BEATSELECTOR Magazine May/June 2019

THE CHEMICAL BROS. HAVE RETURNED WITH NO GEOGRAPHY. DOES IT STAND UP? READ THE REVIEW!

MARKUS SCHULZ FINDS GLORY IN A WHIRLWIND OF EMOTION

MOGUAI

THE WORLD IS HIS HOTSPOT

AMBER LONG TALL BUILDINGS & TURTLES

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AITOR RONDA GXD J. WORRA THE YOUNG PUNX UPPERMOST NICKY ROMERO 430 WEST RECORDS

FAITH In The Product LOYALTY To The Client LOVE For The Consumer

TW BS teamweasal.com

B EATSELECTOR Moving Electronic Music Forward

May/June 2019

PUBLISHER

JOSEPH WENSELL CONTRIBUTORS Caitlin Cline Catherine Strickland Chloe Aiello Cody Miller Cory Royster Erik L. Richardson Fred Lee James Arena Joseph Arthur Karin Haslinger Leo Weaver Payton Gerencir Stephanie Hernandez Vladimir Jean-Philippe Zach Miller

EDITORIAL REQUESTS

editor@beatselectormagazine.com

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inside MAY/JUNE 2019

COVER FEATURE MARKUS SCHULZ Each year in late March, Miami becomes the gathering place for every facet of the electronic dance music community as host to Miami Music Week, IDMA (International Dance Music Awards) and ULTRA Festival. Markus Schulz has called Miami his home since his very first experience attending these events way back in 2001. During this one week of the year, Markus has the luxury of not having to travel, sleeping in his own bed and playing host and hanging out with his friends who live outside the United States. We catch Markus at a time of deep personal loss, which he graciously shares, what MMW and ULTRA has to offer first time attendees and his decades long experiences at these events, all the while gearing up with new music and a slew of prime time performance dates booked for this summer.

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inside MAY/JUNE 2019

Features 74 AMBER LONG

Amber Long is best known for her chunky, techy tunes that have seen her land signings with labels such as Bedrock, Armada, Global Underground, Perfecto, Darkroom Dubs, Sudbeat, Plattenbank, Einmusika and a whole host of others. Amber has over 20 years of musical experience under her belt and an impressive string of accomplishments.

80 MOGUAI

André Tegeler, also known as MOGUAI, has a storied history that runs deep and long. With three (3) decades as a leading force in Berlin's electronic music scene, the prolific DJ and producer's resumé reads as a who's whos in the realm of electronic music. In this interview conducted by Karin Haslinger, André shares his experiences and musical life in the Berlin Underground scene, 80s film The Gremlins, the early days of raving in Germany's forests and feeling like Star Trek's Captain Kirk.

Departments 22 ICYMI

ROUND-UP OF RECENT NEWS FROM AROUND THE WEB.

40 NEW MUSIC PREVIEWS

JOHN DIGWEED, FABIO & GROOVERIDER, CRISSY CRISS, SATIN JACKETS, DROPTEK, REMUTE, S.P.Y, NOCTURNAL SUNSHINE AND ENZO SIRAGUSA

58 ON TOUR

NICKY ROMERO HAS UNVEILED THE DATES FOR HIS "REDEFINE" 2019 WORLD TOUR. CHECK THE DATES!

60 BUZZ WORTHY/ARTIST PROFILES AITOR RONDA, GXD, J.WORRA, THE YOUNG PUNX AND UPPERMOST

70 LABEL WATCH

Q&A WITH LAWRENCE AND LENNY BURDEN DISCUSSING NEW MUSIC AND THEIR INFLUENTIAL LABEL 430 WEST.

100 CD/EP/SINGLES MUSIC REVIEWS

IS THE CHEMICAL BROTHERS' LATEST RELEASE "NO GEOGRAPHY" WORTH THE HYPE? READ THE REVIEW AND FIND OUT WHAT OUR CRITIC HAD TO SAY.

[OPENING NOTES] Written by Joseph Wensell

MAY/JUNE

2019

Our May/June 2019 issue of BEATSELECTOR Magazine features an indepth and personal Q&A with Trance Titan Markus Schulz. Markus opens up about loss, love, what Miami life means to him and a whole lot more.

Lenny Burden's aka Octave One, ground-breaking and highly influentiai label 430 West Records. Approaching 30 years in the business, the Burden brothers are still leading the pack and releasing some of today's most cutting edge electronic music.

There's been an a bit of a resurgence within the Big Beat scene as of late. The Prodigy and The Crystal Method have released new albums this year and following suit, The Chemical Brothers also have a brand new springtime release out now. Titled "No Geography," this collection of ten new songs kicks off the music review section.

Also inside, we have write-ups on a few new and recent music releases deserving attention that should be on your radar and must have lists.

Read on!

Our other features include a Q&A with Moguai a Berlin underground producer and DJ with decades of experienc, stories and releases. Karin Haslinger speaks, learns and delivers what this legendary artist has been up to.

Amber Long, one of Canada's tenured DJs and producers explains early beginnings, mentors, labels, the future, high buildings and turtles in this insightful back and forth with guest contributor Holly Roscoe.

