BEATSELECTOR Magazine Issue N°2

AN INTERVIEW WITH

ASTR COSMIC GATE VEERUS & MAXI DEVINE EMIL GERM HUDSON MOHAWKE CHRISTINE & THE QUEENS FOOL'S GOLD RECORDS THE FEMME FATALE DJs of 2015 DJ HELLBLAZER + 15 CD/EP REVIEWS

B EATSELECTOR Moving Electronic Music Forward

2015 / Issue N째 2 / beatselectormagazine.com

PUBLISHER

JOSEPH WENSELL CONTRIBUTORS Joseph Arthur Karin Haslinger Stephanie Hernandez Tyler Quick Erik L. Richardson Cory Royster

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f@ beatselectormagazine | t@ beatselector

BEATSELECTOR Magazine is a quarterly (4X Annually) digital publication using it’s pages to provide “need to know” Electronic Music & EDM information, news, who’s in the clubs and at festivals, profiles on artists, recording labels, movers and shakers, full feature articles and music & performance reviews.

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inside ISSUE NUMBER 2 JUNE 2015

Features 22

ASTR

30

The Femme Fatale DJs of 2015

40

DJ HELLBLAZER

Tyler Quick sits down with Adam & ZoĂŤ , the dynamic NYC based duo known as ASTR, at The Snowstorm Music Festival in Chicago to talk musical influences, gigs and a few more interesting tid bits.

"You don't no jack!" Stephanie Hernandez writes up a piece on giving some of EDM's top women DJs some hype.

What's in a name? Konstantin Plevnes provides insight to how he came up with his stage name, talks about his controversial album cover photography, Ronnie James Dio, McCoy Tyner, Eric Satie and his 18 Pure Dopeness releases.

Departments 09 ARTIST PROFILES 20 LABEL WATCH 50 CD/EP MUSIC REVIEWS Cover Photography courtesy of ASTR Table of Contents Photography by Veanne Cao

A Note from the PUBLISHER Welcome to the 2nd issue of BEATSELECTOR Magazine.

For this issue's Cover Feature, we sent Tyler Quick to sit down with ASTR, an exciting duo from NYC. The conversation was held at the innaugeral Snowstorm Music Festival in Chicago and covers their musical influences, most memorable gig, family life, cold weather and a few other interesting topics.

Stephanie Hernandez writes up a nice feature on four women DJ acts- Krewella, Brazzabelle, Jack Novak and the darlings NERVO, that are in our minds, the Femme Fatale Djs of 2015 to watch.

From Paris via Skopje, Macedonia, Konstantin Plevnes, aka DJ HELLBLAZER, talks to Karin Haslinger about his relocation to Paris as a child, his 18 Pure Dopeness releases that blends hip-hop, jazz and other genres and who his favorite musicians are. You'll be surprised.

This issue's Artist Profiles include hit makers Cosmic Gate, Veerus & Maxi Devine, Hudson Mohawke, and up-and-comers Emil Germ and Christine and the Queens.

Do you know about Fool's Gold Records? It's the brainchild of Alain Maklovitch, known as A-Track, and Nick Catchdubs. The label is now pushing 10 years old and has released upwards of 90+ recordings to date and has a roster of artists that are a who's who of the EDM scene. It's our Label Watch for the summer.

Plus, we lead off our new music reveiws with Madeon's release Adventure on Columbia Records, followed by a few more gems you should know about.

We hope you'll enjoy reading this great edition of BEATSELECTOR Magazine.

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f @beatselectormagazine New Music Live Events Artist Profiles Industry News and more...

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vARTIST PROFILE

Cosmic Gate

During the last 10 years, Nic Chagal and Bossi, known as Germany's super duo Cosmic Gate, has accomplished several milestones including high sales chart positions, high profile remix projects with the likes of Avatar’s James Horner, selling out arenas and events in some of the world’s hottest EDM capitals and even having their own stages at major festivals world-wide.

A highlight of their storied career is the fact that they have become the highest climbers on DJ Magazine's Top 100 Chart.

They have been wowing audiences from all around the globe at major festivals and clubs such as the Electric Daisy Carnival, Electric Zoo, Nocturnal, Tomorrowland, Future Music Festival, Bal En Blanc & Guvernment, Ultra, Pacha NYC, and a Las Vegas residency at The Marquee.

Their most notable performances include selling out 4,000 capacity dates at LA's Palladium and Melbourne's Festival Hall.

Musically, they have charted no fewer than 7 top 40 singles and had a U.K Top Ten "smash hit" with their single 'Fire Wire.'

From 2006 to 2012, accolades and nominations have been many and passed out to Nic and Bossi from IDMA, DJ Magazine, The Beatport Awards for Best Selling Trance Trance Act, Best Album and Best Remixer.

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Beatselector Magazine | Issue N째 2 | 09

Their epic singles 'Not Enough Time', 'Body of Conflict' and 'Over The Rainbow' and their classics' Be Your Sound', 'Fire Wire', and 'Exploration of Space' have all had spins across the globe that has secured their place as one EDM's greatest acts.

Over time, Cosmic Gate has become known as the "Gold Standard" when it comes to their own productions and remix collaborations. They've worked with legendary producers including Markus Schulz, Arty, Robbie Rivera, Wippenberg, Jochen Miller, Dimitri Vegas, Like Mike, Armin Van Buurin, TiĂŤsto, Paul van Dyk, Above & Beyond's Oceanlab Project, Deadmau5, Ferry Corsten and Rank 1.

Most recently, the duo has teamed up with Kaskade's side project, Late Night Alumni, with the remix of 'Sapphire, out now on Ultra Records.

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Upcoming Dates

”

06.26.2015 Family Nightclub Brisbane, AUSTRALIA 06.27.2015 Festival Hall Melbourne, AUSTRALIA 07.03.2015 HQ Complex Adelaide, AUSTRALIA 07.04.2015 Quantas Arena Sydney, AUSTRALIA 07.05.2015 Metro City Perth, AUSTRALIA 07.06.2015 Armada Day & Night Festival Pag, CROATIA 07.09.2015 Cream Ibiza Ibiza, SPAIN

Follow C /cosmicgate M/@cosmicgate

cosmic-gate.de Beatselector Magazine | Issue N° 2 | 11

vARTIST PROFILE

Veerus & Maxie Devine

Over 20 years ago, Steve Angello discovered these two talented DJs and convinced them to pair up and collaborate. Hailing from Venice, Italy, Veerus and Maxie Devine have been gaining and growing a large international fan base that has provided them with tremendous success on the charts, having three top ten tracks on the Beatport charts at the same time, receiving a Sasha nomination in 2008 for "Best Producers" and selling thousands of downloads on labels such as Kittball, OFF, Le Club Records and Suara. Quite a feat for the two DJs that has them positioned as a premier duo on the international festival and club circuits.

Their resumĂŠ reads as a who's who with collaborations and projects with top hit makers and fans such as Fatboy Slim, Carl Cox, Purple Disco Machine, Noir, Todd Terry, and Wally Lopez among many others.

Veerus and Maxie Devine's music has been described as a mixture of "Muscle House and Sparkling Techno." You can hear that in their tracks 'Mouses Ate My Proteins', 'Censored', 'Cars', 'The Sound', 'My Train', 'Loom', 'My Acid' and 'My Beat' all of which have been deemed as killer tracks that have amassed thousands of digital downloads at major outlets. Their most recent success is the hit 'The Sound.'

So, what does 2015 hold for Veerus and Maxie Devine? More exciting music and touring, as well as turning their listeners on to what they are listening to via their radio program Le Club Culture.

Follow C /Veerus+MaxieDevine M/@OfficialVMD

VeerusandMaxieDevine.com 12 | Beatselector Magazine | Issue N° 2

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vARTIST PROFILE

Emil Germ

Emil Germod started out producing minimal techno and punk rock. Now the 25 year old sound designer, producer and musician from Denmark has moved in a new direction of creating infectious disco laced songs.

