBER 2011

Last modified on 2011-09-28 11:27:29 GMT. 0 comments. Top.

Infinity, Greece  - Nick Karamalakis from Greece is the man behind the project ‘Infinity’

He is also well known from the duo Progenitor, Nick interst in psychedelic music started back in 1998, having some uniqe memories from those golden years.

His influences came from many styles that characterizes the scene. As aguitar and keybord player with much enthusiasm and strong influences from the europian psychedelic music, he creates deep progressive dancefloor

oriented music. Infinity’s productions incorporate a strong rhythmic and musical feel whilst remaining deep and stompy – a combination which gets any progressive

floor moving. We have a little questions and answers chat with him on what the scene is like in Greece and about what South African’s can expect from him at the Equinox Outdoor Electronic Experience…

How would you categorise the Greek Electronic Music scene?

The Greek trance scene is growing more and more with time, artists’ wise especially. We have great artists at the moment, offering great pumping and Progressive – as my friend Tassos, says, music around the globe. It’s pretty nice when Greeks are going deeper into the scene and make people smile, with nice sounds. But if we speak about the people, then most of them who like Progressive Trance are located in Thessaloniki. In Athens, where I live, the Prog scene is very small and the Psy, Full-On, and Dark is bigger.

Have you been to South Africa before and what have you heard about the Trance Festival culture over here?

I haven’t been to South Africa, but I know that the festival will be good, cause I have seen videos and heard Cape Town is great. I’m sure it will be a magical experience and I can’t wait.

What can SA expect from your set at EQUINOX this year?

S.A can expect a lot of melodies. If they want to dream then they will, because my music (the live sets) is all about feeling and not dancing so much. I like to express my tracks making “music” and not just a dancing groove loop. It’s all about giving something to the track, even if it’s not working so well for dancing. But at car or at home you can fly.

Your music is described as the type that takes the listener on journeys of self discovery. What are a few of the elements that make up a good composition for you?

As I said before it’s the melodies, that’s the main element in my tracks. It’s not all about getting a good groove beat and dance but also about saying a story in the tracks! I’m always having a different story in my tracks, which are feelings from my personal experiences or situations. I never open a track to produce without feeling something, and that can be pain or happiness, sadness or spirituality. It depends on the time.

Infinity – The One by Infinity / Iono Music

Your idea of perfect happiness is…

That’s a question that I need hours to answer. But the happiest factors for me, and I guess for all the people, are to be healthy and to love and respect each other. Everything else is just bullshit. Money, cars, fame or power are all feelings of evil. So, health and love are what matters and then this world might have a chance to survive…

Top of your personal play list this week?

Well from my live set I love the track “Be Real”, from Haldolium which I recently remixed, and it’s coming out soon at Iono Music in a brand new Ep. I also love the tracks “Car Accident“, “Lost in the Sunlight” and “Alcoholism“, from my debut album. From my other project, Progenitor, I love the tracks “Ultimate Trip“, “Typical Human Behaviour” and “Sound Reflex“, which I always play when I do the Progenitor live.

Catch Infinity at The Equinox Outdoor Electronic Experience 1-2 October 2011

WIN a Fun Cruise + Tickets for 10 to Equinox Outdoor Electronic Experience!

Interview: Ritmo (Israel) Live at Equinox Fesitval 1-2 October 2011

Last modified on 2011-09-28 11:29:39 GMT. 0 comments. Top.

Dubi Dagan, aka Ritmo, has managed to formulate a unique technique that captures moments in life and translates them to an addictive rhythmic Progressive Trance creation.

Dagan and with his lust for music, started with Heavy Metal in his adolescense at the Krayiot in Israel, and fully maximized it with the help of his electric guitar. Leaning towards his adult life he decided to explore the electronic regimes of 80′s & New Wave bands such as Depeche Mode and looks up to Electronic pioneers such as Jean Michel Jarre.

Then when the 90′s exploded with multiplying Electronic Dance genres, Dagan had joined the ride with the likes of Prodigy, until he discovered Psytrance and found his place. After visiting in various cultural inspiration including Japan, U.S.A and India, Dagan went back to Israel and began his first steps behind the decks as a resident DJ at the Luna Club, at Haifa.