Aitor Ronda, GXD, J. Worra, The Young Punx and UPPERMOST receive our "Buzz Worthy"/Artist Profile treatment, plus we list dates for Nicky Romero's 2019 "Redifined" Tour and our Label Watch is with Lawrence and

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DESIGN SERVICES FOR THE WORLD OF MUSIC & BEYOND GRAPHIC DESIGN // WEB DESIGN & DEVELOPMENT // ILLUSTRATION // VIDEO PRODUCTION // MOTION DESIGN www.karinhaslinger.com

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[ICYMI] N E W S F R O M A R OUND T HE WE B

Above & Beyond's ABGT350 Celebrations To Be Held At Prague's O2 Arena On October 11 Beatselector Staff | INDUSTRY NEWS

Bangalore, London, New York, Sydney, Amsterdam, Hong Kong and now: Prague. This medieval city right in the heart of Central Europe has attracted pilgrims from around the world for centuries, seeking solace in Prague’s magnificent cathedrals. In October, electronic music fans will make a pilgrimage of a different kind as they travel from all corners of the globe to the cobbled streets of one of Europe's most charming, colourful and beautiful cities, to celebrate the 350th episode of Above & Beyond’s Group Therapy radio show.

Taking place on Friday, October 11, 2019, Jono, Tony and Paavo will bring the very best of their Anjunabeats and Anjunadeep record labels to the capital of the Czech Republic and one of Europe’s most popular travel destinations. Regularly attracting fans from over 50 countries, Above & Beyond’s Group Therapy milestone celebrations are a once in the lifetime journey for dance music fans, promising a unforgettable night of community and connection in one of the Europe’s most thrilling concert venues.

Above & Beyond commented: “We’ve been lucky enough to perform at the O2 Arena in Prague a few times and have always been blown away by the atmosphere and the quality of the production. That, coupled with the fact that Prague is one of the beautiful cities in the world and on everyone’s must-see list, makes this the perfect destination for ABGT350.

Forget what you think you know about ABGT… this will be Group Therapy on a grand scale.”

For more information about Group Therapy 350, fans should visit ABGT350.live. Tickets are on sale now. For the first time at a Group Therapy arena show, a range of VIP and enhanced experience options are also available and, as is tradition on ABGT weekends, there will also be an Anjunadeep After Party on Saturday October 12th.

Get tickets here.

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[ICYMI] NE W S F R O M A R OUND T HE WE B

Diana Ross Makes Music History With New #1 Remix, "The Boss 2019" Beatselector Staff | INDUSTRY NEWS

Diana Ross has once again made music magic! Considered one of the most influential recording artists and iconic entertainers of all time, Ms. Ross rewrote history once again.

In just 7 weeks, the new remix of "The Boss 2019" has hit No.1 on Billboard's Dance Club Songs Top 50 Chart. "The Boss 2019" is Ms. Ross' fourth remix in a row to go No. 1, and it reaches the top during the 40th anniversary of the original version hitting No. 1 on the same chart.

The success of "The Boss 2019" continues to illustrate the unprecedented star-power of Ms. Ross as a trailblazer and legend in the music industry. Last year, she made history when the new remix mashup of "I'm Coming Out / Upside Down 2018" hit No. 1 on Billboard's Dance Club Songs in just 8 weeks. The original versions were both ranked No. 1 on the same chart during the same week in 1980. "Upside Down" was also a No. 1 Pop and R&B hit in 1980.

That magnificent achievement marked the first time any artist had back-to-back No. 1 Dance Club Chart hits with songs that were originally No. 1. In January 2018, the remix of Ms. Ross' exquisite global anthem "Ain't No Mountain High Enough" (from Diamond Diana: The Legacy Collection) hit No 1. The original version of "Ain't No Mountain High Enough" was a No. 1 Pop and R&B hit in 1970. To date, Ms. Ross has had 7 No. 1 hits on Billboard's Dance chart.

On March 26, Diana Ross celebrated her 75th birthday with an evening of multiple parties including an intimate affair at the House of Ross with celebrities, family and friends and capped off the evening performing for fans at the world-famous Hollywood Palladium for a once-in-a-life-time sold-out concert event.

The Diamond Diana 2019 Celebration continues with a Las Vegas residency at the Wynn in June, New York's Radio City Music Hall (June 22) and Red Rocks Amphitheater (July 22) in Colorado.

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[ICYMI] N E W S F R O M A R OUND T HE WE B

Trevor Jackson Curates T-Shirt Collection In Honor Of Closed Down Record Stores Beatselector Staff | INDUSTRY NEWS

Danish headphone brand AIAIAI is launching a limited-edition t-shirt series featuring designs by , curated by Trevor Jackson and timed to coincide with Record Store Day 2019.

The series honors a selection of iconic record stores that have shut in recent years, and features six designs, by six different artists, each inspired by a closed-down record store in their respective cities.

The proceeds from the t-shirt sales will go into establishing the RPM Foundation by AIAIAI; a fund for artists and musicians in support of their creative projects.

The series curator, Trevor Jackson, is a multi-disciplinary creative with decades of experience and expertise in design, music, art and fashion. He explains his reasons for getting involved in the project: “I spent a large part of my youth in a the basement of record stores obsessively digging through racks of vinyl learning as much about design as I did record labels, writers, musicians, producers & engineers. Meccas for like minded explorers & social clubs for the anti social, staff behind the counters my mentors, many became my friends. None of these stores exist anymore, rents rise, cities evolve, formats change but the cultural impact of them live on. In memory of all the in uential record stores around the world no longer with us RPM RIP is born, a visual tribute to these icons of yesteryear. 6 signi cant cities, 6 music loving designers, 6 T-shirts, 50 of each, all pro ts going to charity. Collect them all. Support your local record store.”

The shirts will be available on Record Store Day, Saturday 13th April, online at aiaiai.dk and from AIAIAI’s store, Studio A. in Copenhagen, Studiestraede 31.

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[ICYMI] Parisian Studio VERTU Teams Up With Lío Ibiza Launching New Concept "Pop Art" By VERTU NE W S F R O M A R OUND T HE WE B

Beatselector Staff | INDUSTRY NEWS Since its creation in 2011, Lío Ibiza has become an Ibiza destination that attracts all eyes from around the world. As a place that embodies the utmost feelings of glamour along with the hedonism and freedom of the famed White Isle, Lío has made a name for itself with their multi-disciplinary program of early evening dinner shows; transforming into a club atmosphere via the sea by night.