On May 26, 2015, famed Techno and Electronica DJ Kenneth Bager released Emil’s debut full length album Adult Party on the Music for Dreams label. The album features 10 original tracks including the first single ‘Tease and Burn’ which has already gained international recognition with spins at 33 international radio stations and getting support from the likes of Yam Who, Ame, French Riviera, DJ Nori and more. Described as a sensitive artist overflowing with creativity and personality, Emil has a style that is like a mix between Arthur Russell (Dinosaur L) and Royksopp meets Vini Reilly (The Durutti Column) but stands firmly on his own two feet, combining falsetto vocals, beautiful guitar playing and powerful keyboards with slow disco grooves: “I just play and do what feels natural” says Germ. The track ‘Give’ is also a quality slice of slow disco with pop sensibilities - a very catchy groove and an irresistible melody line that will creep under your skin and stay there for months. Be sure to check out ‘Adult Party’ and look for Emil at a venue near you.

C /emilgerm w/emilgerm

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vARTIST PROFILE

Hudson Mohawke

Everything started in a bedroom in Glasgow for Ross Birchard, known as Hudson Mohawke. At age 15 he was already an award winning scratch DJ producing happy hardcore on cracked software - he came to define a generation of electronic fusion producers but unlike many of his peers, Hudson has matured and developed into a full fledged contemporary hit making machine continually working to break the mold.

A staple of the U.K. underground club scene, Birchard has been steadily releasing music for the last 10 years, cultivating a formidable presence in the community.

His U.S. break-out came in 2012 with TNGHT, the collaborative project with fellow producer Lunice, which saw their production influence the A-list in rap and help reintroduce the U.S. Dance / EDM scene to Hip Hop as club music.

During Birchard’s rise over the last few years, some of the biggest names in Hip-hop, Pop and Dance music have come knocking for contributions to releases from Drake, Kanye West, John Legend, Young Thug, Pusha-T and Antony Hegarty.

Jumping forward to 2015, Birchwood has been receiving lots of media attention and praise from music publications from around the world such as Fader, NME and Pitchfork among others.

‘Lantern,’ Birchard’s new full length release via Warp Records is now available and it appears that his touring schedule is extensive and he shows no signs of slowing down.

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”

06.19.2015 Sonar Music Festival Barcelona, SPAIN 06.19.2015 We Are Electric Eersel, NETHERLANDS 06.25.2015 Mulafest Madrid, SPAIN 07.09.2015 Montreux Jazz Festival Montreux, SWITZERLAND 07.17.2015 Melt! Festival Gräfenhainichen, GERMANY 07.24.2015 Fuji Rock Niigata, JAPAN 08.01.2015 Osheaga Festival Montreal, QC, CANADA

Follow C /hudsonmohawke M/@hudmo

hudsonmohawke.com Beatselector Magazine | Issue N° 2 | 17

Photography by Mads Perch

Upcoming Dates

vARTIST PROFILE

Christine & The Queens Ten years ago, Héloïse Letissier walked into Madame JoJo's in London's Soho neighborhood, met three drag queens, conversed about literature, theater, life's frustrations, and unrequited love. On that winter evening, Christine And The Queens was born.

Shortly thereafter, Héloïse returns to France, holes up in in her bedroom and begins her journey in music, spending most of her time writing, composing, and recording.

She is influenced by Kendrick Lamar, Drake, Kanye West, Kate Bush, Serge Gainsbourg, Lou Reed, Laurie Anderson, Gavin Bryers and Michael Nyman, but it is the musical genius and artistry of Michael Jackson that sets her free to unleash her unique music on to the world.

Remember those three drag queens from that winter's night? Well, they are the "Queens" and an integral part of the band. After the release of three acclaimed EPs— Miséricorde, Mac Abbey and Nuit 17 à 52, Héloïse returned to London to work with Metronomy's Ash Workman and multi-instrumentalists Michael Lovett and Gabriel Stebbing on the band's debut full length album Chaleur Humaine.

Her vision for the album is exact and precise with powerful minmalism, infectous grooves and forthright vocals, resulting in a recording that would go on to sell two million copies— certified double platinum—in seven months. Following sold out dates from Scandinavia to North America, the public and France's music critics embraced her live performances that catapulted her to France's "2014 Best New Artist" and iTunes France "2014 Album of the Year" which is quite an extraordinary accomplishment.

Look for Christine and The Queens on tour this summer with Marina & The Diamonds and the U.S. release of Chaleur Humaine.

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Upcoming Dates

”

06.23.2015 Le Silo Marseille, FRANCE 06.24.2015 Salle Polyvalente de Montfavet Avignon, FRANCE 06.26.2015 Festival Garorock Marmande, FRANCE 06.28.2015 Rock Werchter Rotselger, BELGIUM 07.03.2015 Beauregard Herouville-Saint-Clair, FRANCE 07.04.2015 Eurorockéennes Belfort, FRANCE 07.06.2015 Salle des Etoiles Monte-Carlo, FRANCE

Follow C /christineandthequeens M/@QueensChristine

christineandthequeens.com Beatselector Magazine | Issue N° 2 | 19

vLABEL WATCH

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Fool's Gold Records is the creation of Alain Macklovitch, aka A-Track and Nick Catchdubs. Established in 2007 as an Indie Label catering and releasing hip-hop and electronic music from the likes of Kid Sister, Danny Brown, Kid Cudi and Duck Sauce, immediately gave the label instant creditabilty. Dubbed as an "Indie innovator" by the industry magazine Billboard, "a taste maker label" by The New York Times and Pitchfork Magazine lists them as "one of the most influential indies in the music business." These are a few reasons why this is a label to watch.

Over the years, the label's roster has included, not only Macklovitch and Catcthdubs, but also The Crookers, Chromeo, Run The Jewels, TchamĂŻ, BOSCO, Shash'U and Dillon Francis and continues to grow into a massive list of top shelf musicians from all over the world.

In year one for the label, Macklovitch introduced two 12" singles by Kid Sister and the following year, Fool's Gold grew and released 14 projects.

From 2009 to 2015, over 90 releases have been put out, many of which by returning artists releasing spectacular music deserving your attention.

If you happen to be in Brooklyn or if you are planning a trip to the "Big Apple," the label also operates a "Brick & Morter" shop, also named Fool's Gold Records.

Additionally, the label is world-famous for it's Annual Series of Day Off Concerts across the United States and Canada.

Year Established 2007 Founders Alain Macklovitch Nick Catchdubs Home Base Brooklyn, New York Website foolsgoldrecs.com Facebook foolsgoldrecords Twitter foolsgoldrecs Soundcloud foolsgoldrecs Youtube FoolsGoldRecs Instagram foolsgoldrecs

Beatselector Magazine | Issue N° 2 | 21

HEATING UP!

An Interview with

ASTR Written by Tyler Quick

I

t was a freezing day in March when I trekked across the whole length of Navy Pier to see the opening act at the Snowstorm Music Festival. To be honest, I kind of hate the weather in Chicago. And I don’t say that like, “oh em gee this sucks,” but as a statement of true revulsion. Us westerners don’t belong here, and I needed something to warm me up if I was going to survive. Luckily, ASTR’s set was all it took to get some motion back into these old bones. The minute their music starts blaring, you really can’t help but imagine that you’re drifting through some city in Southern California in a low rider. They transform the atmosphere no matter where they play. And it’s even more impressive when you consider that they met in a yoga class in New York City. ASTR, the brainchild of multi-instrumentalist Adam and singer Zoë, brings the feels hard.

It isn’t your typical alternative-electro band, hewing to either the sadgurl indieelectro or the funky, faux hip-hop line. Their songs have a lot of emotional and technical range. 'Operate' will leave you feeling kind of tense and weird. “Part of Me” evokes that weird kind of horny you only really experience when you’re high (or listening to this song, apparently). And every time I hear the synth first drop on their remix to Bel Heir’s 'Kiss the Devil,' I feel like I should have a sword in my hand so I can fight bad guys or something. They are one of the most interesting bands out there. And I got to chat with them for a bit at Snowstorm backstage to try and learn a few of their secrets.

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Photography courtesy of ASTR Beatselector Magazine | Issue N째 2 | 23

Photography by Veanne Cao

BSM: So you have a pretty unique sound.

It definitely fits into the indie and electro scenes, but there is a lot of R&B and hip hop influence…

BSM: Your most well known song is actually a cover of Drake’s “Hold On We’re Going Home.” The crowd went ape-shit when that came on tonight.

Adam: We have a lot of influences.

Zoë: Yeah we play that a lot.

Zoë: But where we came from is strictly hip-hop and house. My dad had a hip-hop record label.

Adam: We’re actually thinking of phasing that out.

BSM: Do you listen to a lot of contemporary rap?