We chat to him about his doscovery of Electronic Music, what things are like in Tel Aviv and just how good the humus is over there…

Which are the genre’s would you say that lead you up to your discovery of EDM in 1996?

I came from a huge background of 80′s music, New Wave and the likes. Bands such as Depeche Mode, and even pioneers such as Jean Michel Jarre. Then through the 90′s I loved bands like The Prodigy and Pixies, and slowly started to connect to Psytrance music.

What is it about Progressive Trance for you that just makes a party happen?

Well, personally I love the way this genre appeals to people who are not necessarily Trance fanatics. Progressive Trance manages to sweep a wider variety of crowd and it’s amazing to see different people dance to it.

What can the SA audience expect from your set at this season’s EQUINOX?

I’m very excited to finally play to South Africans, I heard they are an incredible audience. They can expect a lot of new music from upcoming album, loads of new music from my favourite artists in my Dj set and for desert some unreleased music from my other project Ritree.

MUTe & Shay Nassi – On Off (RITMO Rmx) – Sample by ritmomusic

What is the one thing the world doesn’t know about the Tel-Aviv Trance scene?

I think that the one thing the world doesn’t know about the Tel Aviv Trance scene is that the best place to eat after a party (around 6 in the morning) is Abu-Hassan at Jaffa, which is the best Humus in the country!

Ever use Live instruments in your sets/ would you?

During my live set I use Chaos Oscillator, and samples that I made before handed I activate with the help of Midi Controller.

Interview: Karizma & DJ Spen awarded the coveted title of ‘House Masters’

Last modified on 2012-01-20 07:45:06 GMT. 0 comments. Top.

Rarely have two artists collaborated with such stunning results as DJ Spen & Karizma.

Together, these Baltimore natives have established themselves as masters of their craft and have rightly been awarded the coveted title of House Master with this new compilation.

In advance of its release, we caught up with DJ Spen over email to talk about his love of soulful house, who he looks to in order to learn more about DJing, and why the relationship between himself and Karizma has been so fruitful…

How important are Parliament, Funkadelic and Chaka Khan in influencing your music?

Very! I love all of the above because they represent an era in music that will never, ever die! They are the building blocks of what R&B and Dance Music is today.

Do you think it’s important that young people know about House’s heritage?

Yes. Unfortunately many young peeps today are not exposed to enough of what their musical roots are.You have to know where you come from to know where you’re going.

What is it about soulful and Gospel House music that you have found so intoxicating?

It is my connection to an unseen power source that feeds my inner being…LOVE! The more I live, the more I realize that LOVE is a powerful thing! What people have to realize is that the message of love is the driving force in soulful and gospel house music. I receive so much of it that I have to give it away! LOVE, LOVE, LOVE!

Do you think you have now mastered everything there is to know about DJing?

No way. Every time I hear somebody like Tony Humphries, Danny Krivit, Louie Vega, Kenny Dope, Osunlade, Teddy Douglas, Joey Negro, Timmy Regisford etc. I learn something! But to tell you the truth, I have learned more playing with Karizma recently than I have in quite a while. He is just the master on the CDJs. It’s always inspiring watching or playing with anyone who knows their craft as well as these guys do.

When you’re in the studio, do you prefer working solo or collaborating with someone else?

I am a collaboration guy really. I like working with others that know what’s going on with their craft. Working alone is cool, but it can get a bit boring sometimes. The basics (sequencers, monitors etc..) aside, what’s the one bit of kit on your studio that you really couldn’t do without?

My Mellinia Mic Pre! I like that thing. Makes vocals and live bass lines sound groovie babee!!!

Do you consider yourself a DJ or turntablist?

Both. Thing is as a DJ I pay strict attention to what I am playing and when I play it. That to me is much more important that being a turntablist. But being a turntablist is more fun! You just have to remember that you have to use that aspect of DJing when it’s appropriate.

Some of your most memorable productions have been created alongside Karizma? Why do you think the two or you have such great chemistry?

We have known each other for a long time. I think that and growing up in the same city is what creates that chemistry.

What is the philosophy of your Code Red label and who are your main artists?

