PJ Writes

Patricia Johnson is a freelance writer based in Cambridge, Massachusetts. She primarily covers local and national music news, reviews, and interviews. This blog features her published pieces from across the web.

[pjwrites]

DigBoston: DJ Set of the Week: Oneman

26-year-old DJ Oneman (née Steve Bishop) hails from South London. He’s known for seamlessly blending different styles of UK dance music from across decades, mainly garage, grime, dubstep, and UK funky—sounds synonymous with the London borough that raised him. His old school meets new school style is right at home at Rinse FM, the London radio station that has shaped underground electronic music for nearly 20 years.

Rinse began broadcasting as a pirate radio station to Central, East, and South London in 1994 as an alternative to the commercial radio, which did not represent the music interests of urban communities and was not invested in promoting grassroots talent. Without a broadcasting license, founder DJ Geeneus resorted to broadcasting from rooftops and friends’ kitchens in East London, frequently relocating to dodge police and keep the illegal station afloat.

In its early years, Rinse primarily played jungle with a heavy focus on MCs. It moved on to garage in 1998, switched to dubstep and grime a few years later, and then evolved to include house in the late 2000s. Its strategy is “destroy and rebuild”: when a genre becomes popular, Rinse scraps it and moves on to continually redefine itself in its search for fresh music. It’s driven by Geenius’s simple philosophy:

“It’s not about where [music] is, it’s about where it’s going.”

Rinse played a pivotal role in the emergence of these genres in the UK; without it, grime and dubstep in particular may never have reached such prominence today. Now-famous artists Dizzee Rascal, Wiley, and Katy B all got their start on the station, and it was vital in the careers of Skream, Kode9, and Oneman himself. Rinse reached a new level of worldwide influence when they began broadcasting online in 2006, and it is now a globally respected authority on underground dance music.

The days of secret rooftop broadcasts are now over—Rinse went legit in 2010 when it earned its community FM broadcast license. Although it’s no longer a pirate radio station and has expanded its reach worldwide, Rinse’s community-based ethos remains the same. Oneman says,

“When people listen to Rinse they really get that snapshot of London, and what the London scene is all about at the moment. Because there’s no better representation than Rinse.”

Rinse was central in Oneman’s own musical development. As a teenager in South London, he fed his appetite for dance music with local pirate stations’ grime and garage shows. Garage was integral to the South London culture before it reached massive popularity a few years later. He told Spin:

“I would have been 13 in 1999, and that’s when garage started getting a lot darker and a lot funner. That’s when we started listening to pirate radio a lot more … It was growing up in London and being around garage that definitely got me into it first. Just hearing it all the time, everywhere you went—if you were walking down the High Street, cars would be blaring it, shops would be playing it. You’d hear it out of people’s headphones, sitting on the bus. There were tapes everywhere. You couldn’t get away from it.

It was our culture. It was something that belonged to us. And I think, at that age, when you’re looking for something new in music, it’s always going to be the darkest thing … And yeah, garage is definitely a part of that darkness for us, in South London.”

This sound has stuck with Oneman, and it defines his style today. Combining the best of classic and up-and-coming garage, grime, and dubstep, he demonstrates the gritty sound of UK pirate radio. He came full circle when he joined Rinse in 2007 and has been an important figure in the station’s continued growth.

This Wednesday, be prepared for a South London takeover of the Middle East: Oneman opens for UK dubstep pioneer and fellow Rinse veteran Skream. With two DJs who helped define bass music in the UK and worldwide stopping in Boston together, this is a rare occasion.

SKREAM AND ONEMAN W/ MOBSKY AND STEVEN FORD

WEDNESDAY 11.6.13 MIDDLE EAST DOWNSTAIRS 472 MASS. AVE. CAMBRIDGE 8PM/18+/$20 @MIDEASTCLUB MIDEASTCLUB.COM

(Read original post)

[pjwrites]

LessThan3: BPM Festival Releases Phase 1 Lineup for the Perfect Party in Paradise

(Read original post)

[pjwrites]

Mmmmaven Presents: Martyn to Deliver Versatile Bass Music at #MakeitNew 10/24

Martyn is a man of many influences. Beginning his career as a drum ‘n’ bass DJ in his Dutch hometown twenty years ago, he became involved in the London dubstep scene in the mid-2000s. In 2008, he released a remix of TRG’s “Broken Heart” for Hessle Audio. The release was immensely successful – with dubstep maestro Kode9 as one if its biggest fans – and has since led to his frequent classification as a dubstep producer. But his music incorporates much more: it’s a mixture of drum ‘n’ bass, dubstep, house, and techno, defined by a heavy bassline.

