BEATSELECTOR Magazine Issue N°5

L O U I E V E G A ' S S T A R R I N G X X V I I I K I C K S O F F 2 0 N E W M U S I C R E V I E W S

BLACK COFFEEKNEEDELUSCOLOUR THE VOIDFLOOZIES MADUKTEENAGE MUTANTSSATIN JACKETSXENIA GHALIDEPAART RECORDS

+discwomantrailblazing the electronic dance scene.An exposé by Chloe Aiello

Moving Electronic Music Forward

PUBLISHERJOSEPH WENSELL

CONTRIBUTORSCaitlin Cline

Catherine Strickland

Chloe Aiello

Cory Royster

Erik L. Richardson

Fred Lee

Joseph Arthur

Karin Haslinger

Leo Weaver

Payton Gerencir

Stephanie Hernandez

Tyler Quick

EDITORIAL [email protected]

ADVERTISING & [email protected]

GENERAL [email protected]

2016 / Issue N° 5

f@ beatselectormagazinet@ beatselectorbeatselectormagazine.com

B AE TSELECTOR

insideISSUE NUMBER 5 MAY 2016 COLOUR THE VOID 38

BLACK COFFEE 44KNEEDELUS 52

Features

By chloe

aiello

Security shutters yawned over a dewy, glass window at 906 Broadway in Bushwick, Brooklyn, one late Saturday, offering a voyeuristic peek into the revelry within. Sweaty bodies moved in time to a new resurgence of an old music genre

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08 ICYMI Recent news, upcoming new releases & more from around the web.

26 ARTIST PROFILES FLOOZIES, MADUK, TEENAGE MUTANTS, SATIN JACKETS, XENIA GHALI 36 LABEL WATCH Out of Madrid, Spain comes DEPAART RECORDS.

66 CD/EP/12" MUSIC REVIEWS Louie Vega's latest release "STARRING XXVIII"on Vega Records leads off 20 recent releases reviewed.

Departments

58Page

that pulsated through the narrow entryway. One lone sentinel kept guard. A throng of eight or so millennials gathered, the group as grungy and eclectic as the façade of the DIY music venue, Palisades, behind them.

Photography courtesy of Discw

oman





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06 | Beatselector Magazine | Issue N° 5

Women trailblazers Christine Tran, Frankie Decaiza Hutchinson and Emma Burgess-Olson are the subjects of our Spring 2016 Cover Story. Chloe Aiello enlightens with an excellent exposé on the messages, obstacles and the new vision sparked by DISCWOMAN. South Africa’s Black Coffee, a phenomenally successful producer causing all kinds of uproar with his signature “Afropolitan Sound”, gets several pages of space and ink describing his his rise fame.

Next we felt the need to turn you onto the outside-of-the-box, sounds of Kneedelus, a wild collaborative project between Jazz outfit Kneebody and electronic musician Daedelus. Colour The Void, a relatively new act has a new single and we have a Q&A discussing gear, concepts and more.

This issue’s Label Watch is on Spain’s Depaart Records. Run by two remarkably talented producers in Georgeous (Jorges Primo) and Moliner.

Also inside, we review 20 new releases. Choosing the "Lead Review" was very difficult. Louie Vega’s 'Starring XXVIII' or Joey Negro’s 'Remixed with Love by Joey Negro Vol.2.' and it was literally a flip of the coin and Louie won.

Both albums are masterpieces and we tell you why, along with words on several releases you need to hear. Read on!

vOPENING NOTES

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Beatselector Magazine | Issue N° 5 | 07


vICYMIfrom around the web

On March 29, 2016 the Swedish Superstar DJ announced to the world with an Open Letter

via his website that future touring would be put aside all the while keeping his options open.

Social media was a buzz, as one would imagine, with well wishing commentary being the

dominating theme. The posted annoucement, available to read in full at avicii.com, goes in to

self reflection, the reasoning, and how he came to make his decison.

AVICIIDecides to StopTouring

Photography by Sean Eriksson

"One part of me can never say

never, I could be back ...but I won’t

be right back."—Avicii

If you are fortunate enough to catch his last performances at the UK production of the Electric Daisy Festival in Milton Keynes in July, Belfast's Boucher Playing Fields on August 26 and, as of now, his final scheduled gig at the Creamfields festival on August 27, be prepared and expect a "spectacle extraordinairre." Rumors also have it that a follow up to 2015's 'Stories' is to be released sometime this year. Our fingers are crossed.




A record-breaking number of votes have been counted and the results are in for DJ

Mag’s Top 100 Clubs Poll 2016 powered by Miller Genuine Draft. The Top 100 Clubs

Poll is the defini-tive list of the best clubs on earth – from small intimate venues to huge,

large-scale temples to electronic music – and this year’s edition has a new winner, Space

Ibiza. The results were unveiled via a social media countdown on DJ Mag’s Twitter and

Facebook.Over 450,000 votes were cast in the Top 100 Clubs Poll 2016, with clubbers

voting from across the world. This year’s victory marks Space Ibiza’s fourth win, beating

their own record from 2014. However, 2016 will be the final time you’ll see the legendary

venue in the Top 100 Clubs Poll, as this will be the venue's final year of operation.

SPACE IBIZA Tops 2016 Best Nightclub List

Widely regarded as one of the greatest clubs of all time, the Ibiza superclub has stood on the

same site for over 25 years, and will close its doors at the end of the summer.With the 100 clubs

coming from 36 different countries, the Top 100 Clubs Poll 2016 is more representative than

ever of the global clubbing scene. These spaces - including supervenues and bastions of the

underground alike - are the lifeblood of electronic music; their dancefloors play an incredibly

important role in shaping new sounds, scenes and genres, hosting renowned resident DJs,

rising new talent and huge international names alike, and creating cultural waves that reach

far beyond their walls. Rounding out the top 10 are: 2) Green Valley (Brasil) 3) Amnesia (Ibiza) 4) Pacha (Ibiza) 5) Octagon (South Korea) 6) Zouk (Singapore) 7) Hakkasan (Las Vegas) 8) Ushula (Ibiza) 9) Sirena (Brasil) 10) BCM (Majorca). See the entire list here.


http://www.djmag.com/top100clubs


1st Sunset Sailaway Festival Presented by Corona Set for June 10-12Corona's Sunset Sail Away Festival is a brand new, electronic music festival set to unfold from June 10-12, 2016. After boarding a luxury ferry at the Mediterranean port of Barcelona we will cruise to Sardinia, Rome and finally back to Barcelona. Featuring international DJs including (pictured from Top Left to Bottom Right) Bondax, Jax Jones, TCTS, Karma Kid, Eton Messy, Karma Kid, Bodhi, Après and GRADES, a very special Kitsuné showcase and more, this unique festival experience promises to be a standout on the European festival scene.

Three nights of smooth sailing across the Mediterranean in an intimate setting where DJs will mix casually with fans and enjoy the holiday atmosphere. 48 hours of music, over 30+ artists performing on three carefully curated stages, all fully equipped with Funktion One Sound


Systems. Also, expect a number of launch parties and private events across the Iberian Peninsula in the run up to the event.

There is an abundance of great accommodation onboard the boat. With 4-person interior or exterior cabins starting from 149€ per person including breakfast through to the VIP Suites which include sea views and a few Coronas of course! Not to mention first class restaurants, gym, spa, cafe, casino and salon all at your disposal to make your experience even more enjoyable. Sail Away is a festival experience you do not want to miss.

Visit sailawayfestival.com for more information and tickets.




Casablanca Records, an imprint of Republic Records, and Jägermeister, the German herbal liqueur, are joining forces in a unique strategic marketing partnership. The alliance brings together one of dance music's preeminent labels with one of the top-selling imported liqueurs in the U.S. "Jägermeister boasts a deeply rooted history in music, creating partnerships all around the world, and we pride ourselves in working with some of the most respected players in the music business," said Cliff Rigano, Director of Music Marketing at Jägermeister. "This latest initiative with Casablanca Records takes things up a notch by bringing together two innovative industry leaders to creatively support groundbreaking artists and bands that stand apart from the rest." With its long history of promoting myriad musical genres, Jägermeister has always been at the forefront of new and innovative ways to connect with consumers through the power of music. The Casablanca partnership will build upon that tradition as the brand joins forces with Casablanca artists that speak to Jägermeister's heritage, ingredients and process through the creation of original video content, music videos, remixes and more. Talked-about artists Seven Lions, Prince Fox and Gazzo are already on deck to

Casablanca Records & Jägermeister Strike Alliance of Note with Strategic MarketingPartnership

release exclusives through this unprecedented joint venture. Casablanca and Jägermeister will also work together to reach influencers with the partnership, building immersive engagement opportunities at various events throughout the year. "We're very excited to break ground with Jägermeister on this partnership," said Casablanca Records general manager Brett Alperowitz. "With our shared focus on music, lifestyle and culture, this spirited alliance will take us well beyond the traditional brand sponsorship to impart something altogether new to music fans." Jägermeister will also work with Casablanca artists on a number of the brand's other initiatives, including performances as part of their integrated Electronic Dance Music (EDM) festival program with Live Nation and the hosting of exclusive Stag's Club influencer events, as well as other digital, social media and PR activations. To view the first installment of the three-part Gazzo documentary, "Gazzo Evolution", click here. Produced by Jägermeister and Casablanca Records, it is an intimate look at the New Jersey artist and producer's creative process, approach, and story. Be on the lookout for the next installments soon.