Zoë: I love the Feddy Wap song right now.

BSM: Maybe you should cover it.

Zoë: Maybe…

24 | Beatselector Magazine | Issue N° 2

Zoë: But every time we say that this is the last time, the crowd screams, “We want Drake!”

We have another cover coming out that we are going to try and bring in though—it’s of “No Type” [the Rae Sremmund song].

BSM: I really liked that “Love Me Down,” INOJ cover that you played tonight.

Photography by Veanne Cao

Zoë: I’m surprised you know that one!

get so much work done there.

BSM: I am a child of the 90s…

BSM: Speaking of new work, what are you working on now? Can we expect a full album soon?

Adam: Yeah, we are really influenced by a lot of 90s music.

BSM: Yeah, tell me about why y’all stay in New York if you love the 1990s in the Sunbelt vibe?

Zoë: Aw, I love New York.

Zoë: We have a new EP we’re working on—a whole slew of songs. We don’t know right now about timing because we’re in the process of switching management right now. We did have a collection ready before the new year.

[Adam turned to start having a conversation with DJ and producer Figgy, who had just walked in the room]

Adam: Hey are you telling him secrets?

Zoë: But, yeah… We’ve thought about moving to LA. It’s so inspiring and you can

Zoë: Well, I vomited before I went on tonight.

BSM: It’s fine, you can tell me whatever.

Beatselector Magazine | Issue N° 2 | 25

Photography by Gregory Rothstein

BSM: Oh whoa, where? I want to get a picture.

Adam: No you don’t, it was just water.

BSM: So you won’t be going out tonight?

Zoë: No, I’m going to get high and watch Netflix in bed.

BSM: Are you staying in tonight too, Adam?

Adam: I’m already on acid. [I think that he is serious until Zoë starts to laugh] I’m going to go enjoy the show.

BSM: Hey don’t joke, I saw a lady out there older than my mom trying to grab rays of light.

Adam: That’s where we all want to be.

BSM: You’ve been on the road a lot lately. Tell me about your most memorable show.

Zoë: Well, we really like a lot of cities. We love Portland. The most memorable though has to be

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Photography by Gregory Rothstein

at the Hype Room in Pontiac, Michigan.There were only three people there, and most of them were disabled. I was, like, grinding up on this lady’s wheelchair.

BSM: Have you toured or performed with anyone that you would recommend to your fans?

Zoë: We played a show with Kitten in Brooklyn in November and she jumped on the stage to sing “Like a Virgin” with me.

Adam: And we’re playing with Years and Years.

Zoë: Oh! I love them so much.

BSM: Yeah I’d love to see them live. Guess I’ll have to wait until spring though. Nobody likes Chicago in the winter.

Zoë: We’ve been through a lot worse. New York was awful this year. We even shot a music video on the coldest day of the year at Coney Island. You could hardly tell though from watching it.

It’s a song that I think would make anyone want to dance on even the coldest day.

Beatselector Magazine | Issue N° 2 | 27

ASTR

is on the up and up in the music world, but I don’t think I’ve ever met such a friendly, jovial group of young people with so much artistic success before.

I think this relatability really translates into their music.

There still is no word on upcoming work, but ASTR’s Varsity EP is available on iTunes and Spotify.

I recommend you stay tuned into what they are up to. No matter where and no matter when, winter is coming and you can rest assure that ASTR will bring the beats that will keep you warm.

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Photography courtesy of ASTR

Upcoming Dates

”

07.03.2015 Stars + Stripes Festival Sterling Heights, MI, USA 08.02.2015 The Suit Lounge New York, NY, USA 09.17.2015 Symbiosis Gathering Oakdale, CA, USA

Follow C /ASTRtv M/@ASTRtv ASTRtv.com Beatselector Magazine | Issue N° 2 | 29

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It

doesn’t take an avid raver to realize that the EDM scene is a bit one sided when it comes to the male to female DJ ratio. With over 90 percent of festivals like Ultra, EDC and TomorrowWorld hosting mainly male artists, you can’t help but think, where are all the ladies in the booth at?

As electronic music has progressed from its scarcely played days, the number of lady DJs has gradually risen. Although they are still far and few between, there are many girls going out there and making sure their name is placed on as many set lists as possible. As the scene continues to grow, so will the number of women making quality music. Ultra Music Festival’s executive producer, Adam Russakoff was quoted saying that only five percent of the DJs who make the festival in Miami are female. “I wish there were more choices but I wouldn’t book a woman simply because she’s a woman. I would insult woman by doing that. [Sic] We book based on music not gender.”

It is tough being in any music scene as a woman: having to work through their music being sexualized, being expected to DJ half naked or having their look being picked apart by spectators - circumstances that male DJ’s don’t have to experience.

Simultaneously, as women DJ’s, they are expected to “tame” themselves in order to be taken seriously. No matter the scene, the focus is always more on the outer appearance than the work being put in than the beats being put out. Moreover, there is an ignorant misconception that female DJs put less work in than their male counterparts, an idea that is as dumb as it sounds.

With the EDM craze taking over, girls are stepping up to the controller and not only proving that we can deliver sick drop after sick drop but also laying out anyone in their path, whilst looking fab!

Here is our top four femme fatale DJs to watch out for.

Written by Stephanie Hernandez

Beatselector Magazine | Issue N° 2 | 31

4

BRAZZABELLE

The Arizona native has made quite the name for herself, moving out to Los Angeles and taking over the night scene. Brazzabelle, aka Brittany Bowles, has an ever growing impressive resume that includes over 200,000 plays on her SoundCloud, being named a “Leading Woman in Night Life” by 944 Magazine and BPM Networks’“Artists to Watch.” Her latest singles are tearing up the club scene, and her hit single OH MY GOD, delivers in every way. She builds you up with hyped intros, immediately captivating you, then delivers the most amazing drop, instantly giving you the sensation to rave. With her growing success in LAs club scene, she is a show stopper to watch.

UPCOMING DATES

”

07.5.2015 Dive Dayclub Rincon, CA, USA 07.18.2015 Bang Bang San Diego, CA, USA 09.12.2015 Mad Decent Block Party Eugene, OR, USA 11.11-14. 2015 Mad Decent Boat Party Miami, FL, USA

Follow C /brazzabelle M/@brazzabelle

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3

JACK NOVAK

Speaking of a femme fatale being consistently mistaken for a male act, Jack Novak is another Chicago native who took her craft to sunny Los Angeles and began working non-stop, perfecting every part of her set. She defines the term girl boss, gracing the stage with huge names such as Skrillex, David Guetta, fellow female force NERVO, Hardwell and Rihanna, to name a few. In 2013, Novak was Pharrell Williams’ touring DJ - how is that for previous employment? Much like Krewella, Jack Novak’s name is very misleading and has had her fair share of people who don’t look up their acts before booking them. She has been mistaken for a male producer probably more times than she can count. Get it together people, Jack Novak is one amazingly talented lady. Learn it and love it.

UPCOMING DATES

”

06.18.2015 Firefly Festival Dover, DE, USA

07.25.2015 Temple San Francisco, CA, USA

07.31.2015 Lollapalooza Chicago, IL, USA

Follow C /iamjacknovak M/@iamjacknovak Beatselector Magazine | Issue N° 2 | 33

Photography courtesy of Sony Music

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2

KREWELLA

The ever popular girl band has had their names grace the line-ups of shows all over the world. The sister duo that hails from the Windy City area founded the group over five years ago; their success since blossoming to every corner of the continent, it is no secret that this pair know their way around a beat. These electro house and dub step beauties have defied past odds and have headlined the biggest electronic music festivals including Ultra, Spring Awakening, Electronic Daisy Carnival and Stereosonic, to name a few. Their showcases at these prominent festivals scored them the International Dance Music Award for “Best Breakthrough Artist” and the rest has been electronic history. Although these sisters are clearly a force to watch out for, in their earlier years most people mistook them for a duo of males; that is, before actually seeing them slay the booth in person.

UPCOMING DATES

”

06.26.2015 Brävalla Festival Norrkoping, SWEDEN 06.27.2015 Provinssirock Seinäjoki, FINLAND 08.21.2015 Lake Festival Graz, AUSTRIA

Follow C /Krewella M/@Krewella

Krewella.com

Beatselector Magazine | Issue N° 2 | 35

Photography by Chloe Paul

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1

NERVO

Mim and Liv of NERVO are twin sisters from down under that have an impressive resume: The two beat makers cowrote David Guetta’s and Kelly Rowland’s Grammy award winning song “When Love Takes Over.”