Rather than attempting to live up to genre expectations, Martyn is more concerned with creating a certain feeling with his music and pursuing the sound that inspires him as an artist. He follows the same approach with his DJ sets, as he explained to Resident Advisor:

As in most of my sets and recorded mixes, I like to show how digging in a wide range of areas of the musical spectrum can still produce something coherent and personal.

This is what you can expect when he visits Make it New this Thursday. With twenty years of DJing experience and a virtual crate full of goodies from various ends of the musical spectrum, we’re sure he will deliver a captivating set.

MAKE IT NEW WITH MARTYN BALTIMORODER AND JOHN BARERA  THURSDAY OCTOBER 24 MIDDLESEX LOUNGE 315 MASS AVE., CENTRAL SQ., CAMBRIDGE 9PM-2AM  21+/$15

(Read original post)

[pjwrites]

Dig Boston: DJ Set of the Week: Rustie

While genres serve a legitimate function in identifying and describing music, within electronic music especially there are so many different genres, sub-genres, and sub-sub-genres that it is virtually impossible keep track of them all. As new styles emerge, new genres are declared in a frivolous effort to keep music constrained within a definable structure.

So … what is his sound? Well, it’s bass music, for starters – but it sure isn’t confined to the standard dubstep wobble.

It’s ultra synthy, with hyperactive beats and throbbing basslines exploding into bright blasts of euphoria.

It captures an ecstatic, wild energy that could very well be influenced by Glasgow’s raucous club scene. Rustie says, “Glasgow’s the rowdiest crowd you will ever see when you go out. In London, people are really cool and stand about. In Glasgow, people will jump up and down and go mental.”

As far as genres go, Rustie manages to blend quite a few: prog rock, hip hop (of both the dirty south and ’90s Timbaland/Neptunes variety), bass, R&B, funk, jazz fusion … and that’s the short list. Attribute it to his eclectic taste in music: growing up, he started with classic rock staples like Hendrix and the Beatles and prog rock pioneers Yes, turned to grunge with Nirvana, moved on to hip hop with the Beastie Boys, and then, finally, found his way to electronic music.

It’s clear that Rustie is a big fan of video games, since more than a few of his tracks are reminiscent of a game of Mario Party with that familiar cheerful, animated vibe.

In “Hover Traps,” he samples Navi’s “hey!” and other memorable noises from Zelda’s Ocarina of Time, his favorite video game – an unsurprising influence for a kid who grew up in the ’90s.

This week’s DJ Set of the Week illustrates Rustie’s wide range of musical influences. In his Boiler Room set from August 2011, 45 minutes worth of tracks give us a sense of what styles he incorporates when producing his own work. He gives nods to genre-defining OGs including Underground Resistance, Aphex Twin, and even Rick James. He includes plenty of southern hip hop and features some classic UK dubstep and grime. He sprinkles in a bit of ’90s R&B and highlights some of his LuckyMe and Warp peers including Machinedrum and Africa Hitech.

Just as in his own tracks, Rustie deftly blends all of these genres together to create a DJ mix that renders sitting still impossible.

Aside from their A+ music selection, the thing I like about Boiler Room videos is that you can see (and judge) the crowd’s reaction to the DJ’s set. Whether they are awkwardly swaying back and forth or doing some serious hip shaking, the mood of the music is apparent in the audience’s response. In this video, there are no I-don’t-know-what-else-to-do-but-nod lulls; the crowd is at Rustie’s feet, jumping in time with the bass drops and hip hop beats. Even as a white person who occasionally awkwardly dances to hip hop, watching other white people do the same will never not be amusing.

But, I digress; if his Boiler Room audience is any indication, Rustie clearly pulls off weaving together such seemingly different styles of music with aplomb.

Maybe that’s why his music resonates so well: like Rustie, we’ve all been exposed to and fallen in love with many different styles in this tangled mess of genres, so we’re all open to hybrid sounds.

And who didn’t love SNES and N64 as a kid?

So, what does Rustie have to say about it? In reference to Glass Swords, his full-length released on Warp in October 2011, he says, “It was just expressing joy and emotion about being alive.” And that might just be the best way to describe it, genres be damned.

RUSTIE W/ DJ FRANK WHITE, URBINDEX, BLOND STREAK

WEDNESDAY 10.23.13 MIDDLE EAST DOWNSTAIRS 472 MASS. AVE. CAMBRIDGE 8PM/18+/$15 ADV, $20 DOS @MIDEASTCLUB MIDEASTCLUB.COM

(Read original post)

[pjwrites]

DJZ: Interview: Max Cooper Creates Multi-Sensory Musical Experiences

Appearing on a number of best-of lists, including RA's top 20 live acts of 2012 and Beatport's top 10 artists of 2012, Max Cooper's experimental approach to electronic music has earned him the respect of both producers and listeners alike. Cooper is one of today's most innovative electronic musicians, pushing both himself as an artist and us as listeners to transform how we experience music.