Hailing from Paris, VERTU Studio has worked with some of the worlds most luxurious brands, since it's inception in 2005; from Dom Perignon, Hennessy, Bvlgari and Givenchy to Messika Jewelry, Mugler, Jean Paul Gaultier.

VERTU Creative leaders, Sebastien ANFRAY and Julien TOTY are known for their further successes, working with the likes of Moulin Rouge Paris, Nammos Mykonos and Onima in London. Fluent in the language entertainment, they collaborate with the emblematic Lío Ibiza, creating a new concept of musical programming; POP ART by VERTU. Taking over Lío every Tuesday from May to October, POP ART by VERTU will see the worlds of POP Culture and luxury lifestyle collide with entertainment. Manifesting in a unique experience that sits perfectly within the deep, electric universe of Lío.

Make no mistakes, POP ART by VERTU is by no means vintage or 80's, instead bringing together the sharp and colourful, Avant-garde feel of Paris with the exuberance and freedom of Ibiza.

Presenting a unique line-up from the international Deep House scene that enhances the warm and joyful soul of Balearics, POP ART by VERTU ignites every Tuesday across the Ibiza summer season at Lío Ibiza.

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[ICYMI] N E W S F R O M A R OUND T HE WE B

PR Agency The Media Nanny Launches New Creative Agency-The Brand Father Beatselector Staff | INDUSTRY NEWS

In April 2019, José Woldring (CEO, The Media Nanny), Rik Woldring (former MD The Media Nanny) and Peter Meere (former VICE) have joined forces to become the new creative player in the music and entertainment industry.

With over 25 years of experience combined, the three partners have the knowledge of the industry and its roots at the core and can offer inimitable insight to their clients in the worlds of music and entertainment. Big enough to benefit from an extensive network, but small enough to make fast decisions and keep moving quickly, The Brand Father will pride itself on creating informed strategies that tell a story between talent and brands.

Over the past ten years, José Woldring has earned an outstanding reputation in the realms of entertainment and PR by helping artists and creative brands build an audience and craft their narrative through a mix of media.

Representing a portfolio of artists like Martin Garrix, David Guetta, Oliver Heldens and Gianluca Vacchi in the ever-changing digital landscape, there is a growing need for 'more' than just PR,' but rather an integrated marketing communications approach. "I started The Media Many to help the young artists I was surrounded by; nobody was offering them what they needed. It felt very natural to help them with their PR and social media.

Now - almost ten years later - I want to share my experience and my network with brands and help them to create relevant campaigns that contribute to the brand mission as well as adding value to the music industry."— José Woldring

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[ICYMI] N E W S F R O M A R OUND T HE WE B

Eats Everything & Andres Campo Launch New Label EI8HT With NYC's Avision's "Work It Out" EP Beatselector Staff | INDUSTRY NEWS

EI8HT Records is the brand-new collaboration between longtime friends and DJ partners, Eats Everything and Andres Campo.

Their aim? To focus on forward thinking techno that transcends through soulful and emotive electronic music, to high energy groove-laden club tracks. They want fans to experience their imagination and creativity with a string of releases derived from their undeniable love of electronic music.

The guys officially kicked off the label launch with a stacked 6 date joint tour in Spain, and welcome one of the hottest young producers from New York – Avision to kick start things for EI8HT with his "Work It Out" EP. New Yorker Avision had something of an unfair advantage growing up in the Big Apple.

Surrounded by such a rich vein of talent has certainly rubbed off on him, and his brand of tech has found favor with disparate band of tastemakers encompassing everyone from Adam Beyer to Nicole Moudaber to The Martinez Brothers. Releases on We Are The Brave, Second State and Intec in recent years has cemented his position as a rising star, topped off by festival and club performances across the US and beyond.

Avision's release is every bit as NYC as you could imagine. Spiky stabs and crisp percussion reign on 'Jumpin' which draws its power from the clever arrangement and use of light and dark. 'O.G. Groove' is a deeper basement vibe reminiscent of those lost Tuesday mornings in Cielo with Francois K completely in the zone. Mesmerising. Rounding out the pack, 'Work It Out' is a stomping, Piano-led Tech beast. Energetic, groovy as hell and perfectly New York.

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[ICYMI] N E W S F R O M A R OUND T HE WE B

The Philharmonie de Paris Presents An Exhibition On Electronic Music Through August 11 Beatselector Staff | INDUSTRY NEWS

At more than 120 BPM, electronic music sets the tempo on dancefloors around the globe.

Originating in Chicago and Detroit in the 1980s, house and techno introduced radically new, machine-generated sonic landscapes inducing a rare state of physical ecstasy. Since the 2000s, Electro has claimed its place as a major artistic movement in modern-day global culture, from Berlin to Tunis and Buenos Aires to Los Angeles.

In today's atomised society, this category of music is far more than a sonic experience: it has become an important vector for bringing people together, building community both on the dancefloor and through social media and the activism of numerous collectives. Now more than ever, Electro is defining a new relation to alterity and to the world, notably in the visibility it brings to queer culture and in the expression of feminist resistance.

This first major exhibition on electronic music explores the genre’s imaginary, its innovations and mythologies, and its correlations with contemporary art. Featuring a soundtrack mixed

by Laurent Garnier, it is firmly anchored in the present. The itinerary is the product of creative input and engagement from a number of the musicians involved: Kraftwerk, Daft Punk, Jean-Michel Jarre, Jacques and Molécule all appropriated the exhibition as a testing ground for their concepts and ideas.