Insomniac Launches New Underground Brand, Factory 93 with Debut Warehouse Show in Downtown L.A."I love playing in LA, there's such an exciting buzz around new underground music," said Hot Since 82's Daley Padley. "It's an honor to host Knee Deep In Los Angeles at the opening of this new warehouse space downtown!"

On April 6, 2016, Insomniac announced a return to its underground roots with the launch of the new brand, Factory 93. The brand will be dedicated to nurturing techno, deep house, tech house and the unique vibe of warehouse culture in Los Angeles. Join us this May in the heart of Downtown Los Angeles for an incredible underground journey, created by the cultivators of the underground in the early 90's.

I've loved warehouse parties since the day I walked into one as a youngster," said Pasquale Rotella, Founder and CEO of Insomniac. "The way the bass rattles the metal and reverberates through the walls, the condensation that forms on the ceiling from all the heat and energy in the room. Those experiences changed my life and made me want to devote my life to dance music. I couldn't be more excited to go back to my roots with Factory 93. It's a project the whole Insomniac crew is extremely passionate about."

Factory 93 will debut May 21 with 'Knee Deep in Los Angeles', featuring Hot Since 82 (3-hour extended set), showcasing his Knee Deep label with Santé b2b Sidney Charles, and special guest Doc Martin. The very first Insomniac event series began in 1993, aptly named "Insomniac." Every Friday in Los Angeles, hundreds of people would come together to celebrate the underground; it's rich culture and enthralling music.

Factory 93 will channel the energy of Insomniac's earliest gatherings for incredible experiences – centered by a true appreciation and understanding of the origins of the underground. Purchase tickets and find the latest updates and announcements at TheFactory93.com.

Photography courtesy Insomniac


vNEW MUSIC


You can call them a "supergroup", but Moderat understands that it’s the "group" aspect that makes them interesting. Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We’ve seen their collaboration grow from "laptop boy-band," (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, "there was just no live performance software around." Ring confesses that Moderat wasn't "really meant to be a recording act ," with Bronsert agreeing that, "it was really just about fun." Six years after their dbut release, comes Moderat III which was concieved with the intent on

creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy’s completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band. Szary describes the idea behind Moderat as, "imagin[ing] yourself sitting in the cinema and watching a movie with an incredible soundtrack." This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as "the calming scent of lavender fills the air," or "burning bridges light my way." You’d have to ask them whether they’re intending to manipulate the listener in the same way that John Williams or Hans Zimmer

might with traditional orchestras.

Bronsert explains that, "the new album isn’t based on jams. We went into the studio and knew exactly what we needed to do." This is reflected in the sophisticated themes explored in the music.

Take "Ghostmother," which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or "Running," which is about being part of a mass that constantly needs to move to function, but doesn’t have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we’ve each played in that, but choosing to act differently and light the way to something better.

Photography by Flavien Prioreau


vNEW MUSIC


Heidi has announced the relaunch of her Jackathon Jams label. After a short hiatus, the first release is a 3-track collaborative EP from DJ T. vs Emanuel Satie featuring two new productions ‘Break Loose’ and ‘Feeling You’ featuring Joe le Groove, and a remix of ‘Break Loose’ by Kill Frenzy. The EP, released on April 1 will be the first Jackathon Jams release distributed via a new deal with !K7.

DJ T (Thomas Koch) has been a leading personality in Europe's dance culture for over 25 years having held court at famous clubs like Music Hall, Plastik,

Photography courtesy of DJ T.

Dorian Gray, and The Box. He's released a bunch of singles, EPs and Albums, all receiving high praise as well as having compiled selections for a number of labels.

Emanual Satie has been a the top of Berlin's Techno scene for some time now. 2016 has seen a consistent run of successful releases.

His rework of Late Nite Tuff Guy’s remix of DJ Le Roi & Roland Clark’s I Get Deep hit No.1 in the Beatport overall chart. His debut single

on Nic Fancuilli’s Saved Records, ‘Come As You Are’ then reached No.2 in the Beatport Tech House chart.

Jackathon Jams first launched in 2012, releasing cuts from Maya Jane Coles, Tini, Miss Kitten, Alexis Raphael, Jesse Perez, Jimmy Edgar, Waifs & Strays vs Lukas, Rob Amboule feat. Derrick Carter, DJ Sneak, Kim Ann Foxman, Soul Clap, Catz N’ Dogz, and more.

Photography by Viatli Gelw

ich



vNEW MUSIC

Photography courtesy of Dam

iian Lazarus

2015 saw Damian Lazarus create his most ambitious project to date in The Ancient Moons, producing a full length album ‘Message From The Other Side’ with a wide assortment of vocalists and collaborators from around the world.

They went on to support Roisin Murphy on tour, gain acclaim from the likes of Dazed & Confused and Lazarus became the final cover star of the year in the UK”s Mixmag magazine.

Now the new 12 track album ‘Remixes From The Other Side’ has been reinterpreted by an assortment of stars, from techno stalwarts Juan Atkins & Kimyon Huggins, to German experimental talent Kölsch, and Acid Pauli’s sprawling fusion of weirdness. The original material is ploughed in new and surprising

directions by Black Butter’s own Gorgon City and Mehmet Asian, resident at Berlin’s infamous Wilde Renate club.

Talent from Lazarus’ label Crosstown Rebels, including Francesca Lombardo, DrumTalk and Israeli trio Red Axes also produce their own visions for the music, all of which retain the mysticism of the original with added dance floor appeal.

The final four tracks revisit some of the biggest moments from the Moons to date, as the album revisits interpretations from Jamie Jones, Dixon, Serge Devant and &Me.

Co-produced by James Ford (Simian Mobile Disco, Arctic Monkeys, Florence & The Machine), The Ancient Moons was always a unique project, which has now been stretched to include the flavors of some of the most exciting artists shaping the musical landscape right now.

Recorded in Mexico, L.A. and London, ‘The Other Side’ features instrumentalists fromMozambique, Guinea, Pakistan, Egypt, America and even Mexico’s own Yucatan Symphony Orchestra.

Look for the release on May 13 on Crosstown Rebels.


vON TOUR


June 4, 2016 Free Press Summer Festival Houston, TX

June 12, 2016 ULTRA Korea Seoul, Korea

June 16, 2016 Firefly Music Festival The Woodlands of Dover, DE

June 25 , 2016 A Summer Story Arganda, Spain

July 16, 2016 ULTRA EuropeSplit, Croatia

July 22, 2016 Tommowland Boom, Belgium

July 23, 2016 Arona Summer FestivalTenerife, Spain

July 30, 2016 Veld Music Festival Toronto, Canada

August 12, 2016 DreamBeach Villaricos Almeria, Spain

August 13, 2016 Boardmasters Festival Newquay, U.K.

Visit deadmau5.com for ticket info, more dates and updates.


Matt and Mark Hill, two brothers from Lawrence, Kansas, one plays guitar, the other, drums and as the duo Floozies, they're becoming quite popular thanks to their cutting edge production and party rock and funk tunes that have proven to energize crowds and turn venues into epic dance parties.

Currently signed with GriZ’s All Good Records, home to fellow funksters SunSquabi, Manic Focus and Muzzy Bear to mention a couple, the Floozies have 4 releases on the label, the latest being The ‘Granola’ EP. Musically, one might hear sounds coming from “Grunge” a la Chris Cornell or the Classical world of Kavinsky to remixes on classics from Toto and The Grateful Dead to the other side of the music spectrum with Zapp & Roger, Lettuce and Amon Tobin, all of which provide the Floozies with quite an extraordinary musical reference to pull from that features prominently within their live set lists.

Live, their shows are to behold and are wildly popular with their bold supersonic exploration of music that has deep pocket grooves, swings hard with neck-snapping, knee-bending dirty funk, combined with loops, samples, searing guitar solos and drum kicks. Floozie fans that have witnessed them first-hand on stages at Wakarusa, Summer Camp, Kanrocksas and Sonic Bloom, or perhaps with on tour with Umphrey’s McGee, GriZ, Big Gigantic, Archnemesis or Wick-It The Instigator, have all experienced the crowd frenzy dance craze the brothers bring to their show. If you haven’t yet had the pleasure, you can catch them touring the country with stops at Bonnaroo, Mysteryland, Electric Forest and Red Rocks.

Follow: flooziesduo.com C/flooziesduo M/@flooziesduo

vARTISTPROFILE

FLOOZIESWritten by Joseph Arthur


Photography courtesy of Floozies


Meet Maduk. Named "Best Newcomer Producer" in 2014 by Drum and Bass Arena Awards, the Amsterdam based DnB producer and DJ is being hailed as one of the most promising new talents emerging from the DnB scene.

His music released through Hospital, Viper, UKF, Fokuz, Allsorts and his own label Liquicity Records have been supported by contemporaries Pendulum, Sub Focus, Camo & Krooked, Netsky, High Contrast, Danny Byrd, Friction, TC, Bcee, London Elektricity, John B, Futurebound, Matrix, Grooverider, Drumsound & Bassline Smith, The Prototypes, Culture Shock, Crissy Criss, Metrik, Brookes Brothers, and Dirtyphonics, and a bunch of others, all helping to further push Maduk into the elite ranks of the DnB conscienceness.