Starting off as a scratch DJ and turntablist, the Belfast-bred DJ found his forte when he began writing music to land more gigs. Cooper discovered that he enjoyed producing even more than DJing, and has since made it his primary focus.

But music isn't his only specialty; an experimenter to the core, Cooper holds a Ph.D in computational biology from Nottingham University, and wrote his first releases for German techno label Traum Schallplatten while conducting post-doc research in genetics at University College London. When his research funding dried up, Cooper took the opportunity to transition to producing and performing full-time.

The scientific influence is evident in his sound, which is complex and cerebral while simultaneously melodic and emotive. His systematic production methods are similar to his scientific research:

"I don't have any training in music theory or production," says Cooper. "I just approached the production process with trial and error, trying to explore the possibilities and gain an understanding of the link between what I had to do with the software to create certain feelings musically. It's comparable to how I did my Ph.D research, which was also all computer-based, and also toying with an abstract system to try to gain new understanding. Not all science is done like that, of course, but the science I was most interested in had a similar creative process."

His compositions are all driven by a fundamental concept, whether it be a basic emotion or an intricate philosophical idea. His two Conditions EPs, for example, explore the idea of the human condition. "Pleasures" highlights human emotion by illustrating something beautiful and pleasurable, and "Automation" represents the idea that humans are "deterministic biological machines."

"I always think about ideas for tracks, like a picture or some concept I can represent musically... Sometimes the concept can be an emotion, a very strong feeling I've got for something... Maybe I've watched a movie or gone out to the forest and I've got a strong feeling and while that feeling is fresh I can then try and translate that into a piece of music. It's just a way of pushing myself to make some new forms of music, applying concepts is a useful creative tool."

In the video for "Numb", which was released on Conditions Two this past April, director Henning M. Lederer uses black-and-white industrial imagery to complement the song's haunting vocals and jarring, glitchy beats. The sounds and visuals together illustrate Cooper's idea of the modern capitalist lifestyle as a numbing dystopia.

At Amsterdam's Dekmantel Festival in August, Cooper reached beyond the standard audio-visual setup and presented a new way for listeners to experience music through an interactive 4-D live show. Using a grid of speakers distributed around the room at different heights and positions, Cooper was able to manipulate how sound traveled through the space in a 3-dimensional field to create special spatial effects.

"It turns into this really immersive experience, halfway between a club show and a museum piece exhibit. You sort of walk around inside the pieces of music and you can find different parts of the room where different things are playing, and everyone hears a different thing based on how they explore the space. You interact physically with each piece of music."

The 4-D show involves a painstaking amount of preparation and quite a lot of equipment, so it is not something that Cooper can use in performances on a regular basis. However, he does intend to release a binaural recording of the show so listeners can replicate the experience within their headphones. Cooper incorporated a similar binaural recording of the British Museum into a mix for Magnetic magazine earlier this year, which also examines how physical space plays into a multi-sensory experience of music.

Cooper has been plenty busy with a number of projects. In addition to his recent remixes for Nils Frahm and Phil Kieran, on October 28 he will release his Fragmented Self Part One EP, a collaboration with contemporary classical composer Tom Hodge, on FIELDS.

Next, he is launching a new project that continues his use of both audio and visual elements to create a complete work of art. Just as he has begun his other pieces with a central concept, Cooper has chosen several famous paintings that will each inspire an original track. One artist whom he has selected is Jackson Pollock, whose aesthetic of organized chaos is a fitting visual match for Cooper's music.

"The interplay between order and disorder is one of my main interests, both scientifically and artistically -- pretty much everything in the real world is a mixture of the two, and it makes things all the richer... Pollock's work does an amazing job of making this interplay very apparent, and I love music that does the same. You can listen to something and it sounds like total chaos, but then some beautiful form jumps out at you. My music hasn't got to that standard yet, but I use a lot of randomization and generative processes to try and introduce rich, disordered detail -- but still in the context of a very ordered club format, for the most part."

The "rich, disordered detail" of his music, along with his explorations into multi-sensory musical experiences, is precisely what makes Cooper's work as an artist fascinating. His music isn't meant to be just absorbed and digested; it's experiential, emotive, contemplative - a reflection of the human condition.