Essential to the ambitions behind this exhibition is the strong visual identity achieved through active collaborations with leading photographers and visual artists, such as Andreas Gursky, Xavier Veilhan, Christian Marclay and Claude Lévêque. The scenography by the collective 1024 Architecture creates a jarring space—all scaffolding and moving lights—conjuring the environments in which Electro is produced and experienced. Which brings us, in 2019, to reiterate the words of techno pioneer Juan Atkins from twenty years ago: “There are no UFOs. Machine music is the only way forward.”

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[ICYMI] David Guetta And Beatport Release Short Documentary "The Road To Jack Back" Available Worldwide N E W S F R O M A ROUND T HE WE B

Beatselector Staff | INDUSTRY NEWS

Last year, global superstar DJ/producer David Guetta officially announced his Jack Back alias alongside the release of his album "7."

Before David Guetta was a household name, he spent his days in the underground scene playing in clubs. Jack Back sees Guetta's return to the deeper side of his dance roots- where it all started.

Beatport has captured the story behind Jack Back in a short documentary which premiered exclusively on Thursday, March 28 during Winter Music Conference in Miami, and was followed by a live Q&A with David Guetta.

Before he took world fame in the pop industry, Guetta spent his early years of DJ'ing mainly in clubs playing house music.

Explaining the alias, he said: ''Since the album represents a full cycle to me I wanted to go back to the beginning of the cycle, where I'm coming from. These are actually the type of records that come more naturally to me than pop, because I've done this all my life. I wanted to create something very personal. I get excited by music that is part of a culture and that's why I wanted to make this. There is no commercialapproach to it, I'm doing it for the love of music.''

Watch it here.

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[ICYMI] Wish I Was Collaborates with Make-A-Wish® Kid Kara Kuper On "Ready To Start" N E W S F R O M A R OUND T HE WE B

Beatselector Staff | INDUSTRY NEWS

In celebration of World Wish Day, April 29, Los Angeles-via-Australia electronic music producer Wish I Was (aka Tyson Illingworth) has teamed up with 18-year-old wish kid Kara Kuper on the beautiful and inspiring “Ready To Start.” It was Kara’s wish to record a song.

Being a big fan of Make-A-Wish, Wish I Was was happy to make Kara’s wish come true. Wish I Was secured time at Universal Music’s recording studio and enlisted the help of professional songwriters. In February 2019, Kara flew in from Chagrin Falls, Ohio to start work on the song. The completed song was chosen as the soundtrack for the new Make-A-Wish PSA as part of the 2019 World Wish Day campaign. World Wish Day celebratied throughout the month of April.

“Words truly can't describe just how incredible it feels to have granted this wish for Kara. I've always known about Make-A-Wish and the incredible work they do but never in my life did I think I'd be able to offer anything of worth for them, let alone granting a wish! So when I first heard that Kara's wish was to record in a professional studio I thought "wow, I can actually make that happen, how cool is that!"... The feeling was so awesome that it made me nervous! When Kara arrived in LA she showed up with so much confidence, talent and a charismatic personality!

I immediately felt this connection that I only get from the special artists who've worked with me for a long time. We recorded a lot of different ideas, and all of them were amazingly beautiful, especially this song 'Ready To Start'. It's a song about hope, bravery and thinking about all the amazing things you want to do when you grow up. 'Ready To Start' is about standing up proud, being strong, fighting fears and having the courage to just be who you are. To love and believe in yourself.” - Wish I Was says.

World Wish Day helps bring attention to the significant role a wish plays in a child’s medical treatment. Research shows that a wish can help kids build the physical and emotional strength they need to fight a critical illness– an eye-opening finding in light of the fact that Make-A-Wish is currently only able to reach one out of every two potentially eligible children in the United States.

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[NEW MUSIC: PREVIEWS] just be another mix online. It deserved to be a part of music collections and a memento for years to come.

I am sure this album will bring back some amazing memories for the people there that night, and for those who were not, I hope you can immerse yourself in one of my favourite sets in New York for years to come."—John Digweed A New York favorite since his Twilo residency in the 90's and globally in-demand DJ/producer talent, John Digweed's respect and admiration for Output's forward-thinking policies, and now clubbing legacy appears once again in his "Live In..." mix compilation series following his 2017 'Live In Brooklyn' album also recorded at the club.

Underground visionary John Digweed continues his acclaimed 'Live In...' mix compilation series with "Last Night at Output," commemorating the ultimate closing set at the Brooklyn clubbing institution. Recorded live on New Year's Eve 2018, fans of John Digweed, underground dance music, the club, and those who were in attendance can now celebrate this night in dance music history with this special musical memento and collector's item. Featuring over 70 tracks played throughout the 10-hour set, the album will include tracks from Âme, Agoria, Cassy, Claude VonStoke, Dixon, François K, Hot Since 82, John Digweed, Laurent Garner, OXIA, Steve Bug, The Drifter, and many more.

"From sadness to joy, I had so many mixed emotions and an overwhelming pressure to deliver a party that a club of that stature deserves. I really put my heart and soul into that party drawing from my favourite tracks over the years. The 10-hour set seemed to fly by and there was just a constant sea of smiling faces from the dancefloor all night long as the crowd literally savoured every record on that crystal clear Funktion One soundsystem. After listening back to the set, I knew this album had to come out and not

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An Output regular since opening its doors in 2013, the Bedrock Records label head had played the club a dozen times in its six year run including three consecutive New Year's Eve appearances.

Capturing the musical and emotional atmosphere of the club on its final night, 'Last Night at Output' comes as the label's most challenging project yet backed by a passion-driven mission to ensure this night is remembered for clubbers and dance music aficionados worldwide.