The main idea behind Code Red is to do good, solid, quality music. What that allows us to do is concentrate on each record for the record that it is. A record like ‘Gabryelle’ is far away from a track like ‘It’s So Easy’, but they are both great records. Our main artist are Marc Evans,The MuthaFunkaz, Sheila Ford & N’ Dinga, but that roster is growing as we speak.

Who in your opinion is a real life House Master?

Joey Negro. He’s a killer DJ. His record label is amazing. He’s been able to diversify as a DJ and really develop his record label, plus he’s an awesome remixer and producer. All things in one package.

When was the last time a track really blew you away?

When MAW produced BeBe Winans, ‘Thank You’…that was just insane.

Anything else you’d like to tell us about..?

MuthaFunkaz Muthalode Reloaded remix project! Coming October 2011 on Code Red! Featuring the likes of Joey Negro, Kenny Dope, Gramophonedzie, Atjazz, Karizma, and my man Dimitri from Paris!

House Masters Spen & Karizma is out NOW

Interview: Kyle Worde – re defining ‘prodigy’ in S.A’s Dance Music Industry

Last modified on 2011-09-22 14:21:40 GMT. 0 comments. Top.

There’s been a lot of hype about Kyle Worde, a 19 year old House DJ whose continually re defining ‘ prodigy’ in South Africa’s Electronic Dance Music Industry! His impressive list of credentials which include being signed to one of South Africa’s  (arguably)toughest labels, Soul Candi Records, The release of his first solo EP and  his track “Hidden Agenda” being signed & released on Cubit Recordings in the United Kingdom – has given him a strong foundation and an endearing fan base!

Some DJ’s and Producers seem to know music as it appears on their PC screens and DJ software. Have you had formal training or play a musical instrument?

Informal would be more of an appropriate word ha ha! I did a 5 day crash course with Ryan Murgratroyd (Crazy White Boy) in 2009 when I was still in school.

During those 5 days we ran through the different production software’s like Reason 4 and Cubase. Musical instrument… let’s just say Ryan taught me all the theory behind music I needed to know at the time.

How important is this sort of ‘training’ before one considers a career in music?

To me, those 5 days were probably the most important 5 days of my life or rather my musical career. Living in Durban and having the knowledge to produce gave me the opportunity to start my music career while still at school and using my productions to start pushing my name as an artist and as a DJ to a certain extent.

Starting off as a producer in the industry (even though I started DJ’ing before production) I found that it helped me a lot in terms of “gaining ground”…. so to speak.

Kyle Worde Guest Mix – Roger Goode’s Saturday Surgery by kyleworde

Soulcandi is known as a very influential platform in the musical industry. It has seen many Producers and DJ’s grow musically. How has being under that label helped improve your career?

Not only Soulcandi has been my label, but working at Soulcandi has helped me a lot in terms of learning the ins and outs of the music industry.

What would you say is the influence behind your music?

I try keep my selection of music (and the music that I make) very current and diverse. I feel that music is continuously evolving and that keeping it dynamic is the most important thing. Absolutely everything influences me!

How has working with the likes of Roger Goode helped in terms of music maturity?

Roger has been the major influence in my music career and most of the reason why I ever got involved with music production and DJ’ing.

Listening to his show when I was younger and then later being able to work with him on various projects (in and out of work) has been a really awesome experience and without a doubt inspiring every time!

He has introduced me to different worlds of music where there are no limits!

Who do you wish to work with nationally and internationally… Why?

From a production point of view there are far too many to actually mention – locally I would love to do something with GoodLuck and Goldfish (more so on the international side now) as I believe they are the evolution of the DJ.

Internationally I would love to some day work with Noisia or Feed Me – production that goes behind the tracks these guys are making is on another level!

Do you wish to venture into other genres as you further your career?

Without a doubt! I absolutely love Drum & Bass and Dubstep to name only two; but how I see things at the moment I play per place’. I try not to limit myself in anyway but still keeping consistency and a certain element of “cool” in my eyes.

Your music has already been enjoyed abroad, what else do you still wish to achieve career wise?

I have a passion for Radio. Listening to the ground breaking dance radio shows when I was younger was inspiration to what I do now – not only the music, but the production behind the shows. So to be involved with radio someday would be my ultimate. Consider it a work in progress.