For the past eight years, Maduk, alongside his business partner Maris Goudzwaard, has been running and building the successful YouTube channel turned record label, Liquicity Records, one of the largest communities of liquid drum & bass in the world and has played a key part in reaching new audiences for the smoother side of bass music.

Now exclusively signed to Hospital Records, Maduk's debut for the label titled 'Not Alone' brings together Dutch talents MVE, Frae and Duckfront for an energetic three piece set of dance floor feelers that accelerate through vocal chop ups and piano led melodies. Working with and drawing inspiration from label mates Logistics, Fred V & Grafix and Nu:Tone, Maduk is a man living his dream.

Follow: C/madukdnb M/@MadukDnb

vARTISTPROFILE

MADUKWritten by Joseph Arthur


Photography Hana M

akovcova


vARTISTPROFILEWritten by Leo Weaver

30| Beatselector Magazine | Issue N° 5

TEENAGEMUTANTSWhat’s in a name? Most will instantly identify Kristian Samujlo’s alter ego Teenage Mutants with the Teenage Mutant Ninja Turtles, that is a given, but make no mistake, Teenage Mutants, is a one-man sound machine from Mainz, Germany who has firmly established himself as a an up-and-coming, major player in the deep house music scene and as written in his Bio sheet, there’s nothing comic about his passion for music.

Over the course of 5 years his musical output represents dozens of singles, a few EPs, and over 30 Remix credits. And now rumor has it that a full length album will be forthcoming on the Stil vor Talent label. His first projects date back to 2011 and it didn’t take long for success. His name was being spoken in circles with success of the collaboration with OFF Records founder Andre Crom producing the 2013 single ‘Hanging On’. Incidentally, right to #1 Beatport Deep House Charts.

His next projects would gone on to further solidify his position as a deep house music producer with great recordings on Suara, Stil vor Talent, Light My Fire, Kittball, Katermukke and Nervous Records. 2014 began with the collaboration with Purple Disco Machine for the track ‘People’ followed by ‘The Path’, a summer feel good flute anthem that was virtually inescapable that year and two EPs on Suara ‘Magic Anthem’ and ‘The Unhappy.’ It was a good year. As a DJ and performer, Teenage Mutants is one the busiest performers on the club and festival circuits. He’s been booked essentially everywhere, from Johannesburg to Moscow, Miami to Berlin, so when he comes to your town, show up.

Follow: C/teenagemutants M/@TeenageMutantsx

Photography courtesy of Teenage Mutants


vARTISTPROFILE

SATINJACKETS

Written by Leo Weaver

German music producer, Tim Bernhardt and lead performer Den Ishu are Satin Jackets, deemed "darlings of electro-pop" with high praise accolades set upon them from the outset of their musical partnership.

For the last two years they've been touring non-stop through the US, Canada, Mexico, Europe and Austrailia, bringing their highly addictive pop, disco, funk appeal to the world's greatest stages. Bernhardt & Co. have racked upwards of 10 million plays on Spotify and their smash hit single 'You Make Me Feel Good' getting a combined 3M streams on Soundcloud and Youtube.

Shortly after concluding their four continent tour schedule, Berhardt, while on a break on the west coast of the United States, conceptualized his vision for 'Panorama Pacifica', a full-length debut LP released on April 8, 2016 on Eskimo Recordings. For the album, Bernhardt and Ishu brought in music makers and vocalists from Los Angeles, Berlin, London, Belgium and Austrialia to contibute to the record. Some of the featured names include L.A.s Scavenger Hunt, Birmingham's UoB's Got Talent Winner IsaacO, and U.K. to Berlin's Esser, among many other in-demand vocalists.

Follow: satin-jackets.com C/satinjackets M/@satinjackets


Photography courtesy of Satin Jackets


vARTISTPROFILE

XENIAGHALI

Written by Leo Weaver

Xenia Ghali wears many hats. She’s a classical trained musician, a songwriter, a fashionista, a DJ and producer with songs that are breaking through the clutter as they say. Her production credits include 5 original releases, reworking and remixing cuts from Pitbull (‘Fun’ feat. Chris Brown), who incidentally puts out Xenia’s music on his Mr. 305 Records imprint, and My Vega’s ‘My Jam’ feat. Pitbull. With just a handful releases, Xenia has managed to produce some stand out tracks such as ‘Get Dirty’, a great and 2015 track and an even more awesome video that showcases Wyclef Jean delivering an amazing performance behind some very ‘dirty ’ and ‘gritty ’ house beats. I recommend that you check it out. Her latest single ‘Under These Lights’, a Billboard Dance Club Song Charter is also gaining some momentum and recognition. ‘Under These Lights’ is described as “a stirring, arena ready, dance anthem with effortless cool in abundance with heavy beats and great vocals. Getting back to the subject of recognition, over the course of the last two years, she has been interviewed and written about upwards of twenty times in the press from publishers and sites that include The Examiner, Bella Magazine, MT V Greece, InStyle Magazine, Runway Magazine , among many others. In addition to playing all over in her homeland of Greece at events such as Athens MADwalk, performing in front of thousands and becoming one of the country’s rising stars, she has also “made her bones” in the some of the biggest EDM markets in the U.S.A.: New York, Miami, Chicago, Los Angeles, Austin and Phoenix. 2016 looks like an exciting year for Xenia. Dozens of gigs already booked and played, a hot new single, the influence of Pitbull and his name pushing out the release, all lead to two things, popularity and opportunity. Get on board.

Follow: xeniaghali.com C/xghali M/@xghali


Photography by Kosmas Koum

ianos


vLABELWATCHWritten by Joseph Wensell


DEPAART Records is a Deep House label with over 30 releases to date and home based in Madrid, Spain. Established in 2012, Depaart has been run by Jorge Primo aka Georgeous (top) and DJ Moliner (below) under the mantra, "What matters is not where you're at or where you're from, but what music you can create."

Photography courtesy of DJ M

oliner and Jorge Primo

Year Established 2012

Home BaseMadrid, SPAIN

Websitedepaart.com

Facebookdepaart

Twitter@depaart

Soundclouddepaart

Youtubedepaarttv

Primo has risen up through the ranks of Madrid's electronic music scene and has ammassed an impressive network of ventures that include side projects Goya Social Club—famous for it's nightlife events and partys and as one half part of the electro house duo Kill The Hipsters. As Georgeous, he's being propped up as a bright artist to watch with support coming from Pete Tong's House, Stacey Pullen and John Digweed, plus write ups in a number of publications including DJ Mag and Faze Magazine.

Moliner started out in the business way back in the 90s creating electronic music influenced by underground music, Depeche Mode and Mike Oldfield. Over the course of 20 years, he's released numerous recordings for 7 Senses and Gimmick Records. It is in 2012 when Moliner joins Georgeous in the formation of Depaart.

The young label has been recognized as an "upcoming electronic music label" by Vicious Magazine, one of Spain's leading music publications. In addition to releasing music for Georgeous and Moliner, the label also hosts productions by Easy Kid and Fran Zaragova.



Exciting new production duo Colour The Void, have been making a lot of noise since exploding onto the scene. The multi-talented duo, who are based in Hastings and London, rubber stamped their name as one of the scene's hottest talents when they released their first ever production, a remix of 'You Got The Love' on Yuga's highly acclaimed label Kaisen Records. We were approached by Colour The Void's publicity arm, Matt Caldwell PR, to publish an Exclusive Q&A with the duo talking about the debut release.

BEHIND THE SCENES OF 'YOU GOT THE LOVE (COLOUR THE VOID REMIX)'

andQA



Hi Guys, thanks for taking time to answer these few questions. To get things started, for those who are new to Colour The Void, can you tell us a bit about yourselves and your musical background?

Mike: Hey, I'm based in Hastings, a town on the south coast of England. My musical background started with learning the piano from a very early age and having a lot of involvement in classical music growing up. I fell in love with electronic music during my teenage years, and after studying composition I switched my attention to production, mixing and mastering.

Andrew: Yo, I am based in London (UK) and I've been making music and DJing for over ten years now. My musical journey started at age 7 with studying the piano and then I discovered electronic music. Since then I've been DJing and producing with different monikers. I've known Mike for almost 3 years now and it felt natural to start collaborating together. Colour The Void is our first organic project, and it's great fun!

You were tasked with the job of remixing Yuga's Beatport's chart hitting record 'You Got The Love'. How did this project come about?

Andrew: I met Simone (Kaisen Records co-founder) through my music start-up BeatCamp. We started talking about his plans to start Kaisen and Yuga's first release (You Got The Love official remix). It was clear from day one how high the level of passion and hard work the guys were putting in....so I asked if they were planning to release a remix pack (How could I miss the chance to remix such an iconic song ???).

What was it like to work with legendary vocalist Candi Staton?


andQA


Mike: Well, it was a privilege to work with such a revered figure who played an important role in early dance/disco. 'You Got the Love' is an iconic track and probably one of the most remixed tunes of all times. Working on the remix was both exciting and scary because we needed to come up with something fresh.

You created a superb Nu Disco, Indie Dance infused take on the record. Why did you decide to produce the track in this style?