Available via Bedrock Records, the vinyl and CD sets will come in colorful distinctive packaging designed to celebrate Output's spirit with a special die cut slipcase, box, and wallets. Combining all six CDs to create layers of vortex, the box set will include sleeve notes in an eight page booklet in a high gloss finish. All limited edition shrink wrapped 4-set vinyl packages will also feature a signed sleeve by John Digweed with a very limited amount of numbered and signed versions for collectors. John Digweed's 'Last Night at Output' mix compilation album will be available on Bedrock Records on May 3, 2019 and is available for pre-order now.

Get it here.

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[NEW MUSIC: PREVIEWS] archive including proto-jungle, breakbeat and New York deep House classics rubbing shoulders with acid house, techno and UK rave tracks.

Each track is accompanied by liner-notes from Fabio & Grooverider that map out some of the intense musical journeys these tunes took the RAGE crew on. Highlights of the first brace of 2 X 12 inch releases include Wots My Code's infamous "Dubplate" bubbles nicely alongside Ritchie Hawtin’s Cybersonik motor city anthem "Technarchy," 33 1/3 Queen's technoid house banger "Searchin'" sits shoulder to shoulder with Tic Tac Toe's monstrous "Ephemerol." Truly a masterclass in the sound of the underground, from the inside out.

Above Board Projects has announced the release of "RAGE," a story of the birthplace of bass music told with tracks selected by Fabio & Grooverider.

The album celebrates 30 years since the launch of RAGE, the seminal weekly club night that gave a platform to the emergent UK street sounds of acid, techno, breakbeat, hardcore, jungle and drum & bass. The "RAGE" compilation, a 32-track album, released in a series of four separate double vinyl LPs, double CD, digital and stream, with all tracks available on vinyl and digitally, captures the energy of the halcyon days of rave with a collection of highly-influential, gamechanging records famously associated with Fabio & Grooverider, who have been at the forefront of electronic music for over 3 decades. The two London DJs are part of the DNA of the global jungle/drum & bass movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground artform since its inception.

The first and second double vinyl instalments of the album will be released on Friday 31st May. "RAGE PART 1" and "RAGE PART 2" sees selections from Fabio & Grooveriders’ groundbreaking

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"RAGE" is an album of classic underground electronic tracks that rumbled and echoed through the dark, labyrinthine, cavernous halls of London’s Heaven nightclub, bringing an essential new darker alternative to club land and the global festival and rave scenes. Fabio & Grooverider’s "RAGE" was born out of acid house and housed in the same venue that also hosted acid house clubs Spectrum, Land Of Oz, Garage, and Pyramid in 1988 with Future and Troll in its Sound shaft back room. However, Rage added an essential grimy, urban street credibility to the genre, creating a schism in dance music when house music separated from techno and its urban, bassfuelled manifestation on the dancefloor, known collectively at the time as hard-core, which further developed into the faster jungle and drum & bass sounds Fabio & Groove rider also pioneered at RAGE, arguably the ground zero of jungle.

Above Board are releasing the first two installments of a series of four double vinyl albums "RAGE" on Friday May 31st, ahead of the second two vinyl volumes and full album release including CD, digital and streaming versions on Friday June 21st.

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[NEW MUSIC: PREVIEWS] intriguing insight in the lead up to its release.

"Real," produced with trap-duo Wide Awake, has dominated the radio airwaves, becoming a favorite on Radio 1, reaching number three on the BBC Radio 1 Dance Chart, supported by Annie Mac and titled as a 'Record of the Week' on Mistajam's Radio 1xtra show.

Single after single, Crissy Criss has been ensuring that both fans and the wider realm of drum & bass are ready to receive his debut LP in its final form.

It's his most important work to date and this is no small feat for an artist who made a name for himself decades prior to his first album. Crissy Criss' history stretches from his time on Radio 1 as their leading drum & bass tastemaker, through to launching his very own label earlier last year. And as a genre, drum & bass is something which Crissy Criss is well versed in, having stepped up behind the decks at the tender age of five, mentored by the imperative DJ and producer Kenny Ken. "War on Silence," titled after the label he launched in 2018, personifies Crissy Criss as a selector, drawing from a huge array of collaborators.

Title-track "War on Silence" alongside Teddy Killerz, as well as "Launch" featuring Inja, "Right Now" with multi-faceted outfit Orange Hill and Nature, "Malfunction" with the help of dubstep pioneer Funtcase and the collaboration "Rumble" with underground connoisseur Heist gave fans an

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There's also a host of new material debuted throughout "War on Silence." Bristolian based MC Carasel joins Crissy for "The Ride," veteran $pyda is drawn for through "Global Riddim" with Upgrade, whilst vocalist Karl Williams helps deliver the emotive roller "Live & Stream" and the glitchy, punching sounds of "Lost." Deliveries such as "Breathe" with Dan Moss and "Kiss the Sky" alongside 5572 continue the more understated, yet still impactful records which Crissy has used to create such as versatile LP. And having already revealed "Airlock," where Crissy returns to his teamwork with Malux and Erb n Dub, the trio come together again for "Spark Plug" and "Curse."

Standalone tracks "Bad Boy" and "Show Me" prove the brute force of Crissy's production; not only does the LP showcase his extensive reach throughout the drum & bass community, pulling some of its most notable figures, but also how imperative his own production has become.

Crissy Criss has gone from radio trend setter to releasing one of the most hotly anticipated dance music albums of 2019.

This highlights his longevity and commitment to a genre which was nurtured by his love for drum & bass. Something which shines through each track on the album.

Stream/Buy it here.