With their name gracing almost every festival line up, these two beautiful and talented Aussies are a force to reckon with and you can imagine our excitement here at BEATSELECTOR Magaziine when we were able to reach out to them and ask a few questions about their thoughts on this topic. Here is what they had to say.

BSM: What inspired you to get into the EDM world?

NERVO: It was a very natural evolution. We had been writing and then producing songs for several years for pop artists and bit by bit as our tastes changed, we moved into working with more electronic artists. We found the dirtier beats and structures to be more inspiring. After we had some success with some major DJ’s like David Guetta and Armin Van Buuren, we eventually got ourselves our own agent and the rest is history. We haven’t looked back since. Nowadays instead of being stuck in a studio we are stuck on airplanes/airports.

BSM: If you weren't DJing, what would you see yourself doing?

NERVO: We would most definitely still be making music, hustling, trying to get our songs cut by other artists or developing artists ourselves.

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Photography by Chloe Paul

BSM: What are some of the trials that you have had to overcome [being a female DJ]?

NERVO: To be fair, we try not to focus on our gender as there isn’t much we can do about being girls. We just do our best to let the music do the talking.

BSM: What is your favorite part about the job?

NERVO: The interaction we get with our fans is incredible. We had never experienced that support when we were just writers for other people. These days we have an army of people around the world that show their love and support for us and that is super inspiring.

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Another amazing part of our job is that we get to see the world and experience new cultures through our touring. We have been to so many corners of the globe and all through our work!

BSM: What advice would you give another or to your younger self, knowing what you know now?

NERVO: Keep at it. Music is speculative so no one is right or wrong meaning, if your songs aren’t getting the traction you expect then keep going and eventually it will stick. Believe in yourself and work hard. The harder you work the luckier you get!

BSM: Additional comments?

UPCOMING DATES

”

06.20.2015 Foxtale Pool Club Las Vegas, NV, USA 06.22.2015 Pacha Ibiza, SPAIN 06.26.2015 O2 Academy Glascow, POLAND 06.27.2015 Marina de Cascais Cascais, PORTUGAL 07.03.2015 Festivalterrein de Aa Beek En Donk, NETHERLANDS

NERVO: We think it’s great to see how many new female writers and producers there are coming up through the scene.

Go get it girls! With a list this impressive the term, “You’re good, for a girl,” should be forever silenced. The fact is, women can create quality, first-rate art/music just as well as men can.

They are not asking to be favored over their counterparts, just to be seen in the same light; to “let the music do the talking.” I concur with NERVO, it is amazing to see the new female writers and producers coming up on the scene.

This is your time girls, GET IT!

07.03.2015 Sutton Club Barcelona, SPAIN 07.04.2015 Wish Outdoor Beek En Donk, NETHERLANDS 07.05.2015 Movieland Music Festival Lazise, ITALY 07.07.2015 Omnia Las Vegas, NV, USA

Follow C /NERVOmusic M/@NERVOMUSIC

nervomusic.com Beatselector Magazine | Issue N° 2 | 39

PURE DOPENESS

Born From A Comic Book An Interview with the Beats Magician DJ HELLBLAZER Written by Karin Haslinger

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Photography courtesy of Konstantin Plevnes

O

ld vinyl turning in circles, hip hop beats, jazzy kind of smooth, movie like, rapping and dreaming away through time and space across all borders and turntables, that's what comes to mind, when you listen to the productions of DJ Hellblazer aka Konstantin Plevnes, a globe trotter and multi-dimensional sound and image artist currently living between Paris and Amsterdam and touring the world with his infectious soundscapes. Konstantin, for whom borders and distances seem to be inexistent, tells us about his mysterious name, about his international label, about how a young man born in Macedonia, who grew up in exile in Paris comes about to working together with musicians from Tokyo to Moscow to LA, about how images tell stories with music and about his childhood memories from today's Ex-Yugoslavia.

An intimate journey through music, art and time in a life, where music seems to make this world a better place or like Walt Whitman used to say: "Keep your face always toward the sunshine, and shadows will fall behind you."

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BSM: In addition to making music, you are also persuing your Ph.D. in Cultural Analysis in Amsterdam. Can you tell us a bit about it?

DJ HELLBLAZER: I'm currently living in Amsterdam, where I'm preparing my Doctorial Degree in Cultural Analysis, through the relation between music and image. I've been doing research for years already and I am creating audio-visual works on this topic, which inspires and haunts my albums for Sinoptic International. I'm also a photographer and stage director (cinema, theater), which allows me to understand the importance of music in the world of imagery and movie or stage production and the way the music complements the meaning of the image. For example, most of the cover images of the different volumes for the international compilation "Pure Dopeness", which I created for my label, are works of Sally Mann, an American genius photographer, who revolutionized the art of photography by shooting pictures of her children playing the roles of adults. They were often nude on the pictures, which disturbed a part of the public, that considered these works to be immature and vulgar, although, for sure, it was only innocent family scenes taken at Sally Mann's property. I've chosen this visual world of Sally Mann and her family to illustrate the subterranean music from all around the world on this international beat tape, which is Pure Dopeness, in the search for pure alchemy between the powers of imagery and sound.

BSM: Hellblazer, that's quite a cool name.

How did you come up with it? Is there any special meaning attached to it?

DJ HELLBLAZER: Hellblazer is the surname of a ficticious character in a graphic novel,

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which is called John Constantine. Since my real name is Konstantin and in Slavonic, the pronunciation of my name is identical to the Constantine character. An artist friend and specialist in comics and graphic novels of all kinds, like Hellblazer for example, regularly invites me to his radio show, where he started to call me John Constantine, comparing me to a sound or, more specifically, beats magician, just like the Hellblazer character or Constantine, who presents himself as a magician and ex-working-class musician (punk). This character was born in the early 80s, like me, and it appeared for the first time in the continuation of the graphic novel saga "Swamp Thing" written by Alan Moore, a literary madman, who reinvented and revolutionized the art of comics and graphic novels. The Hellblazer character, John Constantine, represents all these elements at once and his character and biography perfectly reflect my music, maybe by coincidence, which makes it a magical experience for the one discovering the world of my music and of the Hellblazer character for the first time.

BSM: You have your own label, where you also release artists from all around the world.

Did these artists reach out to you to be published on your label or was it the other way around?

DJ HELLBLAZER: At the beginning, the artists I invited on my label were talented people with whom I collaborated on different international projects, from Japan to the United States, from Holland to Germany, from Russia to France to Southeast Europe.

With the success of Pure Dopeness Vol.2, whose cover is a legendary photography from Sally Mann and her daughter Jessie, a large number of talented beat-maker artists

became interested in the project and wanted to be part of the following editions, which you can listen to on our bandcamp site: www.sinoptic.bandcamp.com. Over time, and we are now on the 18th edition of Pure Dopeness, which will be published on the first day of summer, June 21st with another Sally Mann photography cover image representing her naked daughter Jessie when she was 11, who is still a model, poet and artist today with 33 and she is still posing nude, it is difficult to choose from the long list of talented musicians from about anywhere around the globe, who send their unprecedented and revolutionary works to my label and collective called Sinoptic International.

philosophy behind this?

BSM: You seem to only release digital albums and at least your last release "Pure Dopeness Vol. 17" is free to download. What's your

DJ HELLBLAZER: The artists come to me by themselves or close friends and collaborators recommend them to me. We then get in

DJ HELLBLAZER: My philosophy is simple.

Good quality music should be shared and transcend the frontiers separating us far too often. All Pure Dopeness releases are free to download. You can click on the "Buy Now" button and donate 0 Euros to download the album for free, but you can also support us by buying our releases at the price you want in order to help us to maintain the "free to download" status on bandcamp, which is at the charge of the artist.

BSM: You are collaborating a lot with other musicians from all around the world. How do you connect with them?