Andrew: Uhm, good question! We didn't plan any of that to be honest, we just jammed on different ideas and kept going until we found that uplifting drop melody. It's all about our personal styles mixed together, Mike comes from a very melody influenced background and I am more club-dj oriented which works well to get the musical and dance floor sides both covered.

Did you find the process of producing the remix relatively easy?

Mike: We both have quite different tastes in music and therefore fusing our ideas together can prove to be quite interesting. The one thing that we have in common is an appreciation of quality and so we're very hard on ourselves when it comes deciding whether something is good enough. There were multiple occasions when we had to delete a few hours worth of work because it didn't pass our stringent quality control checks!

Where did you get your inspiration? Mike: For this track I was inspired by the melodic disco vibes of Todd Terje and the creative production style of Flume.

It's hard to point to a single source of inspiration, however I remember being inspired by Madeon,


Kasbo and Zhu during our production sessions.

What equipment did you use to produce the record?

Mike: We're both Cubase users which is great when it comes to collaboration. We mainly use software plugins – we both love Native Instruments Komplete, as well as Xfer Serum and Cakewalk Z3ta. For mixing and mastering we rely heavily on FabFilter and UAD plugins. In my studio I have a set of PMC monitors which really helps when it comes to the mix and mastering process.

How long did it take you to produce the record?

Andrew: I joined Mike in his amazing studio in Hastings and we finished the track in two weekends. I like to be very organized with session times, so despite this being a very complex track we were able to finish it in only 4 days.

What has it been like working with Yuga and Kaisen Records? Mike: We both really respect Yuga as a producer and a DJ and the support from Kaisen has been great – they are a young label and I really enjoy their energy.

Andrew: The hard work, assistance and business know-how demonstrated by Kaisen Records isn't common within young labels, and so collaborating with them was a great experience.

What has the reaction to your remix been like so far?

Mike: It's been very positive – although this track has been remixed many times, people have enjoyed our unconventional take on it. We've been supported by Andi Durrant on his Kiss Fresh


show for 3 weekends in a row and we've been liked and retweeted by Gloria Gaynor!

If you guys had to choose anyone in the world to collaborate with, who would it be?

Mike: Difficult one. I really love the work of Flume, Lone and Andrew Bayer – they are all so creative in their productions and musical approach. So to have the opportunity to work with any of those guys would be amazing.

Andrew: I could write more than 100 names...but I guess the first would be Seven Lions.

How is your release schedule planning out so far? Any big upcoming tracks you can tell us about?

Andrew: We're currently working on a follow up original track that has our melodic-club oriented style of production. It's uplifting, melodic with summer vibes, definitely a Colour The Void track :)

In terms of gigs and tours, have you anything planned for the near future? Mike: We are currently in the process of planning our Colour The Void debut DJ set in London - news to be announced soon!

Where would you guys like to see yourselves in 6 months time?

Andrew: Writing our first EP then planning our first tour. Any big plans for 2016 and 2017? Mike: We'll work hard to keep releasing music and DJing. Watch out for Colour The Void – coming to your favourite club and festivals very soon!!


andQA

BLACKCOFFEE44 | Beatselector Magazine | Issue N° 5

Written by Joseph Arthur

TheOriginator

of the

'AfropolitanSound'

BLACKCOFFEE

Photography courtesy of Black Coffee

"If one heard a clamour and ululating emanating from the eastern provinces ofSouth Africa, Kwazula Natal and the Eastern Cape, announcing the recognition of a cultural phenomenon……and their role in the development of this cultural phenomenon…one could not argue were that clamour and ululating to be in respect of one……that is the soul, spirit, talent and vision of Nkosinathi Innocent Maphumulo, one who most know as “Black Coffee."



Black Coffeewas born in Durban in KwaZulu Natal and grew up in the Eastern Cape in

Mthatha. His 10 year musical story is inspirational, remakable. Here's just

one anecedote worth mentioning: at the age of 13 and while attending a

celebration for Nelson Mandela's release, Black Coffee was injured when a

speeding vehicle crashed in to the crowd of people in which he was standing.

The accident would leave him without the use of his left arm. A few years

later, he would set the 2013 World Record for the Longest DJ set, a whopping

60 Hours using one arm. Since 2009, he has been donating 5% of Soulistic's

(his label) sales revenues to charitible organizations and currently heads the

DJ Black Coffee Foundation, an organization that uplifts and assists people

with disabilities. The 40 year old rising star has a talent beyond the click of a

mouse and software. He also has a "keen" eye for beauty as well. He's been

married to actress Mbali Mlotswa since 2011 and in case you don't know,

his lovely wife played the character Puleng on the award winning TV show

4Play: Sex Tips for Girls. Look it up, you'll like it. Musically, Black Coffee's

list of accomplishments is very impressive. He has released five full length

albums and a DVD/CD package that went on to multi-million sales. As a

genre visionary, he takes his music seriously and whether he's featuring Zulu

Warriors or Hugh Masekela, he is producing music that no one else is and

the more you listen to it, the more you'll learn to love it. All of his albums

have received high praise from the global press with release after release,

he's building momentum, recognition, a new sound, and a gigantic global

audience. Many will undoubtably know of Black Coffee, especially those in

the business. For those who are not familiar, the following pages "loosely"

details milestones of acheivent to date for the rising South African producer.

“I don’t know how to explain the production

stages of my album because all I did was

put down the basic ideas that I had, I

didn’t use any MIDI controllers everything

was played with a computer mouse."

Black Coffee on 'Black Coffee'




The musical chronoligal time line for Black Coffee begins when he was a young adult,

making a move to Durban to study Jazz, deepen his musical knowledge, learn theory and

develop his listening skills. Deciding to leave Natal Tech prior to graduation, Black Coffee

took his first step as a performer with two friends—Thandukwazi “Demor” Sikhosana and

Mnqobi “Shota” Mdabe working as backup vocalists for the renowned Madala Kunene. They

would go on to form an urban soul trio “Shana” and move to Johannesburg to make their

way in the business. Over the years, the three have carved out their own career paths as solo

performers and still collaborate from time to time. Right from the beginning, Black Coffee's

career starts moving pretty quickly after he was selected in 2003 as a participant at The Red

Bull Music Academy, an opportunity that would prove to be the 'big break'—opening doors

and leading to having his song "Happiness" featured on a DJs at Work LP. Two years later

in 2005 would come the first full length album, titled 'Black Coffee' an album created using

basic music making software, clicks of a mouse and live instrumentation. This would also be

the point of origins of creating his signature "Afropolitan" sound.

The release would also mark and serve as a launching point as Soulistic Music (PTY) Ltd.,

his home base of operation. The next natural step for Black Coffee was the recording of a

"follow up" to 'Black Coffee' and for that project he brought in a select few of female vocalists

to contribute to 2007's powerful release 'Have Another One'. The next natural step for Black

Coffee was the recording of a "follow up" to 'Black Coffee' and for that project he brought

in a select few of female vocalists to contribute to 2007's powerful release 'Have Another

One'. With two full length albums out, people started to stand up and take notice of the

talented producer and in turn he paid attention to what he saw as a demand in the market

place for his unique brand of music and the music of his contemporaries. In 2008 Soulistic

started making moves as a label with artist signings and releases from Culoe de Song,

Tumelo and Zakes Bantwani, all of whom turned in gold and platinum recordings for the

fledgling production house. For his third album, 'Home Brewed', released in 2009, Black

Coffee is joined by Ringo Madlingozi, Hugh Masekela and Zakes Bantwani among others.




DISC

The album would go on to win "Best Urban Dance Album" and Black Coffee would take

home "Best Male Artist " at the 2010 South African Music Awards. These two accolades

would bear fruit in the following years providing Black Coffee with a growing world wide

following, exclusive track licences and agreements, international tours and recognition

among talent buyers, presenters, and music critics. In 2011 Black Coffee launched

'Africa Rising' and at it's December 16 premiere, dazzled thousands with visuals and

songs from the ambitious new album giving the audience an emotional and stripped-

down 2 hour set featuring a 24 piece orchestra, alongside a full band and featured artists

and vocalists at the famous Moses Mabhida Stadium in South Africa. 2012 and 2013

would also bring more awards and recognition to the rising star with a nomination by

MTV: Europe, Africa, India, and Middle East Category for "Best Worldwide Act." 'Africa

Rising,' the DVD and 3 CD Set would go on to see double platinum sales in a span of one

month and pick up the 2013 Best Dance Album at the South African Music Awards.

ography

Follow blackcoffee.dj C/realblackcoffee M/@RealBlackCoffee

In early 2015, Black Coffee went on

a multi-continent world tour, playing in

some of the biggest venues in the U.S.,

Mexico, Canada, Mexico, Middle East , Asia

and throughout Europe. At the conclusion

of the 8 month tour, he returned to South

Africa for the September 2015 release of

'Pieces of Me', which his massive fan base

fully supported and embraced with sales

of a million units in South Africa alone. The

new album would also be well received and

favored in the press and set him on the path

to his latest award, DJ Magazine's "2015

Breakout Artist."

Black Coffee has racked upwards of

12 awards coming from presenters like

the South Africa Music Awards to Health

Magazine and then the numerous 'Best

Album' accolades during his 10 year span.

Obviously, with the massive following

originating in his homeland and expanding

to all corners of the world, Black Coffee is a

producer that has the people excited for his

new sounds.