CM

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[NEW MUSIC: PREVIEWS]

"Solar Nights" is the long awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings this past April, "Solar Nights" follows on from Bernhardt's critically acclaimed, and Gold certified, debut LP "Panorama Pacifico" and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, NTEIBINT, David Harks, Niya Wells, Emma Brammer and Anduze. The global success of "Panorama Pacifico" has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, "Solar Night."

"In recent years the world's become a smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party whilst the sun is still high in the sky and you can go and hit the gym at night. But day or night, Satin Jackets is your soundtrack." And

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what a soundtrack it is, from the opening chords of opening "Welcome Back" it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Whether it's the slow burning seductive pop of tracks like "Just Like You," piano led house tracks like "String It Again," the Balearic haze of "All For You" or bonafide hits like the Nordic inspired "Northern Lights" and "Mirage" that between them have already scored well over 10 million streams across streaming platforms, "Solar Nights" takes everything we loved from "Panorama Pacifico" and polishes it to an extra high sheen. And in an age when rough and raw production is seen as an easy shorthand for authenticity Tim's love of ultra-smooth production has made him an unlikely iconoclast, "I had always been fascinated by how glossy people like Nile Rogers made their music," he reveals. "It always sounded like the musical equivalent of a fashion magazine's cover. I'd been making more underground music for a while but really wanted to go in totally the other direction and instead create a really smooth, polished sound."

That obsession with sonic fidelity shines through across every track on "Solar Nights," and the years since his debut was released have been well spent perfecting his craft. "Even in just the last couple of years I've made some big changes to how I produce music. Compared to my debut everything under the hood has changed here," he explains. "Every day, with every production I'm learning new things and when I listen to these new tracks, the depth in the mixes, the clarity, I like to think 'Solar Nights' as Satin Jackets but in 3D." From wanting to recreate the sound of magazine covers to appearing on them, the past few years has been quite some journey for the still enigmatic producer. The man behind the golden mask may prefer to stay out of sight but "Solar Nights" reveals him to be fully in control, producing music that reflects the glamour and glitz of 70s Manhattan, artfully updated for the 21st century.

Stream/Buy it here.

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[NEW MUSIC: PREVIEWS] halftime, powerful dancefloor, and rushing neruofunk beats marked by his innovative approach to production.

The tone for "Symbiosis" is quickly set by the sprawling cinematic sounds of the EXPANSE, which rise smoothly into the fast paced & frantic realm of SCIENCE. Halftime sounds abound further in on tracks such as "Revolver," which stretches an electrified bassline over its brutal beat amongst a constant flurry of arpeggios.

The titular "Symbiosis" drops into a dark and brooding groove punctuated by the sharp stabs of a harshly distorted saw bass.

Since becoming an established producer known for his dubstep and electro-house pieces, DROPTEK has transitioned to the more fast paced and frantic side of bass music and now mainly produces Drum & Bass, and is quickly building recognition with fans who favor their bass music above the 170bpm mark.

Melodic elements then take the focus within "Illusions" at the albums midpoint, featuring the vocals of Holly Drummond atop the gliding sweeps of its bassline & flowing drums.

"Comply" takes the form of a roaring dancefloor banger, complete with flourishes of rapid percussion atop its driving bassline.

Recently signed with the newly formidable Dutch label Korsakov Music to release his debut album "Symbiosis" – this masterful body of work serves as the ultimate definition of what DROPTEK is about.

Finally, the album closes in an echo of its beginning with the once more cinematic track" The Spire," which fades into a mysterious & anticipatory nothingness in its final moments.

Coming in at a massive 18 tracks with over an hour total run time, it’s sure to solidify this already established producer as one of bass music’s finest.

With "Symbiosis," DROPTEK combines with Korsakov Music on a release that compliments both entities as champions of experimental and wide ranging Drum & Bass sounds alike.

With past releases spearheading the Drum & Bass sound on the genre spanning electronic label Monstercat, "Symbiosis" marks a first for both DROPTEK & Korsakov Music as the first LP in each catalog.

The result is an larger than life 18 track LP that could be delivered by no other, containing tracks fit for bustling club spaces that still ripple with experimental energy.

Within, DROPTEK touches on multiple styles of Drum & Bass, spanning from dark and devious

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Stream/Buy it here.

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[NEW MUSIC: PREVIEWS] format; The Sega Mega Drive Cartridge.

"The machines work for us. We program, they execute. Technology helps us with uncomfortable tasks, makes us do adventurous things and can even cure us when we're ill. If we maintain a positive attitude towards technology, it will enhance our minds and take us to far places. That's why I am TECHNOPTIMISTIC." - Remute From the roots of electronic music, synthesizer video game samples have become synonymous across the multi-faceted genre, creating an otherworldly feeling of pleasure.

In the digital world we live in, fear is everywhere; we fear the prospect that digitization could make us redundant to robots. The world of electronic music producer and techno DJ Remute has never looked more different.

Embracing the digital age with all its nuances and extremities, Hamburg based Remute views digitization as an ally to the human race; one that enriches our lives and drives us forward.

"In times where the term 'digitization' triggers dystopian fears and worries, I wanted to provide a soundtrack for an optimistic vision of a technologic future with man and machine in unison." - Remute After his highly acclaimed 2017 album "Limited" which single-handedly initiated the musical comeback of the floppy disk, Remute proved that 1,44 Megabytes are just enough for good music. Making a statement to the wider sphere, showcasing how old school technological formats can marry together with man-made musical production. Striking back in his quest to marry man and machine, Remute today presents his 'Technoptimistic' LP on another ground-breaking

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In "Technoptimistic," this effect is encountered first hand in its rawest form in the likes of "A Warm Feeling Of Total Immersion," "Instant" and "Obsolete (Trust)." Mapping a human relationship with electronics, Remute channels the rapid pace of modern communication through a bass heavy approach with "Jo Coin" and "Market Research." Blending a plethora of electronic genres throughout the album, "Deepfake" offers a notable foray into trance territories. "The Right To Be Forgotten," "Knuddelz" and "Robo Knife" take a deep and darker route into areas of hardcore and electro, whilst 'Debug' transcends into a dreamy downtempo experience.