Photography courtesy of Konstantin Plevnes Beatselector Magazine | Issue N째 2 | 43

touch with them and exchange ideas about the particular concept of the project or album in question. The production of the album "Insert Rhymes Here", that the native Los Angeles artist Prozak Morris, who is now living and working right in the heart of Hollywood, published on Sinoptic International and that you can listen to for free on our bandcamp site, was done more than naturally. The cover photo, of which I am the creator, was taken in Amsterdam just outside of the place where I was working on my doctorate, trying to find a meaning of the often strange but always passionate relations between the world of imagery and music. The alchemy which occurs between my photography and the title of the instrumental album of Prozak Morris is obvious. If you are a fan of alternative beats and dusty vinyl samples, the lecture of this unheard-of work will speak for itself.

BSM: In you're music, one can hear many different styles of music such as Hip-hop and Rap, but also lots of Jazz. What are you listening to, when you're not making music yourself? And what are your music influences and inspiration?

DJ HELLBLAZER: I listen to an enormous amount of music, every day, for my work, my research, my creations and my compositions.

I have several gramophones and I collect all sorts of vinyl, and I have to admit that I'm a big fan of classic rock. I love Ronnie James Dio of Black Sabbath, Rainbow and the band Dio. Furthermore, I draw inspiration from the albums of Leonard Cohen, Gil Scott-Heron, Serge Gainsbourg, Nina Simone, and John Coltrane. Recently, I've been listening to the album Fly With the Wind by McCoy Tyner, Coltrane's favorite piano player, his couple of solo albums, like Echoes of a Friend among

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others, are jazz classics. In terms of French Hip-hop and Rap, I listen a lot of Les Sages Poetes de la Rue, Melopheelo, Dany Dan and Zoxea, with whom I've been recently collaborating. The fact I'm working with an artist that I've been listening to for more than 20 years, is a unique and very enriching experience.

BSM: Who's your favorite French artist?

DJ HELLBLAZER: I have to cite several: Eric Satie, Serge Gainsbourg, Bertrand Cantat, Dj Mehdi, Zoxea, and many more.

BSM: What was the very first record you ever bought?

DJ HELLBLAZER: It was in November 1994, I just turned 12 years old and I bought Nirvana's MTV Unplugged In New York.

BSM: When did you start to make music? Do you also play any acoustic instruments?

DJ HELLBLAZER: I started to play music in 1994, beginning with the piano, guitar, bass and later on the harp, the MPC and the ambiance microphone.

BSM: You were born in Skopje, Macedonia [Yugoslavia at that time] and moved to Paris when you were 6 years old. Do you feel fully French, or are your Yugoslavian/Macedonian origins a big part of your identity?

DJ HELLBLAZER: I feel completely French, but my past and my culture of origin is a richness I carry inside me that inspires me involuntarily in my musical and audio-visual perception of the world.

Photography courtesy of Konstantin Plevnes

BSM: So, do you feel it has an influence on the music you are making?

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DJ HELLBLAZER: Certainly, everything has an influence on my music, whether I want it or not, every event in my life influences the choices and decisions in the artistic fields.

BSM: Do you still have childhood memories from Macedonia?

DJ HELLBLAZER: I remember my yellow BMX bike and the races with my friends in my neighborhood in the second half of the 80s, in a post-communist context, which was still idyllic at that time - Yugoslavia was the attempt to build a sort of mini United States of the European Southeast or Balkan region.

I remember this Yugoslavian dream, with its music of the 80s, which inspires me in my compositions and audio-visual creations until today. I grew up in an artistic family, my father is an author and playwright, his revolutionary works are the reason for our politico-cultural exile in France since the late 80s.

BSM: What memories do you have from your move to France?

DJ HELLBLAZER: Yes, I had the chance to arrive right in the heart of Paris in the 5th district, the Latin Quarter, in a small studio of less than 18 square meters with my parents and my little brother in 1988, a couple of years before Yugoslavia plunged into war and turned into Ex-Yugoslavia.

BSM: You still go back to Macedonia every once in a while. How is the music scene and in particular the electronic music scene evolving there?

DJ HELLBLAZER: In general, the music scene is varied and talented and so is the electronic music scene. The big problem is the music

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market is pretty much non-existent and to that end, the artists can not live off of their music.

BSM: Do you have the impression that there is more dynamism than in the Western parts of Europe?

DJ HELLBLAZER: Like I said, it's actually an economic question. The music market in Western Europe enables the artists to live off of their art.

BSM: Do you return to the Balkan region to perform?

DJ HELLBLAZER: I've played in Skopje Belgrade, Sofia, Sarajevo and Pristina.

BSM: Are there any big electronic music events happening in Macedonia?

DJ HELLBLAZER: There are a couple of interesting festivals, not only electronic music ones, like the Taxirat Festival or the Skopje Jazz Festival.

BSM: Maybe more in a free spirit like the rave parties in France and other parts of Europe in the 90s?

DJ HELLBLAZER: This kind of event was very frequent here in the late 90s.

BSM: It appears you are getting around a lot?

DJ HELLBLAZER: I travel a lot for work, everywhere in Europe and often in the United States.

BSM: What do you think about the music

scene in France? In particular, electronic music.

DJ HELLBLAZER: The music scene in France is very interesting and often surprising, it has the chance to have a thriving music market, which enables the artists to live off of their dream and to reinvest into the equipment necessary for their creativity and productivity.

BSM: From all the places you have performed, which one is your fondest memory?

DJ HELLBLAZER: Tokyo was the city that fascinated me the most, in particular the Shibuya quarter.

BSM: Where is your favorite place to perform?

DJ HELLBLAZER: L'Entrep么t in Paris, where Photography courtesy of Konstantin Plevnes Beatselector Magazine | Issue N掳 2 | 47

I had the chance to play a couple of times, was one of the best experiences for me.

BSM: Do you currently have any shows lined up? Any festivals where we could see you live on the turntables?

DJ HELLBLAZER: Yes, this summer you can hear my music on the Island of Crete, Sicily, Brittany and in Normandy. Towards the end of 2016, I'm preparing for a big international tour with dates at many festivals around the world, where I will be playing live with some instruments and some unique and authentic machines from my secret audio laboratory.

BSM: We look forward to your announcements of those dates and to hear some of those secret sounds.

Follow C /DJHellblazer M/@DJ_Hellblazer instagram.com/dj_hellblazer soundcloud.com/dj-hellblazer

www.sinoptic.bandcamp.com

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Photography courtesy of Konstantin Plevnes

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vLEAD CD REVIEW

Madeon

Adventure Columbia Records French producer Hugo Pierre Leclercq— better known as Madeon—first gained public notoriety in 2011 with a refreshing mash-up released via YouTube called “Pop Culture.” This insanely popular track, made up of 40 of Leclercq’s favorite tracks and samples compiled using a MIDI controller, was very catchy, as evidenced by nearly 30 million views on YouTube. Since then, the sound and compositional talent present in tracks such as 'Icarus' and 'The City' has helped skyrocket Madeon’s popularity among YouTube viewers worldwide and on the international music scene. We are now treated to his debut full-length album Adventure.

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A few years in the making, the album Adventure delivers a vivid and whimsical reimagining of synth pop that is quite refreshing.

Madeon displays his affinity for using chiptune synths and complex layering of melody in the album’s first track, 'You’re On.' It helps give this collection of tracks an energy and feel of what one could play while cruising to the beach.

The same could be said for 'Pixel Empire,' which also features Madeon’s patented layered melody, accompanied by astonishing synth riffs that can set the ideal mood of an early summer’s day.

'Imperium' features FM synth sounds that trigger nostalgia, being eerily reminiscent of what one would hear in old Sega Genesis music.

This track, which was featured in EA’s FIFA 15 last August, served as the album’s debut single. The vocal talent in 'Pay No Mind' featuring Passion Pit merges with the rhythm synths and thumping bass to create a unique sound that is hard to get out of one’s head. Madeon creates a soundscape that takes you from light and airy that is similar to a ballad like 'La Lune' and ventures into a sound that is distinctly French house.

Adventure certainly does have its fair share of highs points. With that said, that does not mean that this Adventure does not have its share of valleys. While I really enjoy most of the tracks featuring vocal backing from some of the today’s hottest acts in music, these same tracks struggle hold the listener’s attention.

'Only Way Out,' featuring Vancouver Sleep Clinic, is a technically solid track, but its tone makes it more likely to be one that just fades into the background.

Aquilo is featured on 'Innocence' which comes across as more of a showcase of Aquilo’s amazing vocal stylings put alongside the same tight production and sound that only Madeon can supply.