So, if you are so inclined, I encourage

you to listen to his recordings, check out an

upcoming show and join the Black Coffee

Afropolitan movement.



K52 | Beatselector Magazine | Issue N° 5

+

nEEDELUSNEEBODY DAEDELUS

+

nEEDELUSNEEBODY DAEDELUS =



For decades, Electronic music has had many faces and off-shoots in it’s development and one

can argue that one genre over any other, Jazz, seems to be a favorite among DJs and producers of

all levels of success. The latest mixing of electronic music and jazz that most EDM fans do not know

about is an outfit going by the name of Kneedelus. It's the colloboration of the 5 piece acoustic jazz

quintet Kneebody that draws influence from 60s free-bop, 90s hip-hop, post-millenial indie rock

and classical post minimalism and electronic musician Alfred Darlington aka Daedelus.

The formation actually goes back many years ago. Sax player, Ben Wendel, reflects “Often when

I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio.

Photography courtesy Kneebody+Daedelus


He would knock on the bathroom door and say ‘Would you mind playing something on this

track?’ So I ended up being on at least five or six of Alfred’s albums because I happened to be there

practicing.” Over the years, Wendel and Darlington would continue working on various projects

together, perform live, and reaching a high point—perform together on an improvised set in

2009 at the famed French festival Jazz à Vienne. Wendel, a Chamber Music America awardee, and

his band mates (Adam Benjamin (Keys), Shane Edsley (Trumpet), Kaveh Rastegar (Electric Bass),

Nate Wood (Drums)) all contributed songwriting concepts and compositions that bridge the gap

between the music of Kneebody and Daedelus’ electronic soundscapes and wizardry. When the


Kneedelus project came together in the studio, each musician presented compositions and

concepts and in a democratic fashion, everything was voted on in selecting the direction, styles,

and song selection for the album. Darlington reflects back to that time “Ben approached me about

trying to realize some of this music that was maybe different from the Kneebody spectacular – where

they are always so through-composed – and do something that was more intimate.”

Coming out of the studio, the album Kneebody + Daedelus = Kneedelus, is a collection of ten

original songs that “sits inside the rich pantheon of instrumental music, but with a modern sheen that

takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.” The release is the

4th album to date for Kneebody. They've recorded for Dave Douglas' Greenleaf Music, Colortone,

Winter & Winter and Concord Records. Kneebody's influences can be heard with nods to D’Angelo’s

Voodoo to Elliot Smith, Bill Frisell, and Miles Davis. Most reading this article are just now getting

turned on to Kneedbody and Kneedelus as well, and for those that are now intrigued, listen to the

incredible music and and check out a live show when they come through your town.

Follow kneebody.com C/Kneebody

Photography courtesy Kneebody


“Putting a finger on a band like Kneebody is a bit like raising it to the wind. At any given moment, the group’s artistic inclinations can whip in an

unpredictable direction.” — Wall Street Journal


The NewFace[s]of Feminism

in the Dance Music SceneWritten by Chloe Aiello

Security shutters yawned over a dewy, glass window at 906 Broadway in Bushwick, Brooklyn, one late Saturday, offering a voyeuristic peek into the revelry within. Sweaty bodies moved in time to a new resurgence of an old music genre that pulsated through the narrow entryway.

One lone sentinel kept guard.A throng of eight or so millennials gathered, the group as grungy and eclectic as the façade of the DIY music venue, Palisades, behind them.

A tiny nymph with wild curls did jumping jacks for her friends—her enthusiasm contagious over a cacophony of drunken chatter. The young partiers and the scene they represent have been attracting a lot of attention from major publications such as NPR and Forbes. One unenthusiastic guest—a bored looking gentleman dragging languidly on a cigarette—is a professional music photographer. Like the rest, he was here for one reason: to check out the latest innovation in electronic music. This time it isn’t software or the next generation of Funktion-One speakers; it’s the all-female record label, known as Discwoman.


oman




oman

This past summer Jessica Hopper, the Editor in Chief of online music magazine, Pitchfork, brought this taboo subject to the forefront of music news when she published hundreds of industry-insider responses to her offhanded tweet. On August 25, she posed a question to her followers: “Gals/other marginalized folks: what was your 1st brush (in music industry, journalism, scene) w/ idea that you didn’t ‘count’?” The “Twitter-storm” of female outcry that followed revealed an industry rife with systemic sexism—even in an era when music lovers are well-known as a young, progressive and multi-gendered demographic.

Discwoman has set out to fix the antiquated industry. The record label launched in November 2014 and has been attracting international attention for its “grassroots” approach to solving industry woes ever since.

Although small, the project is ambitious. The brainchild of founders Christine Tran, Frankie Decaiza Hutchinson and Emma Burgess-Olson, the label seeks to showcase and represent “the wealth of female-identified DJ talent in the electronic music community,” according to the tagline on their website. And within the 13 months since founding the label, Tran, Hutchinson and Burgess-Olson have done just that. An all-female label is hardly a revolutionary idea. But the

rightto

leftEmma Burgess-Olson

Christine TranFrankie Decaiza Hutchinson



the gender parity problem in the music industry is a systemic one that dates back to the origins of electronic music from sweaty clubs and abandoned warehouses throughout Chicago and Detroit. In her book, “Pink Noises,” Tara Rodgers recreates the fem-experience in the electronic scene of the 90s and early 2000s through 24 interviews with such female electronic powerhouses as Le Tigre and Pauline Oliveros. “Sometimes it is frustrating in terms of not getting press in electronic music magazines, said Le Tigre’s Kathleen Hanna in an interview with Rodgers. “I’ve felt like we’re not taken seriously in that world.” There are no shortage of talented women producing and spinning electronic music, but remnants of that same, flagrant sexism from the early electronic era still pervade the music industry today and contribute to the meager female representation on major record labels and festival lineups. According to surveys conducted by VICE, in 2014 only 7.85% of artists signed with 10 major talent agencies in the US were women and the percentage of female artists booked for the top seven electronic music festivals nationwide was even lower at 6%.Furthermore, a female DJ/producer has never made it onto Forbes’ list of “Electronic Cash Kings,” (although two sister duos, Nervo and Krewella, almost made the list in 2015).

To date there are still very few all-female record labels, and more slim, even, is the likelihood that a group of women would actually start a label. “If you're talking about a traditional corporate, white male organization, it would have a hierarchical structure. No one would really have to answer to anybody, you could do it however you want because you’re the boss, right?” said Elizabeth Keenan, a writer with a doctorate in Ethnomusicology from Columbia University.

“But if you’re trying to stick to feminist egalitarian principles, it is so much harder because you are accountable to everyone else.”

The Discwoman founders started with a plan for an eponymous two-day festival in September 2014 (with a long-term goal of hosting the festival at Output, one of Brooklyn’s elite electronic venues) that became a far more ambitious project. Overwhelmingly positive responses to the festival prompted the women to continue work.

The following spring, Burgess-Olsen, Hutchinson and Tran founded their record label and now represent four female artists: Bearcat, HD, UMFANG and Volvox. In that capacity, they have participated in other gender progressive festivals including lady-owned and operated Brooklyn Electronic Music Festival, and Detroit’s techno-heavy Movement Electronic Music Festival, which this past summer featured a 15-hour party by the local collective, Girls Gone Vinyl. Discwoman helped to organize that event, which benefitted Detroit’s Music Industry Academy. Despite their nascent success, the owners of Discwoman are remarkably accessible—the effervescent girl playing outside of Palisades was Emma Burgess-Olson or UMFANG, part owner and one of the elite artists currently represented by Discwoman. Midway through the night, HD took the stand. In contrast to UMFANG, Hannah Daly, who spins under the moniker HD, stands tall and intimidating. Clad in her signature off white sweat suit, large gold hoops grazing the headphones curving around her neck, she made little eye contact with the crowd.

Her music spoke for itself. Daly describes her music as “world-bass,” a phrase she coined to describe the unusual style of music she mixes. She explained that it is fundamentally dance music with elements of pop, hip hop, R&B and reggaeton--she draws inspiration from any kind of music that makes its listener move, no matter where in the world it was created. “They’re the same kinds of sounds you hear - the same kinds of interests - whether you’re listening to a track made by some kid in Los Angeles or some kid in Lisbon,” she said. “In my sets I want to connect that world of sound.”

On the DJ stand that Saturday night in Brooklyn, she did just that, although solemn and focused in demeanor, she spun a range of tracks as heterogenous as the eclectic succession of vocalists who accompanied her. First onstage was songstress RAHEL, whose ethereal vocals bear resemblance to FKA twigs. “Tell what you’re thinking babe. I don’t ask a lot,” she sang, her voice meandering through air, heavy with dry-ice. The crowd swayed, transfixed as much by her siren song as HD’s heavy bassline. Next up was fiercely talented Brooklyn rapper, Jay Boogie. A tiny purse clutched under his arm, he strutted back and forth across the stage shaking the audience from its somnolent reverie with his breakneck lyrical pace. HD adjusted her mix accordingly, her virtuosity evident through calculated adjustments to pace and styling.