Familiar to many as a pivotal element for hours of childhood gaming entertainment, Remute adopts and reimagines the Sega Mega Drive for the present day; As the first techno music album to be programmed specifically for this format.

Wholly generated in real time, Remute's "Technoptimistic" LP is pushing the 90's gameconsole soundchip to the maximum; the soundtrack for an enduring friendship with machines.

Stream/Buy it here.

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[NEW MUSIC: PREVIEWS] carrying uniform importance.

Edging into the festival packed summer of 2019, Maya drops fresh new music accompanied by her own distinctive illustrative artwork from the depths of her Nocturnal Sunshine chamber, signalling a full studio album is set to follow.

As a precursor to the forthcoming LP, "U&ME" EP reopens the realm of Nocturnal Sunshine as new territory to be fully explored across the year, both tracks wrapped in a cohesive and uncompromising framework.

Having stood as an outlet for Maya to channel the experimental areas of her sound, Nocturnal Sunshine is now brought to the fore with yet more bass heavy influences.

Maya Jane Coles is a music producer, audio engineer and DJ based in the United Kingdom, born in London of British and Japanese descent.

Under her real name, she mostly composes and plays techno music, while her alias Nocturnal Sunshine creates darker, more bass-driven productions with a heavy hip-hop and dub influence.

As a woman internationally renowned for her unique and adept creative vision, London-based Maya Jane Coles and her moniker, Nocturnal Sunshine walk parallel paths.

Delivering productions across both aliases, the sound of both Maya and Nocturnal Sunshine is built upon foundations of restless finesse, packed with corporeal drama.

Dropping an unannounced joint EP in late 2018, the release continued with exhilaration where her critically acclaimed self-titled 2015 album left off.

Maya and Nocturnal Sunshine asserted not only their ability to impact the industry, but their ability to stand shoulder to shoulder with one another,

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Taking on a remarkably high pace with the inclusion of hip-hop infused breaks, this new material from Nocturnal Sunshine, melodically remains Maya with lashings of eerie dub laced in for good measure.

The rave weighted "Radiate" particularly captures the spontaneity and resourcefulness of Maya's formative urban influences, in a way that her previous output has only insinuated.

As the story of Nocturnal Sunshine unfolds and the global festival season draws ever closer, she can be found at a number of notable international events.

With live performances locked in at Coachella, Sonar Barcelona and London's Field Day, the deep and dark breadth of Nocturnal Sunshine's power takes center stage.

Nocturnal Sunshine 'U&ME' EP is OUT NOW via I/AM/ME. Sream/Buy it here.

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[NEW MUSIC: PREVIEWS] biggest work to date.

Starting with "Good Night" signalling the beginnings of an all-night-long set and showcasing Enzo's range in the studio as well as the booth.

Then shifting through "Beautiful Emi," "Stromboli," "Mixed Emotions" and "Paradigm Shift" all geared in their own way towards the many faces of house music. Interlude "Lost and Found in 93" is the bridge that crosses to the bass heavy second half of the album.

Commemorating 10 years of the esteemed FUSE events are 10 tracks that capture Enzo Siragusa and the parties musical influences from London, a sound that his evolved through jungle, dnb, garage, minimal and house.

Enzo Siragusa adds fuel to FUSE's milestone 10-year anniversary with the release of a metamorphic album that draws influence from the London institution's cultivated sound, as well as the capitals '90s rave heritage that so heavily influenced their decade-long dominance.

On "A Decade of Rave," Enzo presents a cross section of his sound - one that has refined this fusion of jungle roots with house, creating eight straight-talking dance floor cuts that capture the essence of FUSE raves over the years, and two ambient tracks that lean on lengthy quests behind the decks.

The music spans across two years of studio sessions and exhibits Enzo and the FUSE label's

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"Voodoo," "Deeper Inside," "Rollin' Riddm'" and closing track "Mysterious" see Enzo tap into Jungle, '90s hardcore and garage becoming clear they were made with the early days of FUSE at 93 Feet East in mind. Big basslines and big breakdowns are the common denominator with the intricate minimal twists that so often characterise FUSE's sound.

"My love for London's most fertile period of rave culture in the '90s is the heart of FUSE. Starting at our original home of 93 Feet East where we revived a sense of how incredible clubbing was back then, giving a stand out experience to our community similar to that which left such an impression on me when I stepped into my first rave in 1993. Over the last decade myself and the FUSE residents have nurtured this melting pot of influences that we experienced in the London scene and poured it into our party and the music we make. The label is ultimately a reflection, it's the music that feeds our dance floor and is the distinct identity we've worked hard to cultivate." – Enzo Siragusa.

Stream/Buy it here.

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[ON TOUR] Nicky Romero has unveiled the dates for his "Redefine" 2019 world tour. The Protocol Recordings tycoon will be touching down all over the globe, from his residencies in Las Vegas at Hakkasan and Omnia, Balaton Sound in Hungary, Laroc in Sao Paulo, Brazil, Makuhari Beach in Tokyo, Emporium Festival in the Netherlands, and many more!