(Read original article)

[pjwrites]

LessThan3: Mount Kimbie Delivers Poignant, Multi-Sensory Live Show

London duo Mount Kimbie has spent much of 2013 touring in support of their latest album,Cold Spring Fault Less Youth, which was released on Warp Records this May. Often classified as post-dubstep alongside their close friend and collaborator James Blake, Mount Kimbie have expanded upon the strictly electronic sound present in their first release, Crooks & Lovers, to include a more human touch in the form of vocals and live instruments. Though they still produced the entire album on a computer, it’s difficult to tell that there were not actually any live instruments involved in the recording--and as a result, the album translates quite well to the stage. 

(Read original post)

[pjwrites]

Dig Boston: DJ Set of the Week: KiNK

This week, I bring you not one but two live DJ sets, both by Bulgarian house and techno producer KiNK. Our man Strahil Velchev is known for his hands-on live sets, which feature little pre-programming and a lot of composing on the fly. He even occasionally enlists the audience’s help to craft an original track live. He has a knack for old school sounds, as he explained in a 2010 interview with Resident Advisor:

“I’ve listened to house and techno since late ’91. So this specific sound is very deep in my heart. I was 12 years old when I started to listen to that kind of music, and it left a very big mark on me.”

In this video, we get to see which analog gear KiNK uses as he bounces between controllers and improvises without any kind of digital screen in sight. His girlfriend and occasional collaborator Rachel Row also makes an appearance, lending her vocals and claps as they bob along in unison. Adorable. At points Rachel breaks into laughter, which is picked up by the mic and absorbed into KiNK’s mix with a heavy reverb. It’s the producer’s version of a casual basement jam session.

KiNK looks like a natural – so it might be surprising that he hasn’t actually been at it for very long. Up until a couple of years ago, he was more of a DJ than a live musician. He says,

“I had a pretty good reputation as a DJ in Bulgaria but never managed to make it internationally. Then when I had a few successful records the promoters starting booking me as a live act. I really didn’t know how to do it and was really reluctant but I realized that was my ticket to the international scene.”

Hours of practicing and intense dedication has since paid off in some big ways – he’s an international favorite, and was even picked as one of RA’s top twenty live acts of 2012. It’s pretty clear why in the second DJ set of this week, below. Featuring his live set at Cocoon in Ibiza, this one’s for the clubbers.

KiNK’s success as a DJ comes not only from his skill as a musician but also his ability to engage the audience. He’s clearly having a blast, sporting a huge grin and bouncing around throughout his set. As he slowly begins to tap out a new beat, he looks up to gauge the reaction of the crowd and, upon sensing their approval, smiles widely as he launches into a new track.

He has an impressive selection of both digital and analog equipment at his disposal, the most visually intriguing of which is the EoWave Ribbon Synth, which looks like a mini lightsaber or some kind of rave sword. He explains, “It’s useless but people love it. When I hold it up, it’s one of the few cheesy things I do but it makes the performance more visual. I guess you can say I found a good way to show the audience what I do.”

It’s a testament to how KiNK is able to balance quality musicianship and crowd-pleasing tricks to create a gratifying live show.

This is precisely why he’s such a great DJ: he has the skills to make quality, original music; he engages with and entertains his audience; and he genuinely enjoys himself while he does it.

Take it from our pal Alyce Currier, who was lucky enough to catch him at last month’s Decibel Festival in Seattle and shared her experience over at Earmilk.

I know. I’m jealous, too. But not for long! The bookings wizards at Mmmmaven, who always have a knack for selecting artists with the freshest sounds and most danceable sets, are bringing KiNK to their weekly party Make it New at Middlesex Lounge this very Thursday. I’m excited to see what gear he’ll have in his arsenal (fingers crossed for the rave sword … I like shiny objects) and to experience his live set up close in such an intimate venue. One thing is certain: comfortable shoes are a wise choice.

MAKE IT NEW WITH KiNK W/ RESIDENTS ALAN MANZI AND CORALCOLA THURSDAY 10.10.13 MIDDLESEX LOUNGE 315 MASS. AVE. CAMBRIDGE 9PM/21+/$10 BEFORE 11/$15 AFTER @MIDDLESEXLOUNGE MIDDLESEXLOUNGE.US

(Read original post)

[pjwrites]

Mmmmaven Presents: Fresh Beats and Bass with Lapalux at Make it New 10/3

UK meets LA; bass meets beats; analog meets digital… Lapalux has the special ability to blend distinct musical elements to create an intricate collage of sounds that is both vintage and fresh. His clattering beats twinkle across soulful R&B melodies like goosebumps gliding along your arm, layers of rough samples and oozing synths together forming a chaotic lo-fi sound.