Photography courtesy of Hannah D

aly

At 25, Daly is as humble as she is accomplished. While working on her own career as a DJ and aspiring producer, she founded a record label, Doom Dab, in 2012. She now manages six multi-gendered and unusual artists, including both RAHEL and Jay Boogie, who produce work not often seen in pop music. “I didn’t intend to get so heavy into the business aspect,” she said. “But I thought if I don’t work to help those artists that I think should be in the mainstream, who will?” A native of Ohio, Daly moved to New York City in 2008 to attend New York University.

She says she was initially interested in visual art but felt restricted by the exclusivity of the art world. She refocused her passion for event curation into nightlife. While still in college, she began promoting and booking parties. Dissatisfied with the quality of music she heard, she finally decided, four years ago, to learn to play herself. As Daly was first breaking into the music industry, both as promoter and DJ, she spent much of her time in clubs where she first began to notice egregious sexism. “It’s an interesting space, you have that magical ability to connect with people through music,” she said. “But also people seem to lose control and fall into these misogynistic behaviors.” Clad once again in her off-white sweat suit, Daly gazed into a crowd of 40 or so rapt listeners from the front of a cavernous event space at Barnard College. She and fellow label-mates, Frankie Hutchinson and Kerry Murphy, who goes by Bearcat, joined seven other women-in-music and moderator Sydne Larsen during a panel that preceded Gigg on

and Girl music festival. Much of the conversation during the hour-long discussion centered on the challenges women in the music industry face, simply because of their gender. “Having an agency allows me to push artists into these male zones,” Hutchinson said of festival and party bookings, which she felt revealed an astonishing lack of intersectionality, both in terms of gender and race. “For us, the end goal is to have everything equal and integrated.”

After the panel, the Gigg on, Girl festivities began. In a rare moment of respite, Daly slipped away from the DJ stand and into the fluorescent light of an adjoining hall to speak candidly about the state of the music industry. Just beyond the double doors, Bearcat’s junglist mix could be heard enlivening a party full of young, progressive music-lovers. Daly seemed optimistic.Since her early days throwing parties - one such event was female and queer-friendly party, “Ultravelvet” - she has witnessed an increase in female representation on lineups for parties and festivals. And many of the artists she once worked with have since achieved success. But before disappearing back into the din of the festival, Daly paused to issue a warning. “Women are trending right now,” she said, her chin cocked slightly upward, one eyebrow rising thoughtfully. “It is a wave and even though change is happening, the way that that change is being depicted could keep us from evolving more."

Follow discwoman.com C/discwomannyc M/@discwomannyc


“Women are trending right now,...it is a wave

and even though change is happening, the way

that that change is being depicted could keep us from

evolving more."—Hannah Daly

vCD/EP/12"REVIEWS

Thank you Louie Vega! On February 26, 2016, the superstar producer/DJ released Starring XXVIII, arguably a candidate for many year- end award lists. The dual disc's collaborations takes the famed New York DJ to new heights with 28 magical beat driven gems varied in so many different styles that will leave none disappointed, all the while keeping firmly grounded in the house music tradition. It’s hard to believe, and to understand for that

Louie VegaStarring...XXVIIIVega Records


Masterpiece Excellent Good Fair Poor

matter, that Starring XXVIII is Vega’s very first full-length album. At the same time, what better way to debut than offering a collection to his fans with 28 deep cuts featuring over 25 performances from George Clinton & Funkadelic, 3 Winans Brothers, Lisa Fischer, N’Dea Davenport, Caron Wheeler, Jocelyn Brown, Cindy Mizelle, among other recognizable stars.

The 2 CD Set opens with ‘Ain’t That Funkin’ Kinda Hard On You?' with the baddest funksters on the planet, Funkadelic. It was a stroke of genius to open the release with a track that is dripping with the trademark Funkedelic sound. The following 13 tracks deliver some very crafty compositions, nimble keyboard work that is often improvised, and driving percussion of many kinds offering the listener everything from funk, acid jazz, nu soul, bossa nova, island, deep house and a combination of all the above. Appearances by 3 Winans Brothers & Clark Sisters on ‘Dance’, Caron Wheeler’s ‘A New Day’, N’Dea Davenport’s 'Magical Wave', Cassio Ware’s ‘Just The Way I Like It’ and Nick Monaco & Soul Clap’s ‘See Some Light’ are just a few stand out disc one performances, although I must say, among the remaining 10 opening tracks, each and everyone has brilliant hooks, groovy bass lines with shuffling and thumping beats, pure gold.

On the 2nd disc's opening tracks, featuring Jocelyn Brown and Kenny Bobien, you'll hear touches of gospel, Smooth Jazz piano licks, walking bass lines, scatting and great harmonies. Vocalist Lisa Fischer, features on 4 tracks and gets the House sound going with Cindy Mizelle and Anané Vega, The songs are complete with String arrangements and "Wocka Wocka" guitar rhythms in the disco and funk tradition that will get your butt moving.

Other tracks that leave an impression are two tracks featuring Josh Milan 'You Got It Bad' and 'Been Such A Long Time' and the "real surprise" of the collection is 'Es Vedra', a Latin Rhythm instumental acoustic guitar track featuring stunning fingerwork by Luis Salinas. Amazingly good.

Like I stated in the beginning of the review, Starring XXVIII is worthy of the "Best of..." in a number of categories and media lists. A must have for your music library. Get it.

—Joseph Arthur


Baron Retif & Concepcion PerezNavettes (LP)

Musique Large & Mostla

Baron Retif and Concepcion Perez (BR & CP) have produced a nine track recording named Navettes—the French word for Spaceship or Shuttle. Is it spacey? You betcha.

The pair's diverse and imaginative usage of Fender Rhodes, live drums, vintage synthesizers and deep bass softly placed in the backrgound make a recipe for intriguing soundscapes that do take you on a "trip" as they say. There's a lot of creativity in sounds and song structure track by track and each hold their own. So, let's dig in a bit to a few of the tracks that really shine.

The opening title track, 'Navette' sets the tone from the start in terms what kind of instrumentaion and melody to expect on the album. It has a really cool melody with keyboards out front behind a great bass line and swinging drums. 'Blanchiment', a loungy

atmospheric song brings out front the Fender Rhodes, countered with some

finely executed synth sounds and beating percussion sticks and blocks. 'Les Oiseaux' drips with tropical rainforest bird song accompanied by dreamy keyboards and hi-hat cymbal and drum rim shot beats. and for the closer, 'ML Disco Club' the one track on the album that is dance oriented with a shuffling drum beat and an extremely dirty bass line. This album is great. Imaginative, melodic, trippy and appropriately suited for the Space Age, musically speaking.

—Joseph Arthur

BjarnoPapillon (LP)

Music For Dreams

Kenneth Bager’s Music For Dreams label has done it again. This time around it is with Lars Bjarno, a DJ/producer living in Copenhagen, Denmark. Bjarno’s “buzz-worthiness” on the international scene began over 10 years ago with Get Physical’s release of his classic ‘Les Djinns’ under the name Djuma Soundsystem. At the end of

68| Beatselector Magazine | Issue N° 5

February 2016, Bjarno released a new full-length release for MFD.

With ‘Papillion’, Bjarno has put together eleven Balearic/downtempo songs starting with 9 minutes of blissful music in the opener ‘Factor 30’, the first single that has been on Beatport’s Chill Out charts for over a year now.

Showcasing deep bass grooves and rhythmic expertise along with all kinds of percussive instruments laying down beats with worldly influence, backed by great guitar work and modern disco inflections.

This is what you get throughout the entire album.

Joining ‘Factor 30’ as highlight tracks include: ‘AM Fenster,’ it’s rad!; ‘Birds & Drones’; ‘Coming Home (Silver Tongue)’, personally my favorite track; ‘Crumbs’, ‘Moon Walking’ and it goes on and on and on.

Point of fact is, as you go track by track, the songs have a tendency and ability to hypnotize and really draw you into the different sounds Bjarno blends together, which is masterful.

—Joseph Wensell

Deep88The Black Album (LP)

12 Records

The press release for the album talks about the album as “reminiscent of the sounds of a bygone era whether the depth and warmth of New Jersey and Italian House, a dose of sun-soaked Balearic or primitive raw jams synonymous with Chicago.”

That’s a very good description of Deep88’s new LP ‘The Black Album.’ But to this listener it also drips of the early days of U.K. Synth Pop. In my opinion, I instantly think of Vince Clarke of Depeche Mode, Yaz and Erasure fame. Whether or not some of the inspiration comes from that direction, Deep88 has managed to resurrect these kinds of classic sounds to create a new and modern vision of house music.

Listening through the double-vinyl album/limited CD, tracks ‘Harmony’, ‘Rotation’, ‘Face It’ and ‘Chord Prog’ are highlights that feature ethereal and sweeping synthesizers with beats on the Drum & Bass tip.

On other tracks, you’ll hear some Latin influence along with soft undertones of a Fender Rhodes, and some heavy bass and drums.

Of all the fine music on this release, it’s the album closer ‘Sunday Morning’ that is the “kicker.” It features a synth generated flute melody that is rife with breezy and sunny vibes out front and center of a driving bass rhythm and beat, and Fender Rhodes laying down the soft undertones. Definitely

my favorite. —Catherine Strickland



DMX KrewYou Exist (LP)Hypercolour

Deserving of what would be called an “Overdue Ovation” belongs to a U.K. resident and visionary electronic music producer, Ed DMX or DMX Krew as he known these days.