The tempo of these tracks causes me to occasionally skip over them to one that possesses more of the qualities I mentioned in this review. It is not that every track on this album should have the same high energy level but Madeon’s albums always have a couple of songs that are “take it or leave it.”

Adventure lives up to the expectations that have been set on this 21-year old since he first hit the Internet 5 years ago. Its deluxe edition features 'Finale,' 'The City,' and other singles released from then to now from time to time while listening to the album, I was in disbelief that this was a debut effort. One can only hope that the wait until his next album won’t be as long because I think we have only begun to get a taste of this DJ’s potential.

—Cory Royster Beatselector Magazine | Issue N° 2 | 51

Dennis Sheperd Fight Your Fears A Tribute To Life Dennis Sheperd's bio states the Berlinbased DJ is widely recognized as one of the rising stars of global trance music. The 28 year old DJ / producer, has seen his productions consistently supported by some of the biggest names in electronic music, including; Tiësto, Above & Beyond, Armin van Buuren, Paul van Dyk, Markus Schulz and Ferry Corsten to name a few. Trance star, Gareth Emery recently described Dennis Sheperd as “definitely a hot name to watch".

As a DJ, Sheperd is seriously in demand.

His mixing skills and innate ability to connect with clubbers, has seen him tearing up dancefloors in over 20 countries so far.

He’s spun his unique blend of progressive trance at clubs and festivals in such diverse locations as Germany, Ibiza, Australia, New Zealand, Russia, USA, Canada, UK, Finland, Netherlands, Israel, Italy, Poland, Czech Republic, Kazakhstan and many more.

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Now, onto the music. Fans having been patiently and eagerly waiting for a long 3 years for Sheperd's latest offering, Fight Your Fears.

Was it worth the wait? Yes it was worth the wait. The album features 17 new tracks of burning hot bangers that further solidifies his position as an in-demand producer, composer, collaborator and performer.

As for the title of the release, Fight Your Fears, it's Sheperd's way to encourage his fans to widen their horizons, step out of their comfort zones and give new things and experiences a try and through this new direction, he leads by example.

For the recording, Sheperd recuited singer/songwriters Christina Novelli, JES, Ana Criado, Molly Bancroft, Katty Heath, Chloe Langley, and Sylvia Tosun, all of whom turn out spectacular performances.

The album opens with 'Where I Begin' featuring the vocals of Katty Heath and Immediately, the beats, orchestrations and delivery of voice sets the tone of what lies ahead, which is great song after great song.

In my opinion, each track on the album has the potential to be chart toppers especially 'Bring You Home' featuring Chloe Langley, and 'We Are' featuring Sylvia Tosun.

And there is not one weak track on this recording. Each song is beautifully composed, meticulously produced and sparkles with great luminessence.

So, do I suggest, you the reader to purchase Fight Your Fears? The answer is a resounding yes! You will not be dissappointed.

—Joseph Arthur

vocal samples in his track calls to mind the work of the late, great J Dilla.

Dr.Kanaga’s proclivity for producing a laid back and dank tone is perfect for the lazy Sunday afternoon or to gather yourself after the hectic commute. Tusita is available on Shoeboxx Recordings’ Band Camp page.

—Cory Royster

Kananga Tusita Shoeboxx Recordings Dr. Kanaga is a producer on the Denverbased label Shoeboxx Recordings. Tusita is his follow-up to 2013’s Mother Earth and is a beat tape in the purest sense of the term.

Approximately 24 minutes, the album makes up for its short length with is 15 short tracks that are full of a variety of rhythms that keep your head moving to the beats. Tusita is comprised of with 50’s sci-fi movie samples masterfully weaved into hip hop breaks and funk loops both familiar and unknown to the listener, creating an odyssey of sound.

If you’re a fan of producing greats such as, Madlib, Flying Lotus, or DJ Shadow, the refreshing collection of beats found on Tusita is for you. “I Fell” makes great use of copyand-paste guitar and vocal licks in order to create a funky track that gives off a slightly chopped and screwed vibe. The atmospheric melody and harps used on “Give Me The Sun” establishes an earthly tone that acts as a complement to its otherworldly counterpart “Aintgonquit." Also of note on Kanaga’s album is “Gracefully,” where his layering of

Pedro Aguair Landscapes & Heartbeats Darkroom Dubs The press release for Pedro Aguair's full length album describes this release as "Brimful of spectral intensity...and other worldly tones that stay close to the aesthetic Darkroom Dubs fans hold dear. That description is spot on. This piece of work from the Portuguese native takes the listener on a musical journey that incorporates multilayered sounds and tones, ranging from plucked guitar strings to metallic textures to rhythmic percussion and drums that creates Beatselector Magazine | Issue N° 2 | 53

a etheral and dreamy ambient gem. Opening the 10 track album is 'Western Digital,' setting the tone for what lies ahead, a seemless stream of beautiful music. Other stand out tracks include 'Ceremony', 'Black Palm' and 'Redemption.' So, go ahead, fire up your tea lights, dim the lights and put this record on.

You will not be disappointed.

—Joseph Arthur

Shash'U PWRFNK Fool's Gold Records Richard St-Aubin, better known as Shash’U was born in Montreal. Being of Haitian descent has helped formulate the basis for much of his musical influences. As Shash’U, he is able to craft his DJ/Producer identity through the mixture of Avant Garde that encapsulated his upbringing in Canada.

The tones of the beats and rhythms can be attributed to his time spent practicing and perfecting various styles of street dance performances. The combination of the expressive, free flowing movements can

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be assimilated with the more direct and guerrilla displays seen in street dance. It’s this up front, in your face, aggressiveness that allows him straddle both the worlds of being a DJ/performer and that of an artist, producer, and songwriter.

On the Fool’s Gold release PWRFNK, Shash’U’s use of heavy basslines, overlaid with composite 80’s percussion and meshed synthesizers. The sound is familiar in that many televisions shows and films used similar production to great effect. The digital age left us many a soundbite. On the track ‘Workout’ pt. 1 featuring FRSH MKRS, the title is apt. The crash of sound and the intermittent chant of vocals really has the feel of a hyped up Jane Fonda video. Imagine yourself in leotards, headbands, big hair, and ultra bright pastels. Sexy Jacket is a track that harkens back to the early days of 80’s R&B. A Funk inspired amalgam of slightly distorted synth chords, staggered on top of each other.

The underlying melody carries the overall cohesion of the tune. A track reminiscent of Devo and Kraftwerk’s best albums. You can tell Shash’U grew up in the 80’s. It permeates in all of the tracks and is the aggregate that binds the album together. That PWRFNK is an electronic release only serves to further display how well the synthesis of two different musical genres can birth an entirely new direction of production. One hand washes the other in this case. The traces and trails of the minimalist approach to Less is More. Further dilute any of the plasticity of current cookie cutter musicians. This is a deliberate and forceful exploration of one’s creativity through his personal reflection and experiences of what he knows.

—Erik L. Richardson

Till von Sein Precious Suol Recordings The word precious has a funny connotation if taken at face value. Let’s take for instance the definition of the word. As it is: 1. (of an object, substance, or resource) of great value; not to be wasted or treated carelessly.”precious works of art” 2. derogatory affectedly concerned with elegant or refined behavior, language, or manners.”his exaggerated, precious manner” 3. used as a term of address to a beloved person.”don’t be frightened, my precious.”

As you can see most of the definitions surround specific levels of value, rarity, and delicacy associated with the word Precious.

Clearly the word is meant to place high value on something. The residual is added security, or in the least more closely monitored efforts to maintain the high value of whatever is deemed precious. When taking this into account you can understand why the album Precious is more of a focused

effort. Not just a delicate example of the progressions being explored by Berlin artist Till von Sein. With his second release, on Suol Records Till von Sein deftly establishes that this will not be a “sophomore slump” of an album. The bass heavy tracks of Precious create space in their own lanes for individual explorations. The artist has taken the time to re-evaluate and re-asses his technique during the time between this and his debut #LTD. Each track on Precious is distinct in it’s own right and the theme is carried throughout the album. With the backing vocals of Meggy on songs, Like Air and Nothing More Precious straddles the lines between House and R&B. There is a stylishly connected narrative being spun here. Till von Sein is able to maintain his balance in combining danceable music with the flair and intimacy of a singer, songwriter. The entire album feels much more connected to one’s inner consciousness than most. The sparse digital drum beat and the beautiful laid keys of Like Air, feel more at home tucked in a late night lounge than a House album.