Much of the raw feeling of his tracks comes from samples of his own analog recordings. He uses a basic tape recorder to record anything from a vacuum cleaner to spatial sounds in airports, and will then manipulate the recordings and weave them into his tracks to add texture. He says,

“I just love the aesthetic of that warm, over-saturated sound. It gives it a nice sort of organic feel – it’s a bit cliched that isn’t it? – but it’s the rough-around-the-edges, lo-fi feel that I always try and portray in my music. I never like anything to be polished, so it’s nice to keep it raw and untamed.”

Lapalux’s creative web of bass and abstract beats fits in well at Brainfeeder, the LA label run by fellow beatmaster Flying Lotus, where he has released two EPs and his debut full-length, Nostsalchic. With his UK heritage on his side, Lapalux brings something unique to the roster.

This Thursday, we’re excited to host Lapalux at Make it New. Check out his Boiler Room set below for a taste of what to expect.

MAKE IT NEW WITH LAPALUX CORALCOLA AND JOHN BARERA THURSDAY OCTOBER 3RD MIDDLESEX LOUNGE 315 MASS AVE., CENTRAL SQ., CAMBRIDGE 9PM-2AM 21+/$10 before 11, $15 after

(Read original post)

[pjwrites]

LessThan3: Brodinski Shows Us His Chops in 'Gimme Back the Night'

(Read original post)

[pjwrites]

LessThan3: Claude VonStroke's 'Urban Animal' Dissected

(Read original post)

[pjwrites]

Dig Boston: DJ Set of the Week: Omar-S

A true veteran of the D

Detroit house OG Omar-S has a bit of a reputation. He’s notorious for his occasional aggressive attitude in interviews, for bitterly shunning the music industry, and for making the following statements, among others:

On DEMF: “If they haven’t invited me already, I don’t need ‘em. They can go to hell.” (XLR8R)

On his Fabric mix: “A few assholes are talking about ‘Oh, Omar-S. He did the same thing as Ricardo Vi-vi–….’ whatever the fuck he’s called. I don’t even know who Ricardo Willalobo is. I ain’t start hearing his name till like a year ago. Who the fuck is that?” (RA)

He can be kind of, let’s say, outspoken. And yet, he is a deeply well-respected and accomplished producer and DJ. Why?

See Exhibit A, his Boiler Room set from earlier this year, below:

There’s a reason for his blunt attitude: Omar-S occupies the underground, answering only to himself. He is fiercely independent and doesn’t buy into the BS of the music industry, which allows him to be as straight up honest as he desires.

He admits that sometimes he makes cheeky statements to raise people’s eyebrows and “fuck with their heads with some off-the-wall shit.”

Omar-S is entirely self-made. He produces his trademark raw house tracks using old school synths and drum machines and releases them on his own independent record label, FXHE. A true veteran of the D, he was raised on the classic ‘90s Detroit house legends and works a day job at the Ford Motor Company. He says,

“I certify parts with a marker. That same exact marker that I certify with, I usually take some home, that’s what I usually write on my records with, the same exact marker I use at work.”

Can you get more Detroit than that?

This Friday, Omar-S stops in Boston at Good Life for Social Studies, one of the city’s best monthly parties for underground sounds. For further insight into why this guy is a serious force in house music, I asked resident Alfredo Rico-Dimas why they chose to book him:

“We wanted to book someone we respected more than idolized. [Omar-S] fit exactly that category. He’s been successful all these years because he’s stuck to his own ways. Recording with Analog gear straight into tape… check. DIY ethos… check. Trash-talk… check. While he might be the most complex personality in dance music (according to the press), there’s something really honest about what he does that has gained him enough followers outside his native Detroit.”

There you have it. If you’re into bona fide Detroit house music with the true spirit of the underground, as demonstrated in the Boiler Room set above, check out Omar-S at Social Studies Friday. Hit up Beantown Boogiedown’s ticket giveaway for the chance to get in free. See you there.

SOCIAL STUDIES PRESENTS: OMAR-S WITH ALFREDO & BRENDEN WESLEY

FRI 9.27.13 GOOD LIFE 28 KINGSTON STREET BOSTON 10PM/21+/$10 @GOODLIFEBAR GOODLIFEBAR.COM

(Read original post)

[pjwrites]

Mmmmaven Presents: Container Brings His Noise-Techno Hybrid to #MakeItNew

Noise is a genre defined by heavy distortion, fuzzy sounds, improvisation, a disregard for traditional harmony and rhythm, and the use of unconventional instruments. Techno, on the other hand, is typically crisp and clear, relying on repetitive 4/4 rhythms and industry standard drum machines and synths.

What do you get when you combine the two? Container — the latest musical project from Providence-based Ren Schofield. Previously a noise artist performing under the name God Willing, Schofield discovered an interest in techno in recent years and began his foray into a genre with a structure markedly unique to what he was creating before.