How has 5fm helped you in building you as a brand?

Right in the beginning I was fortunate enough to have quite a few of the 5FM DJ’s support me like Roger Goode, Erica Elle, Catherine Grenfell and DJ Fresh.

They all gave me the opportunity to showcase my productions, mixes and I as a DJ. So having those opportunities to be aired across 5’s broad listenership has helped me a lot in terms of having a very cool and diverse fan base.

We have seen and heard hundreds of DJs and producers out there. What is it that ‘The Worde’ is offering that we have never seen or heard before?

I’m all about keeping it cool, current and exciting! I tend to spend about 3 or 4 hours before a set doing specific edits and mashups for those few hours ahead of me. I’m also very particular about playing a flawless and seamless set

Which well known clubs or events to you usually play at?

I am a regular at Sushi Sunday at Turtle Creek in Sandton as well as Truth in Midrand. Apart from being a regular there I guest DJ all around Johannesburg and the rest of the country.

What should we expect from you in the near future?

Loads of DJing! I will be all over the country in the next couple of months. Regarding production, I plan to get back into studio very soon!

In the mean time I am working on getting a vocal for my track “Hidden Agenda” which was released in the UK a few months ago – so keep an eye out for that…

INTERVIEW: Thando Mazibuko
IMAGE CREDITS: House hold Funk & Kyle Worde

Interview: Quietude – Hip Hop as it’s told in Tembisa

Last modified on 2011-09-19 13:27:27 GMT. 0 comments. Top.

Some describe them as the SA version of Slum Village, but this Joburg hip-hop  entity has a sound that stays true to their influences and carries the banner from the hip-hop lovers to the poets, with a sense of pride. With a list of accolades the length of my arm, Quietude has been rocking the airwaves, featuring on compilations and mix tapes and now they are branching into live performances, taking over the game with their sultry sounds. I got a chance to speak to this down-to-earth talent and this is the censored version of our conversation…

The rapport between you and Domino gives off a comfortable vibe, as though you have known each other for long…

We have. From childhood days. We stayed in the same neighbourhood, same street, we grew up together and funny enough, now we work for the same company too. He was on a poetry tip and I was doing more of the hip-hop thing in the nineties. We decided to fuse the sounds in 2008 and our distinctive sound came of it.

Speaking of childhoods, growing up, who did you listen to that influenced your grind towards where you are now?

The invaders! Yeah, there were a lot of influential American cats blowing up at that time, but our influence came from home in Thembisa. The invaders were a part of the underground movement, East Rand era. In the game, being so close to them helped us better our skills.

What type of energy can people expect from your performances?

Our sound is underground. We consider ourselves very melodic and jazzy. We wanted to showcase a fusion of sounds in our delivery; some jazz, some poetry and then the neo-soul influence that comes from our church backgrounds.

Quietude – Let Me Luv Ya(ft Lully, R.Kelly and Leon Timbo) by Quietude

With the church background you grew up in, how hard was it for your families to adjust to your passion for a genre that is ridden with what might not necessarily be considered as “church-like”?

At the time that we started, Biggie and Tupac were beefing, swearing and stuff so the image was only a violent one to them. Then there was the baggy pants that also made them question things, but as things progressed the support grew and when our first album dropped, our first copies were bought by family members so that was cool.

You have heard of the term “starving artist”… How do you feel about the current hip-hop climate and the fact that it hasn’t reached a respectable level in terms of sales and demand in general?

Ey man, it’s hard to get an album out as a hip-hop group. I have spoken to record labels and sales keep dropping so we are relying on money from performances and stuff. We build the hype on social networks and perform. It doesn’t seem fair, but it works.

What do you identify as a constant obstacle that you still face as a group?

Time. We are juggling 9to5’s and pushing passion after hours so it gets hectic, but we make it work. I am more focused on the administration of the group while Domino’s forte lies in marketing and online advertising. We also have personal lives that tend to get neglected because of this, but everybody has a role in the group and we balance as much as we can.

I personally think that the role of groupies at performances is underrated…how do you feel about the love they send back to you guys?