That’s the beauty of Precious. It never strays too far away from its origin and roots.

No Luxury feat. The Black 80’s is a driving, thumping bass line that is greased by cryptic piano chords. A dub tinged track that leaves open spaces that drip with muddy, humid vocals. Much of the tracks on Precious are complemented with vocals of some sort.

There is the fiery, spoken word inspired One Feat. Lazarusman. The album taken as a whole is definitely one that differs from the traditions of House music. This is not a bad thing. You can appreciate the creative efforts, and collaborations that have taken place. They transition the album outisde the box of what is considered House music.

Therein lies the most precious aspect of Precious. Till von Sein has taken his vision of what could be and dropped a jewel of an album.

Surely to further define the framework of this DJ/producer extraordinaire.

—Erik L. Richardson Beatselector Magazine | Issue N° 2 | 55

vLEAD EP REVIEW

Christine & The Queens Saint Claude Because Music

There is a new rising star in the French electro-pop scene — Héloise Letissier aka Christine and the Queens. In February 2015, she received the French equivalent of Grammy's Best Female Artist, and Best Video Clip of 2014 at the Victoires de la musique. Yes, Christine is not only a singer, she is a performance artist through and through, because when Héloise turns into Christine, no dance beat can stop her feet from elegantly moving along the stage while perfectly acting out the personalities of her songs raising existential questions about gender, the search for identity and the loneliness of big cities.

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Saint Claude, the new EP from Christine and the Queens, features five beautifully crafted tracks kicking off with 'iT,' a song with deep bass beats, a touch of synth with a feel of 80's New Wave and an infectious delivery of vocals.

Next up is 'Saint Claude,' a tune mixing electronica, piano inflections, rhythmic drum beats and dreamy vocals featuring alternating French lyrics and an English chorus by which the protagonist is holding a monologue with herself in the metro waiting for just one word from the stranger vis-à-vis to change her mind and stay with him instead of getting off just a couple of stops later. "Deep!" is a pretty accurate description of the song.

The third track, 'Tilted,' has a great opening and a bit of some quick whispery vocal delivery half way through that demonstrates Héloise's "out of the box" creativity.

'Narcissus Is Back' reflects allusions to a vain and self-loving lover lacking any compassion.

Musically, the track features big drums and a touch of the Thompson Twins usage of the Vibraphone and syncopated synth produced horn sounds.

Closing out the EP is the track "The Loving Cup", another slice of 80's influenced New Wave with rhythmic guitar riffs, layered vocals and drums way out front that channels the King of Pop — Michael Jackson.

Apart from Héloise's deep and meaningful lyrics and her smooth expressive voice, the songs are very well produced, captivating and original.

It's apparent her big idol, Michael Jackson, can not only be felt in her way of singing, but also in some of her dance moves and even in her androgynous way of dressing in suits with trousers cut too short.

So, are you willing to drink the loving cup?

Then get ready for your feet to tap to the beat, but attention, beware of the earworm!

—Karin Haslinger Beatselector Magazine | Issue N° 2 | 57

Astro Duo Viper/Quantum Astro Records

Electric Wire Hustle Love Can Prevail (RMX’s) EWH

The EP Quantum delivers sounds and beats that would have all of the aliens in the galaxy on the dance floor. With all of their extraterrestrial sounds their name, Astro Duo, seems perfectly fitting. The beats on this track, though sounding like they are communicating to another life form are pretty catchy. If quick move beats, alien diologue and alternate dimension sounds are your cup of tea then this song should be the next on your download list.

Astro Duo’s song Viper, although still very extraterrestrial sounding, is a definite dance beat. Imagine yourself on planet Mars, in a dance club, under strobe lights breaking it down with an alternative life form. This song takes you there. Their description of their sound is “Lizard Step, Reptilian Disco for the overlords…”. I’m not quite understanding why but we’ll roll with it. That, just like their sound, is very unique.

—Stephanie Hernandez

Electric Wire Hustle features Mara TK (vocals, guitar, turntables, production), David “Taay Ninh” Wright (multiple instruments), and Myele Manzanza (drums). They linked up in Wellington, New Zealand, making their debut in 2009 on Japan’s Wonderful Noise Label. The eclecticism and vibrancy of the sound EWH creates is steeped in a rich history of deep house and chilled out productions. They have always brought a cleaner and more polished sound to their releases. Love Can Prevail (Remixes) is an exemplary example of when all the right elements are placed together in harmony.

The resulting are songs like the Yoruba Soul Mix on By & Bye. A piano driven soul track of precise vocals, minimalist sampling, and infectious tribal like drum patterns. The en tire EP is what an extremely melodic and sublime output should be. The album is such a relaxing foray into chill, lounge or downtempo electronica. The combination of

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breathy vocals on most of the tracks and well-constructed instrumentation gives the feeling of complete studio sessions. That are uninterrupted with the usual trappings of electronic music. Not so much an experimentation as it is a blending of the core concepts of House music. There is purposely more of a Soul sound on Love Can Prevail. The pace and phrasing of each track is delicately rendered in high quality production tones and values. There is a softness that captures your attention because everything sounds so good together. The melted synth and keyboard chords really push the melodies to their nadir. The wash of sound moves over your body as the flow of Bottom Line (Flako Remix) with its angelic flutes and chorus moves you into a state of suspended animation. Ironically the most recognizable outright House dance track is Look in the Sky (Seven Davis jr Remix). The drum traps, and sonic keyboard trail, will appease the loyal followers of more traditional House electronica. This track returns things to the more chopped and looped turntable breakbeats. This EP will definitely whet your appetite for the full release version. I can’t wait to get plugged into a full 10 or 12 track offering from Electric Wire Hustle.

—Erik L. Richardson

Funkadelic & Soul Clap Viper/Quantum Soul Clap Records Let’s get straight to it. Anything, that eschews the standard of established convention is reason to celebrate. Especially in musical collaborations. Next, anything, and I mean anything that claims to be Funk related or oriented has to be certified. Either by the actual forefathers of Funk ( George Clinton, Bootsy Collins, Sly Stone, James Brown, Maceo Parker, Charlie Wilson, Prince, etc.), critics, or the music purchasing public.

Either way, when you are able to corral the talents of 2 of the greatest funk pioneers on any release you are stepping into hallowed ground. In Da Kar (Soul Clap Records) is such a release. It harkens back to the days of Parlia ment/Funkadelic’s greatest bands and greatest impact musically. The 4 track EP really is a cornucopia of organic and orgasmic sounds and grooves. There is much less of the classic framework of rapid BPM’s and production techniques that usually accompanies electronica. Here, there is a clear homage paid to Clinton’s eccentricities as an artist and his prodigious intellect as a sort of svengali on the subject of Funk itself.

Many of the tracks carry the same basic strum of medley on base guitar, with the overlaid vocals that made Hip-Hop, Funk, New Jack Swing and a host of other musical genres valid expressions of individuality.

Take for instance the opening track ‘In Da Kar,’ this vapid, muddled keyboard piece is driven by Sly Stone’s two tone work on keys. The bumpy tug of the bassline, and the hypnotic wavering P-Funk vocals has that strung out on a hot day feel. The sensation it gives is that of a jam session that is loosely composed.

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It gives the artists themselves the structure to be expressive within the lines of the grooves. Listening will bring you back to Funk standards such as Mothership Connection, Stand!, There’s A Riot Goin On, Computer Games, and Chocolate City.

There is no denying that Funk is Alive and well in the hands of Soul Clap. The union is a blessing that merges two passionate artists, contemporaries and performers into a concentrated dose of dopeness. But, the summation of the union is a highly sonic and groovy offering from a still influential artist and burgeoning label. It makes for some of the best listening music you’d ever want to experience.

—Erik L. Richardson

Funkystepz Losing You Forever Live Young Funkystepz is a trio of music makers names Stimpy, Renay, and Maxsin, based out of London.heir EP Losing You is a bounce jam that masters all of the elements of a great

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dance beat.With over eleven thousand plays on Sound Cloud these UK beat makers have created a chart topping sound that will have you moving to the beat for the entire song.

The vocal placement is perfect throughout the entire tune and their use of other melodic sounds are well thought out and on point.

The British groups track Witchcraft is yet another pumped up beat that will have the clubs turning up. The tune makes you feel like you’re in constant pursuit; as if you were in a chase. This group knows how to master and mold a beat; definitely one to watch.