Over the last 20 plus years he’s gone under many aliases and has been on the cutting edge of recording projects for Rephlex, Spectral Sound, Permanent Vacation, Fresh Up Records and his own label Breakin’ Records.

‘You Exist’, the Hypercolour label debut, features nine cuts of beautifully constructed melodic electronic sounds that have techno driven beats and Pop music sensibilities.

The transitioning from song to song is seemless and easy to follow, yet each track has it’s own personality as demonstrated brilliantly with DMX’s interesting choices of sound design and usage of keys and synths.

To a certain degree, the “darkness” or “light and poppy” sounds of electronics

define the feel and direction of that particular track. The songs are driving, moving you and picking up speed especially towards the end of the album.

Album highlights include ‘Spiritual Encounter’, ‘Hard Copy’ and ‘Computational Paradigm Shift’.

—Catherine Strickland

Joey NegroRemixed With Love Vol.2 (LP)

Z Records

Way back in the late 70s and early 80s, my summer days were spent hanging out at the public pool in the small town I lived in. Those days you’d hear all kinds of music filling the air coming from the cool kids that had their “boom boxes” blaring. It was a glorious time. I know most of you reading will also be brought back to some of your most favorite times when the music represented on this 2 Gatefold Double Vinyl LP/Double CD was everywhere on the FM airways.


‘Remixed With Love by Joey Negro Vol. 2’ picks up where the first installment of the series left off. Dave Lee, known as Joey Negro, has painstakingly and masterfully worked all kinds of magic remixing the original multi-track tapes of 20 hand picked classic disco, soul, funk and pop songs that formed his musical taste and shaped his future as a DJ decades ago. These artists include: The O’Jays; Patti LaBelle; The Trammps; George Benson; Grace Jones; Robert Palmer; Nicolette Larson; Cheryl Lynn; Thelma Houston; Jean Carn; Christopher Cross and Norman Connors are a few of the big names that make up the double album.

In my opinion, all 20 tracks reworked with percussion, vibes, and other delightful sounds and instruments and breaking down each track would turn this review in to a short novel, so you’ll just have to believe me when I say, get this release today. You won’t be sorry and most of you will place it on replay.

However, I will enlighten you with my personal favorites. Thelma Houston’s ‘I’m Here Again’, Christopher Cross’ ‘Ride Like The Wind’, a super slick re-do of Robert Palmer’s ‘Every Kind of People’ and I love the transformation of taking the country/pop cross over hit ‘Lotta Love’ from Nicolette Larson and adding strings and percussion to the keyboard and guitar melody resulting in an extended intro leading up to the songstress belting out the vocals…my personal favorite.

True music fans that love and appreciate great music, no matter the genre, will have many of the original tracks represented on 'Remixed With Love Vol.2' already in their collections. And perhaps some will also have a few bootleg remixes, re-edits and extended

plays from some of the artists. But the thing is, this 20 song collection offering, with Joey Negro’s knack to present these famous classic disco cuts with a fresh approach fused with lots or strings and various percussion instruments, is what will be appealing to all listeners. My feel good album of the year to date.

—Joseph Wensell

John DahlbäckSaga (LP)

Armada Records

John Dahlbäck has released his 7th album of cutting edge progressive house jams via Armada Records. The Stockholm based producer has created 15 tracks with guest performance appearances by BullySongs, Lovestarrs, Luke McMaster and Stockholm Syndrome giving Dahlbäck’s music the perfect ingredient in creating his great progressive house sound. ‘Saga’ begins with beats building to a frenzy and then all of a sudden, silence. He’s made his statement

and I get it. ‘Sycophant’, a snappy and bouncy vocal infused song, ‘Raven’, ‘Terminus’, and ‘Gargamel’ are rockin’, deep, dirty and sweaty tracks designed for the club scene. A highlight of the release is the track ‘Count to Ten’ featuring Alexx Mack. It’s bangin’ beat drops and stadium styled composition, it is easy to envision crazy crowds in a massive sing along and getting caught up in the frenzy build up of the music. ‘Atlantis’ is the album’s swan song. It hooks you right from the start and the perfect vocal performance, the song composition and arrangement with thumping beats, stacatto strings and piano takes you to a bridge of an epic sound-scape. ‘Untouched Hearts’ features Stockholm Syndrome is a gloriously “close second” to being the top track of the release. It has that feel of massive stadium madness, gigantic anthem styled drops with delightful vocals. When it comes to progressive house, Dahlbäck has been creating cutting-edge sounds and setting new standards for many years now and it continues with ‘Saga's' 15 tracks of goodness.

—Joseph Arthur

KettelWingtip (LP)

Clone Records

For the last 3 years, Kettel has been lending his musical talents to commercials and the gaming industry. Now, it’s a “homecoming” of sorts with his latest project ‘Wingtip’ on Clone, the label he debuted on 15 years ago.

Kettel is a master of his craft. He knows his gear’s sound and effect capabilities and exploits every sound imaginable. It’s his technical skills, diversity, imagination and creativity that drives this album of 15 complex and intricate songs that range from bright and sunny pop to solo acoustic piano to the cinematic space.

It becomes obvious as you listen deeper in the album, the high level of expertise in the usage of all kinds of crazy and weird sounds to construct his songs. Kettel also drops in some subtle surprises throughout the album with sweeping guitar licks, drums, and a trumpet melody on select tracks to mix it up a bit.

By halfway through, the listener should be hooked in to really digging in and paying attention to what is going on in the music. It really is amazing, conceptually, and to continue speaking of surprises, he also includes two beautifully penned acoustic piano tracks in ‘Cooked’ and the closer ‘Laundry’ that showcase his diversity as a musician.

—Joseph Arthur


Tim DeluxeThe Radicle (LP)Strictly Rhythm

Tim Deluxe has given us a good dose of “Jazztronica” with his latest Strictly Rhythm release ‘The Radicle.’ Recuiting jazz musicians: Jim Mullen (guitar); Rod Youngs; Enzo Zirilli (drums); Pete Wareham (sax); Jay Phelps (trumpet); John Donaldson (piano) and Ben Hazleton (bass) all feature on the 10 track ode to the Giants of Jazz.

Fusing jazz with electronica is nothing new. We all know that and there is certainly no shortage of “Jazztronica” recordings out there.

But, what happens when you actually take a some very talented musicians playing acoustic and electric instruments in a live setting and create something fresh? Deluxe shows how to do this expertly. The feel and vibe of ‘The Radicle’ is what “Jazztronica”

and “Acid Jazz” should sound like. Swinging instrumentation above shuffling dance beats and lush soundscapes. Similar, yet different, of what you would hear from the likes of Ronny Jordan, James Taylor Quartet, and St. Germain, all very fine contemporaries to be compared with.

What Deluxe brings with his new album that stands above most “Jazztronica” and “Acid Jazz” currently being released, is the how the usage of electronic beats and soundscapes integrates in the song, while keeping the jazz out front. It is a unique quality in the genre.

What is happening on the album is pretty cool. Live jazz improvisation on most of the traditional instruments, spoken word vocal performances, skillfully placed electronica in background keeping the jazz out front.

Deluxe and company invoke Miles Davis’ signature trumpet sound on several tracks, plus swinging guitar, rhythm section of piano, bass and drums. As the minutes go by, Deluxe reinvents Miles’ ‘classic ‘So What’ with guitar and lightning quick drums out front and a frenetic bass walk. Interestingly, the famous trumpet line features subtly in the background and interfaces with vocals and single note keyboard sound. Well done.

Another track to pay attention to is ‘’Shanti.’ It is beautifully constructed with Indian styled vocals, searing saxophone solos, vibraphones, deep bass, violin, and piano.

—Leo Weaver



AutoErotiqueAUH (Single)

Dim Mak

Coming out the west end of Toronto's music scene is Keith Robertson & David “Dave” Henderson's AutoErotique. They have remixed for Benny Benassi, Lykke Li, Shinichi Osawa, Chris Cornell & Timbaland, Diplo & Laidback Luke, Larry Tee, B. Rich, Disco Bisquits, Fischerspooner and Weezer.

The latest work from the duo on Dim Mak is 'AUH’, a filthy hot burner in more than one way. Believe me, you will understand my meaning when you hear it. This latest single is a fast paced bass track with sexy vocals and a provocative three word lyric provided by Leah Culvers behind Autoerotique’s madding beats and synthesizer sounds build to multiple highs and lows during the 4 minute experience.

Now that I’ve listened to the track multiple times, I must go take a shower.

—Leo Weaver

CoyuParty Groovers Vol.5 (EP)

Suara Records

Suara’s Coyu has been well established among the elite DJs/producers in the business for awhile now.

His CV/resume is gigantic and he worked with dozens of EDM’s heavyweights on major remix projects and has held residencies at Pacha, Booom and Sankeys.

Now, he’s got a brand new 2 track EP and the first track, ‘Sex Is Drama’ is an infectious bumping house rhythm with a delightful surprise of implementing Notorious B.I.G.’s ‘Nasty Boy’ rhyme.

On the second track, 'Who’s Wearing The Trosuers’, the bass line is more prevalent, drums, percussion, and clap beats are quickly paced and rise and fall with ease and over the course of 6 minutes, drawing the listener deeper and deeper into the rhythms. It's a good listen.