I think it’s the little things they do, when we jump off stage and they want autographs and pictures, we are humbled by that stuff. And we have some intelligent fans/groupies out there who give us pointers. They are our backbone.

Someone once said “Write what you would want to perform over and over again”. With that in mind, which song do you listen to and think “damn, I wish I wrote that track?”

Internationally, it has to be J. Cole’s “Love me not”. He talks about insecurities in love and feelings and I love the way he wrote it.

So that was based on personal references clearly…

Yes yes… I use emotion a lot in my own work and I try to dig deep and feel before I write so this song is definitely my kind. I relate to the words on a personal level.

Locally?

It has to be the cut from Morafe- “Here we stand”, dedicated to all the fans. It’s a real track, you can feel the appreciation in it. It’s one of those that will always be relevant.

What could have been a twenty-minute interview ended up flowing for an hour. From debates about groupie motives to discussing current plans to include a live band in performances; we flowed. We laughed. We clicked. Quietude is not only inspired and talented; they are down to earth real cats pushing passion and life at the same time.

Follow them on Twitter and Facebook

INTERVIEW: Star Khulu

Interview: Mi Casa (Soul Candi) Climbing SA Charts

Last modified on 2011-09-14 13:48:17 GMT. 1 comment. Top.

Mi Casa (Soul Candi) climbing South African Charts

The story goes a little something like this… Dr.Duda was invited to play at the Radisson Blu Hotel in Sandton for a Soul Candi event called, , “La Dolce Vita.” Mo-T was asked to freestyle over his set on the day. J-something was at the party and asked if he could plug in a microphone and sing over the beats too. Until that jamming session, these three musicians had never met.

“Then halfway through the set i started singing “Smooth Operator”and shocked the audience! Soul Candi was there and approached us straight after the performance and asked us to form a group, and voila! Mi Casa was born” J-something talks about the new band that is making its way onto South Africa’s charts.

Who would you say your target audience is? Your sound is soulful, yet you open for house bands…

We have been so blessed at EVERY gig. And we have had different crowds. I think we have played to most types of crowds now and its been amazing. Our target audience? Man thats a tough question. Yes, we doing soulful house but we have the jazzy element in it too. Its very hard to define a target audience. We here for people who appreciate music and like to dance and love.

What are each of your personal career goals, individually and as a band?

We like setting small goals and then moving on to the next one. We had a goal of playing with our live 6 piece band and we did it. We then had a goal of reaching a certain amount of sales and hit it. We then had goals to get our single, “These Streets” onto the charts and its being charting on Metro FM, YFM, 5FM, and many others. Now we have goals of being nominated for Metro FM awards, Channel O Awards, SAMA Awards. I have some personal goals within Mi Casa, and thats for us to reach a certain status with our CD sales, to really blow people away with every performance, to try new things and keep things fresh as a band, and to work with some great names in this beautiful industry we are in.

Dr.Duda has a goal to increase his musical talent. He is all about the studio and the music. Always with an instrument in his hand. Mo-T is a very focused guy. His goals are for the CD to do well in stores, to grow the brand ‘Mi Casa’ to become a strong and recognised brand in several fronts, and to continue growing as a trumpeter.

La Vida (Album Version) by Mi Casa Music

I have a very funk/neo soul background listening to the likes of Michael Jackson, Musiq Soulchild, and Anthony Hamilton growing up. Dr.Duda is very influenced by gospel music, and Mo-T is a jazz man. We got into studio, Duda played keys, Mo-T was on the trumpet and i had my notebook and began freestyling and picked up different melodies here and there and began writing. That was the process for most songs.

You have an upcoming tour called MI CASA SU KASI… My House Your Township. Can you tell us more?

We are so excited for this. Our 1st tour that is ours. Its got a lot to do with our 1st single ‘These Streets.’ We want to connect with people on the tour. We want to be on the streets, or at least as close to them as possible. The tour concept is 9 parties in 9 townships. We are going to places like Alexandra, Soweto, the Vaal, Mamelodi, and many more. We have some amazing acts joining us along the tour and also people can expect a different party.

Check them out next at The Spring Fiesta 24 September 2011.

For more info – Follow Them On Facebook

INTERVIEW: Shana Genever