—Stephanie Hernandez

John Talabot Without You DJ Kicks Without you, the original mix, delivers a constant beat with harmonic background vocals that carry the song. The song carries you into deep thought and leaves you feeling some type of way, as does most emotional tuned mixes. Overall, the original mix of Without You gets a thumbs up for its

rhythmical and euphoric sound. The Melchior mix of Without You is a steady mel ody mix that keeps the same tone and beat the entire ten minutes. The tone is still keeps Talabots harmonious sound as the background but adds in a few static techno beats. If unchanging beats and mundane mixes are your choice then this is the mix for you.

Mistakes Are O.K. changes the sound of Without You completely. The music producer chopped up the song, with added synth tones and bass beats that gives the original electronic song more of a pastoral and calm vibe, making it almost unrecognizable.

Should he have touch the original mix? We will let you be the judge.

Oscar Offerman’s spin on Talabots beat consists of mostly quick drum patterns and twisted melodic tones, taking you through a light an airy dream.

All of the remix pieces bring something new to the table, but hands down the original is a mix up all its own and reigns supreme above the rest.

—Stephanie Hernandez

Roska This May Take A While RKS Roska is a bass master from London who delivers live rhythms and constant bass that will compel you to lose yourself in the music.

Crawler from his EP This May Take A While, delivers a bass-tastic breakdown beat again and again. If you aren’t feeling the urge to get down while this beat is dropping then clearly great tunes aren’t your forte. The title track This May Take A While, is yet another instant dance beat. With over six thousand plays on SoundCloud, people clearly feeling this Brits sick beat skills.

His track NDOW has all of the elements of house music gold. The sharp drops and womps are next level wicked. If you couldn’t tell by now I am definitely feeling every track Roska drops. As I divulge further into his EP, I begin to appreciate his sound technique more and more. In WIAS, he slams dunk yet again when he switches things up a bit and refreshes his sound with swivel beats and tones. Take my advice and go out and download his EP This May Take A While. You won’t regret it.

—Stephanie Hernandez

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SBRC & Friends Vol.1 Dim Mak Records A convoluted mash up of speedy drum tracks with a typical exploration of various sound effects. SBCR & Friends Vol. 1. The pacing of the 6 track EP gives a full breadth of Sir Bob Cornelius’ explosive technique.

SBCR is a break from the Bloody Beetroots’ more rock oriented efforts. The ‘And Friends’ portion of the EP will showcase the collaborative phrasings of SBCR’s contemporaries. Artist such as Razihel, Moon Bounce, Eliza Bee & His Majesty Andre will bring the appeal of the output to greater heights. Each giving their own spin on this current installment of electronica.

The blending of styles makes for a very diverse sound setting and arrangement.

The influence of signature House music is apparent. The subtle lead-ins along with the sampling of vocal clips, and mitigating synthesizer keys. Really the entire EP is woven into an auditory tapestry of sound. Bloody Beetroots began as an early progenitor of electronic music on the Dim Mak label.

Considered by many to be forefathers of the electronic genre. Sir Bob Cornelius Rifo now extends his reach into an alternate variation of his auspices. The SBCR sound is rooted in those early forays of electronic exploration established by The Bloody Beetroots. But, is a distinctly separate act altogether, showcasing Sir Bob’s DJ-performance alias.

Tracks like ‘Vector’ feat. Moon Bounce are the combination of spacey, lilting vocals meshed with stark industrious production.

‘Ape’s Gun’ (Razihel) is best described as a Video game sound track that’s been stretched and reduced to the elements of

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trailing sine waves and rapid fire scaling of keyboard phrases. One of the best features when collaborating with like-minded individuals is the ability to bounce off and quell ideas from one another. SBCR & Friends Vol.1, you can tell was thought out in terms of color of sound and thematic direction of production.The opening track ‘Wrong’ by Razihel sets the stage for the flow of the entire EP. The slick blast of a techno-organic staccato create the framework. Interspersed with wavy synthesized digital flourishes.

The heavy bass drop of percussive programmed drum beats. All provided by the merging effluences of SBCR and his aforementioned Friends. Take the EP for all its merits, I’m sure you won’t be left hanging in the wind.

—Erik L. Richardson

Thomas Pasquini Qoaster PM Music This French artist knocks it out of the park with this electronic dance anthem. His EP Qoaster is a definite music festival banger.

The high intensity of the song gives you a rush and makes you just want to rage.

He doesn’t disappoint when it comes to the drop, building you up higher, getting you ready to lose yourself completely. Once the drop hits, you instantly can’t help but jump.

Pasquini shows his true talents through this song, proving that just like his beat he is on the rise. If you live for festival anthems, this track is a must have. Keep your eyes on Thomas, he is definitely one to watch. Lets RAGE! —Stephanie Hernandez

Tom Demac Smoke Stained Ivories AUS Tom Demac is an artist brimming with confidence and dexterity. Hailing from North Wales, Demac has always sought out the new to compliment his own repertoire.

The world first came to know of Demac in 2004 when he began releasing music from his own Electronique Audio label. As

his reputation and popularity grew so did the development of his analogue voice as a composer. Many of his signature tracks deploy a creativity of unbridled exploration.

Through his expressions on keys, and ethereal synthesizer tones Demac is adept at creating different audio environments to marinate in. The Techno-House combination of Smoke Stained Ivo ries (Aus Music) has helped Demac transcend into somewhat of a leader in going against convention.

The commitment to remain hands on in the creation of his sounds pushes Demac’s arrangements from less of a production based sound. To coalescing with more elements that are groove laden. This goes a long way in assisting the overall cohesion of the music itself. He is a high energy person and the explosive extension of his DJ sets are what set him apart from more traditional Techno/ House DJ’s.

The title track is an example of this with its synthesis of analogue drum patterns, wavy synth chords, and additive table top drum stick tapping sample. A sure fire favorite of mine. Which gets its name from the hours of time Demac spent laying down the structure of his tracks on synthesizer and keyboard programming. The result is the reflection of the effort placed upon marrying analogous textures of sound. Take for instance, the track ‘RIP Vogel.’ Here you have the reverberation of layered synth chords that make for a strumming rubber band type of sound.Then the stark, monotone echo of the trailing vocals, combined with the overlapping wave of bass lines. Leaves you in a trance like state of openness. The constant chatter of the percussive looped drum patterns and synthesizers leaves plenty of room to spread out over the albums entirety. Fortunately for the listener you get the resulting in a nicely framed composite of a 4 track EP Beatselector Magazine | Issue N° 2 | 63

release. Teasing you with just enough substance that leaves you wanting more.

—Erik L. Richardson

Woozee Fine Without You Club Soda Records John Seiles, aka Woozee is one half the duo of Mista Men. With Mella Dee tagging along to complete the circle. They have a reputation for heating up dancefloors in their native Doncaster, South Yorkshire. They are considered the progeny of the Baseline Scene coming out of South Yorkshire.

Having held a myriad of tours, and extended stays at Clubs in the area. Mista Men’s preceding reputation is well earned.

They love crafting samples that melt into snapping drums and hectic Garage grooves.

As Woozee, Silas himself has further established the philosophy of capturing the essences of the dancefloor through his dark, groovy, unbridled productions. He wants you to move and to move you. Woozee has released material with other labels outside

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of Club Soda Records. Namely, Cheap Thrills and Car Crash. This time though he entrusted Club Soda Records with the exceptional Fine Without You EP. Fine Without You is a deep, hypnotic, bubbling 4 track EP. The 2 opening tracks ‘Fine Without You and Patta’ are bass heavy, thumping basslines that each are supplemented by cryptic melodies. In the case of ‘Fine Without You’, it’s more of husky tune, that really simmers as you progress through it. ‘Patta’ is wrought with faint strings and brooding organs to produce an awkward sort of tension. These tracks are crafted to perfection and each carries it’s own weight in the difference of sound and construction.

You really get a diverse amount of textures by Woozee. The technique Seiles uses is very smooth and gives his productions a more expressive tone. The final track ‘Confetti’ is a great closure to the tasting.

It is a super sonic wash of reversed notes and a simplistic 4 chord synthesizer loop. The scatter of the programmed snares skipping and sonic vocal clips, is very neurotic. You’ll waste no time digging into Fine Without You. —Erik L. Richardson

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Online September 15, 2015