Still, his background in noise seeps through, and what for him might be a natural progression of his taste is for us an interesting experiment in a hybrid form of electronic music. He says,

“Part of the reason I never got into techno is because it sounds too smooth and glossy, like it was made on a laptop. I like things raw and kind of sloppy. I like things when they’re not perfect.”

Think of his music as a cacophony of gritty noise prescribed with a pulsating techno rhythm, cutting like razors across the dance floor. His live sets have been described as a “hybrid mosh pit/rave” that creates an ecstatic chaos within the audience.

This Thursday, don’t miss the opportunity to witness Container’s innovative set. This is also the official after party event for A Song for Echo, the V-e-l-l-u-m curated collaboration between Mmmmaven artist and world-renowned producer Ricardo Donoso and New York via Denmark’s own revered performance artist Julie Nymann. Everyone with a ticket stub from that remarkable event will be given free entry up until 11pm.

See you then!

MAKE IT NEW WITH CONTAINER ALAN MANZI AND JOHN BARERA + CORALCOLA W/ SPECIAL OPENING SET Thursday, September 26 Middlesex Lounge 315 Mass Ave., Cambridge 9pm/21+/$5

(Read original post)

[pjwrites]

DJZ: Interview: Mighty Mouse Gives New Life to Nu-Disco

Disco: a glitter-coated pop music cheese-fest that hit its prime in the ‘70s... right? Maybe not, as in the past decade several notable artists have lead the disco revival with a modern upgrade in the form of nu-disco. The London-based Mighty Mouse is one such DJ helping to introduce this generation of club-goers to the genre with his own fresh perspective.

Matthew Haymes, the man behind the Mouse, was first introduced to electronic music when his brother brought home a 12" copy of New Order’s "Blue Monday". The synthesizers quickly did the trick and, with additional help from the likes of Depeche Mode and Kraftwerk, Haymes was won over as a true fan. His mother’s ABBA records also inspired a love for disco, and this combination would set the foundation for the Mighty Mouse sound years later.

What began as trying out playing vinyl at a house party quickly developed into a full on obsession:

“I moved in with a friend [who] had decks and I’d just play on those decks every night all night as much as humanly possible. It was just all I could do. Every penny went on records. It became an absolute addiction. I wasn’t trying to make music at that point, I was just obsessed with playing records.”

As part of his new passion for DJing, Haymes began hunting for rare and obscure disco records. He found that he favored eclectic sounds that were different from the norm, but he wasn’t sure how he could make money DJing such unique music.

Enter Lindstrøm. This Norwegian producer lead the nu-disco movement in the early 2000s and inspired Haymes to incorporate disco into his own sound.

“I started hearing Lindstrøm when he started the nu-disco sound nine or ten years ago. That’s when I was like, 'Hang on a minute, he’s doing something a bit different to everything else that’s not just straight up house music,' which I was a bit bored of... It was this idea of you can do 4/4 but it can be dancey and it can be different and it can be a bit out there... Lindstrøm, Horse Meat Disco, and Aeroplane showed me that you can play any form of disco records and people will dance.”

Now, Mighty Mouse has a defined sound that is both vintage and modern, combining the best of both worlds. Haymes favors music that is loose and funky, that sounds like it could have been made during the disco heyday but with a contemporary edge.

“When I’m going to do an edit I like it to feel a bit like it was made back then, and probably add a little bit of shine so it feels more modern and current... I just love the feel of music that was made in the ‘70s and ‘80s. It hits a nerve with me, and I quite like trying to make modern versions of it.”

Haymes recently returned from touring in the U.S., during which he was able to introduce club audiences to disco music. He noticed an innocence and an excitement in the crowd’s reaction to what he was playing -- the look of people discovering disco for the first time. Haymes spoke about this experience with the joy of someone excited to share their passion with others, a desire that drives much of his DJing and production philosophy.

“I want to remind people that disco is a whole world of unheard of music, rare gems, and modern stuff. Disco was a movement. Music in the ‘60s wasn’t in clubs. These late night parties didn’t exist. [Disco happened] when music moved into the clubs in the ‘70s. At the end of the day I think house and techno all came from disco. We all play disco in our own way. I just have a passion for stuff that sounds quite vintage and retro.”

And he’s right -- without the club culture that disco inspired, and the rhythmic 4/4 beat that laid the foundation for house and techno in the next decade, the landscape of electronic music would look very different today. Haymes’ quest to introduce this generation’s electronic music fans to the music that began it all is a noble one, and his fresh take on disco accomplishes this quite well.

Between DJing as Mighty Mouse and working on his second project, his band Du Tonc, Haymes keeps himself quite busy. Du Tonc allows him to fulfill his musician side with live instruments and more lyrically-based songs, while Mighty Mouse satisfies his infatuation with DJing disco records.