—Leo Weaver


David MarstonKindness Of Bearer (EP)

Soul Clap Records

Jamaican born and New York transplant David Marston has returned with his second Soul Clap release ‘Kindness of Bearer.’ The EP features 4 original compositions featuring Dan Izco, Anna Spackman, Jordan Rosenberg, Aubrey Nolan and Bridgette Zozula and is based on a custom of friendly exchange, hence the title.

‘Giving Up On You’, opens the release featuring a very cool trumpet line front and center complimented by mid tempo island styled beats and rhythms. The 8 minute plus song has a perfect lushness to it thanks to the vocals by Bridgette Zozula and the trumpet solos.

The second song ‘Sun’ is bright Pop song, with hints of piano and banjo with Anna Spackman on singing duties. The third song ,’True’ , is bent more towards the electronic tip, although guitars and drums

feature prominently. Bridgette Zozula closes out the EP on the track ‘Sometimes It’s Hard’. No traditional instruments here, just pure electronica and voice.

—Catherine Strickland

DJ Khalab & Baba SissokoBognya Remixes (Single)

Wonderwheel Recordings

DJ Khalab & Baba Sissoko know the taste of success. As Winners of Track of the Year award at Gilles Peterson's Worldwide Awards, the duo are back with 2 mixes of ‘Bognya’ a new single featuring label mate Clap! Clap! and Brownwood’s LV. The Clap!Clap! mix gives you traditional and progressive afro beats, classic jungle vibes and tribal vocal chant. Brownswood's LV take on the song is in another direction using the vocoder and delving deep into bass sounds driving beat forward and using a variety sound effects to give the track an entirely different feel. For those that are in to afro world sounds, the single will appeal to you.

—Leo Weaver

El Nino AndresShe Understood Duke Ellington (EP)

Jackie Brown Records

Jazz, funk, drum machines, piano, Fender Rhodeshot rhythms all fused together in to a House groove is what you get with the 4 track EP from Croation producer El Nino Andres. The songs are vibrant, warm and elegantly groovy.

The opening track begins with a classic movie dialogue clip and the music from the iconic Jazz Rock band Chicago in the background. Then comes the real magic. ‘Dizzy Moods’ is amazingly good. The rhythm section of bass and drums working in tandem produce a real retro groove that is undeniable. The good vibe continues with the disco flavored ‘Dusty Grooves’ with greasy guitars and a fat bottom line that transitions to acoustic piano and bass with claps then before you know you start to hear the rhythmic percussion and guitars creep in leading to the end with acoustic piano

closing up the track. Track 3, ‘Unlike Anyone Else’ gets going with mid tempo cowbell rhythms, background sampled sounds and vocals, siren loops and funky bass resulting in a dance floor disco juggernaut. Andres saved the best for last with the title track. Just like the opening of this release, ‘She Understands Duke Ellington’, starts with a sampled clip from a film Then expertly applied vinyl scratches and pops behind a tight rhythm section of guitar, bass and drums sets the pace and the foundation for a powerful vocal performance of female prowess belting out a chorus “Tell Me That You Want Me, Tell Me That You Love Me, Tell Me That You Need Me” in a back in forth fashion with that sampled movie line, “She Understands Ellington” interspersed throughout.

—Joseph Arthur

Fran ZaragozaTigers Of Wood (EP)

Depaart Records


Fran Zaragoza is a producer of House, Deep, and Techno music and has recently put out a 3 track EP on Spain’s fledgling label Depaart. The release presents two originals and a remix from Moliner, who happens to also head the label. The first offering, ‘Tigers of Wood’ is a deep multi-layered landscape of tripped out looping beats, sonic bass and vocals by Daniel Moncloa that grows into a spectrum of grinding synths and infectious rhythms that will hook you in. Easy Kid joins Zaragoza on ‘Mindscape’, 7 minutes of sequenced electronic sounds (clicks, clacks, blips), electric drumming and absurdly creative synthesizer usage. The song certainly fits the title.

The bonus here on the release is the remix of ‘Tigers of Wood’ by Moliner. A revision of the original track, Moliner simply and expertly turns the track a bit darker and manipulates the vocal in spaced-out, echoing fashion above a thumping low end hypnotizing drum, bass, and effects.

—Joseph Arthur

Kidnap KidMoments (Single)

Birds That Fly

After years of working and producing with some of the biggest labels in the business, right up to Black Butter, Sheffield U.K.’s Matt Relton known as Kidnap Kid has stepped out on his own with the launch of his label Birds That Fly Records.

Serving as an outlet for his music, Birds That Fly released Kidnap Kid’s ‘Moments’, a gorgeous moody underground composition featuring singer songwriter Leo Stannard in three different mixes.

On 'The Original Mix', streamed upwards of half a million times to date, listeners will experience soft snare drum shuffles setting a mid tempo rhythm, use of various electronic sounds, underlying beautifully dark and deep strings create a mood of melancholy which fits perfectly with Stannard’s voice.

At the controls for the first remix is Norway’s emerging star Finnebassen. He brings the beats and electronics to the forefront giving it a deep house feel while keeping true to the original vocal track.

As a real treat, Kidnap Kid throws in a beautiful all acoustic version of 'Moments' ('EM Acoustic Session') with strumming guitars, piano chords, traditional string instruments and Stannard vocals.

.—Joseph Arthur


Sam AllanOuter Limits (Single)The Groove Society

I first learned about Allan a few moths ago while writing a feature on the New York producer for beatselectormagazine.com.

Sam has an incredible story that translates in his everyday day life and also in his music. I’m a fan of Sam Allan.

When it comes to progressive house music, he’s a bit ahead of the curve with his cosmic creations. 'Outer Limits' is obviously sound designed for filling dance floors and track begins with a hot hip shaking rhythm and a drop to a low end groove with tight inter-conversational keyboards, and spaced out sound effects.

At the half way pointon the track, in comes brighter keyboards that build up in speed and intensity and then expertly transitions back to the original melody and groove.

—Leo Weaver

SunSquabiOdyssey (EP)

All Good Records

In 2011 Chris Anderson, Andrew Clymer and Kevin Donohue formed SunSquabi and ‘coined’ the music they were going to produce as Electronic Hydro Funk. In a short few years, they’ve managed to build a fan base of electronica and jam band fans alike.

Signed to GRiZ’s All Good Records label, the trio has just released an EP named Odyssey. The release is described as ”taking you on an epic musical journey …” and it doesn’t disappoint.

Psychedelic guitars, expert bass lines, interweaving synthesizer and keyboard melodies is what you get in the opening track ‘SquabCat.’ Then comes the title track, ‘Odyssey.’ The track is funky with some interesting low end sound effects, driving drums and percussion rhythms, killer Fender Rhodes/electric piano, and super smooth sax solos from GRiZ. Feel like hearing a jam? ‘Pablito’ delivers almost 7 minutes of guitar,


drums, electric piano and bass jamming out in spectacular fashion. You'll hear a littleSteely Dan and Pink Floyd in the guitar work and keys that are reminiscent of the Doors ‘Riders on the Storm.’ The funk returns with ‘After The Rain’ featuring a burning guitar solo, followed by ‘Sticky’, and it’s “sticky.”

‘Tequila Mockingbird’ with Big Gigantic’s Dominic Lalli grooves along with awesome guitar rhythms and solos, fast moving bass lines, a sax solo, and various sounds effects, a highlight of the release. Closing it all out is ‘Keep It Real’ has a feel of a tune from way back in the 70s with it’s simple melody and pop sensibilities proving that the trio has real songwriting chops.

The music on ‘Odyssey’ is inventive, funky, jazzy, psychedelic and addictive. Look for SunSquabi throughout the year They’ll be at Joshua Tree Music Festival, Electric Forest, Summer Camp, Camp Bisco, High Sierra, Backwoods, Red Rocks and some other places too.

—Joseph Wensell

Vangelis KostoxenakisSupremacy (EP)Suara Records

Vangelis Kostoxenakis, sometimes known as Angel Stoxx or Breaking Toys, has produced a catalogue of 200 releases and ranks among the top house and techno producers from Greece. Now his latest EP ‘Supremacy’ comes to us byway of Suara Records. The 5 Track EP features 3 new songs with remixes provided by Enrigo Sangiuliano and Miguel Bastida The first song, ‘Son of a Gun’, remixed by Sangiuliani begins with basic muted rhythms and then the sonic bass boom beats follow with perfectly placed industrial styled noises and sweeping synths. The ‘Original Mix’ has shaking beats and really interesting synthesizer sounds, effects and rhythms and that monster bass sound are all present in the track and it is the complexity of all the different sounds, layers and beats that Kostoxenakis produces in this original mix that gives a perfect canvas in which to embellish. ‘Supremacy’ is a thumping sonic sound with body shaking sythesizers and bass in front of the “click clack” sounds of wood blocks , claps, and various drum machine effects. The Remix handled by Miguel Bastida take a slightly different direction in that the track is introduced by a drum machine crescendo leading into the main theme of the song, being the point of emphasis and a bit of weidness with the grinding electronic noise, blips and beeps.

In closing, Kostoxenakis gives a taste of a real gem in 100 Voices. It’s heavy with that trademark bass sound, brighter with the electronics and a definitely a dance floor filler.

—Joseph Wensell


Documents

BEATSELECTOR Magazine Issue N°5