Now back at home following his recent tour, Haymes has returned to his studio in peaceful North England to work on new Mighty Mouse and Du Tonc material. He intends to release several new edits this year, as well as an original Mighty Mouse single at the end of the year with an EP to follow.

(Read original post)

[pjwrites]

DJZ: Interview: Supernova Bring Heart & Soul to House Music

Emiliano Nencioni and Giacomo Godi, otherwise known as Italian duo Supernova, have been a considerable force in the house music world with the library of original productions and remixes of classic tracks that they've amassed since they began working together in 2002. They have brought their dynamic DJ sets to venues large and small across the globe, energizing dance floors with their funky mix of tech and deep house.

Both Emiliano and Giacomo have been passionate about electronic music from a young age. They each began to DJ at 15 years old, in what they say was a natural progression of their innate love for house music:

Ten years ago, while they were collaborating on a compilation album, they decided to try producing some original tracks. Eventually these originals became their debut album, Downtown Underground, which was released in 2007 and which gave them their first taste of distinguished success. Since then, they have had a number of releases on the genre-defining house giant Defected Records, as well as their own Lapsus Music, which they formed in 2009.

The combination of Emiliano’s DJing background and Giacomo’s production background gave them well-rounded experience to make Supernova a complete project, now fully cultivated after ten years of working together. Working as a duo feels natural to them; it doubles their creative abilities and allows them to achieve much more than if they were on their own.

“Being a duo is a great thing if you really appreciate and understand each other [and] you really love and can share each other’s skills. If you really mix together the two personalities in the right way that for sure is a plus because it’s two minds, four hands, and two bodies instead of one... We are trying to manage a label, a lot of productions in terms of originals and remixes, a lot of gigs... If you want to do this with a high quality it’s impossible with one person."

Supernova is particularly known for their remixes of a number of seminal house tracks, including “Can You Feel It” by Chez Damier and “Strings of Life” by Soul Central. Though it may seem intimidating to be asked to remix some of the most prominent house tracks of all time, Emiliano and Giacomo instead feel honored to put their spin on the classics.

“We feel really excited to [remix these tracks]. Sometimes we’re asked to do a remix for somebody who produces vinyl that we played when we were kids, so for us it is an honor, it is something that really excites us and we can’t wait to go to the studio and try to do the best that we can.”

Now, however, the group is focusing more on originals, as they are working on a new album and a new single for Defected. They have had to turn down a variety of remix offers, and, in turn, a lot of money -- but they’re hardly bothered, since they’re primarily driven by their own artistic pursuits and a deep love of house music rather than money.

This passion shines through when they play live. Their sets are a combination of a DJ set and a live show, where they play both their original tracks and their favorites from other producers. They have taken their shows all over the world, playing underground parties in Italy and some of the most influential clubs in Ibiza, Barcelona, London, and throughout the globe.

“From Supernova people can expect the passion, the history, and the research that two guys have been at for almost 20 years. During our DJ sets and during our nights people can see and listen to the great passion that we put in our job.”

Currently, Emiliano and Giacomo are working on a new EP for Defected featuring vocals from Ann Saunderson (the wife of Detroit techno legend Kevin Saunderson), as well as a third Supernova album to be released in 2014. Later this year the duo will also release a compilation of their best remixes. In the meantime, they will continue their world travel with gigs in Japan, the U.S., and across Europe, while preparing a number of new releases on Lapsus Music.

[pjwrites]

LessThan3: Rachel Row's 'Follow the Step' Remixed Thrice

If you've found yourself on a dancefloor a few times this summer, chances are you've heard Rachel Row's hit track Follow The Step or one of its many remixes (we're quite partial to Justin Martin's take). Now, Defected has released a package of remixes by FCL, Breach, and KiNK, who each bring Row's vocals to new depths. 

Belgian duo FCL begin their "Gentil Remix" with cool, minimal synths that let the vocals shine, bringing in a funky bassline halfway through that fully transforms the remix into a club track.  Next, Follow The Step gets the Breach treatment in his "Hood Remix." Unlike the previous track, the Jack whizkid has cut up the vocals beyond recognition in this version to create a gritty garage banger.

  Bulgarian producer KiNK has collaborated with Rachel Row on multiple occasions, and, as producer of the original version, his "Bass & Beats Remix" is a natural choice for this compilation. The most dynamic track of the three, KiNK's remix artfully blends Row's vocals with stuttering breakbeats and a wobbling bassline that together form a euphoric dance anthem. 

The full compilation can be purchased on Beatport.

(Read original post)

[pjwrites]

LessThan3: Hot Natured Releases New Album 'Different Sides of the Sun'

Jamie Jones, Lee Foss, Luca C, and Ali Love have each already made a name for themselves within the house music world. Jamie Jones and Lee Foss both founded the influential label Hot Creations and are also highly respected DJs on their own. Luca C and Ali Love are together the UK duo Infinity Ink, who have released their club-friendly house hits on both Hot Creations and Crosstown Rebels. 

Now, the four friends have joined forces to create a veritable dance music supergroup. They have just released their first full length album, Different Sides Of The Sun, on Pete Tong's FFRR Records.  You may already be familiar with the album's first single, Reverse Skydiving, which infiltrated dancefloors this summer and inspired a slew of notable remixes. The rest of the album follows in the same vein: catchy vocals and disco synths breezing over classic Detroit-inspired beats. The quartet created the album based on the concept of transcendence through music, featuring the overarching theme of celestial spirituality and Egyptian pharaohs. Ali Love lends his pop-friendly vocals to many of the tracks, with additional cameos from Kenny Glasgow of Art Department, Anabel Englund, and Roisin Murphy. 

  Musical supergroups are often created with the misguided assumption that multiple talented musicians together will automatically conceive phenomenal music--but history has shown that this is not always the case. To decide for yourself whether or not this promising group has succeeded in creating dance music gold, you can stream the album at Pitchfork or purchase it on iTunes. Either way, expect many of these tracks to be regular club and radio hits. 

(Read original post)

[pjwrites]

LessThan3: Five Up-And-Coming Electronic Acts to Catch at Made in America

  The two-day Made In America Festival kicks off this weekend in Philadelphia for the second year. The eclectic lineup features a variety of genre-spanning acts to appeal to a wide audience. Noting the importance of electronic music in America's popular music landscape, curator Jay-Z has made a point to include a number of electronic artists among the other rock, hip hop, pop, and indie acts (including wifey Beyoncé, of course). 

While some of the names are pretty big (deadmau5 and Calvin Harris, we're looking at you), there are others that haven't reached superstar status... yet. As with any music festival, sometimes the artists in the small print are just as worth checking out as the headliners. Below are our picks for electronic up-and-comers to catch at Made In America this weekend. 

REDLIGHT

Bristol bass producer Redlight has been on the up since 2010 after his first releases on Digital Soundboy, home to fellow UK dubstep heavyweights including Dismantle, Breakage, and Caspa. Redlight's blend of bass, house, and garage has earned him endorsements from the original UK dubstep trailblazers Skream and Benga--and that's big. Redlight's tracks balance the signature UK bass sound with catchy hooks that make them well structured for the dancefloor. 

ALUNAGEORGE

For two internet friends who linked up and released their first music a year ago, AlunaGeorge have been rapidly gaining notoriety. Electronic fans who weren't already familiar with the duo were quickly made aware when they were featured on Disclosure's mega hit White Noise earlier this year. They went on to release their debut album, Body Music, this July, featuring Aluna's sticky sweet vocals gliding over electronic beats. Make a point to catch their set this weekend and be seduced by sexy electronic pop songs with a soulful edge. 

JESSE ROSE

Unlike the other artists on this list, Jesse Rose is far from a newcomer--with twenty years of producing, DJing, and label management experience on his resume, he is a house music veteran. The London raised and LA-based tastemaker currently manages three of his own imprints--Made For The Night, Made To Play, and Play It Down--where he showcases the music that he loves. His own tracks are a blend of classic Chicago house and Detroit techno, and from his DJ sets you can expect his favorite house tracks made for the club. 

RUDIMENTAL

Already big in the UK, London quartet Rudimental are bringing their big dance party to the US this summer. They blend drum & bass, soul, and hip hop into energetic tracks made for the stage, and they've collaborated with a variety of artists including Wale and Emeli Sandé (who also appears on the Made In America lineup). Rudimental's live shows offer much more than the typical DJ standing behind the booth: they operate more like a band, with ten (or more!) people on stage during their sets playing trumpets, guitars, spoons (that's right), and other live instruments. 

ROBERT DELONG

Do you like indie music, but prefer to dance at a show rather than stand around? Robert DeLong might be your answer. This Seattle-bred musician started off as a drummer in an indie band, but became interested in electronic music after attending raves. Now, he combines both genres to create an original blend of dance beats and alternative hooks. In his live shows, DeLong brings life to his energetic tracks by bouncing between his samplers, mixer, keyboard, full drum set, and mics to provide his own vocals. He even re-programs Wiimotes and Sega controllers as MIDI-interfaces. MTV recently named him a Young Artist to Watch, and we agree--if only to nerd out over his Wiimote MacGyvering.  Check out the full lineup for the Made In America Festival here.

(Read original post)