Through the constant evolution of his sound and reinvestment in emerging artists, Nicky Romero has proved his ability to evolve with the ever-changing landscape of electronic music. His latest releases have spanned the spectrum of electronic music, including his "Ring the Alarm" with David Guetta, vocal house collaboration "Distance" with Olivia Holt, dance-pop gem "Be Somebody" with Steve Aoki and Kiiara, and remixes for Martin Garrix and Jess Glynne. When he's not in the studio himself, Romero is busy running the Protocol Recordings empire, which is home to artists like Teamworx, Thomas Gold, Maximals, Marc Benjamin and more.

Stay tuned to see what comes next from the Protocol crew as they gear up for festival season.

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May 16 Jewel Las Vegas, NV May 18 Marquee New York, NY May 24 Epic Prague, Czech Republic May 25 Emporium Festival Wijchen, The Netherlands May 31 Barranco Arena C.C Lima, Peru June 1 Laroc SĂŁo Paulo, Brazil June 8 Big City Beats Frankfurt, Germany June 8 Frestival Enschede, The Netherlands June 14 Hakkasan Las Vegas, NV June 15 Harbour Event Centre Vancouver, Canada June 22 A Summer Story Madrid, Spain June 25 Secret Forest Festival Groningen, The Netherlands Check more dates here.

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[BUZZ WORTHY] AITOR RONDA

A

Written by JOSEPH ARTHUR itor Ronda began his storied career back in 1996, and through the years has amassed a catalogue approaching 300 releases for labels such as Elevate, Terminal M, Octopus, Tronic and Toolroom. One thing is quite evident; he spends a lot of time in the studio. Over the years, the Barcelona based producer

has held DJ residencies presenting his electrifying sets at some of the most influential clubs including The Loft, F135, and El Row, Fabrik Madrid, Space Ibiza, Spook, Privelege, Sonar, Egg London among others. Coming up on three decades of making music, with countless studio hours logged, Ronda continues to evolve as a significant Techno music producer on the scene today.

In 2018, Ronda found himself atop of the Beatport Techno charts multiple times, grabbing the attention from the likes of contemporaries Pig & Dan and Monika Kruse, media outlets including DJ Mag UK and the BBC. Last year also saw him debut and release a 3 track EP for Octopus Recording, along with a remix for KaiserDisco on Tronic and dozens of gigs all across Europe performing in front of tens of thousands. So, I’d say that Aitor Ronda had a pretty good year. Now that we’re about half way through 2019, he’s back with a new EP titled “The Message.” Delivered to Elevate for the March release, along with a new production brand named Whack, which launched in April, upcoming shows throughout the rest of the year, shows that he’s pursuing new ideas and projects that should guarantee the continuance of well-deserved attention.

And for your listening pleasure, I encourage you to dig in to his discography, even though it is very extensive, and while there are so many gems that clearly document the evolution of his sound on record, guaranteeing top shelf techno for purists and newbies alike. As a mainstay in the Spanish Techno scene spanning decades, Aitor Ronda has built himself a rock solid reputation as a composer and as a performer. Need to proof, check out his explosive and high-energy show when he passes through your city. And while you’re at it, pick up his new EP “The Message.”

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[BUZZ WORTHY] GXD

Written by JOSEPH WENSELL

D

aley Young and Matt Golledge make up London’s Trance and Progressive act GXD. Busting out in emphatic fashion with their 2018 debut AVA release “A Dream” reaching #5 on Beatport’s Trance Chart. On the record, Young and Golledge brought in vocalist Elle Vee delivering the perfect moody accompaniment

to the track’s huge synths and low-end tones. If you haven’t heard the track, take the time to do so. The buzz surrounding the debut single made the rounds in the community and within a very short time span an impressive list from Trance music’s elite influencers Armin van Buuren, Andrew Rayel, Andy Noor, Markus Schulz, Super8 & Tab, and Alexander Popov among others started throwing support behind the Beatport top 5 hit single. Currently they have three releases to their credit two through AVA Recordings and one through Amsterdam Trance. A new single via AVA Recordings is expected in May. Over the past year, Daley and Matt have hosted events from Europe to Los Angeles to Thailand, and was recently booked as a supporting act for Markus Schulz at Legendary Festival held on April 26. On May 10th GXD will be at London’s Ministry of Sound with Will Sparks, Maurice West and Pink Panda followed by an August 3, Trance Sanctuary & Friendz Sunset Boat Party appearance also in London. When it comes to Trance music, long-standing artists such as Armin van Buuren, Markus Schulz, W&W, Cosmic Gate and Swedish House Mafia as considered “Titans” of genre. There is no doubt. These seminal artists have opened the doors and GXD are taking full advantage of the historical music canon on which to build their own sound and identity; Big, bold and brash music that is club and festival primed. With a new single on AVA Recordings on the way and riding the success of their previous 2018 releases, it can be easily said that big things from this new Trance duo under the moniker GXD will be forthcoming in the future and the expectations will undoubtedly be high, indicated by the high standards they’ve already demonstrated during the last year. Watch ‘em.

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[BUZZ WORTHY] J. WORRA

Written by CATHERINE STRICKLAND

J

. Worra also known as Jamie Sitter has had a life-long love affair with music, no matter the genre. Her early days go back to her home city of Chicago where she held multiple residencies at Spybar and The Mid. Afterwards, she moved on to Los Angeles, now her home base.

Sitter cites Green Velvet, Gene Harris, Chris Lake and Billy Kenny as

her biggest influencers and when asked how she wants to impact the music industry-she’ll likely respond with “I want the tone, I want to show what women are capable of, and what hard work and being true looks like, and above all, I want to impact peoples lives in a positive way.” It’s a good mantra and it seems to be paying off with nods of recognition from media major outlets including Insomniac, Mixmag and a DJ Mag Breakthrough Producer of the Year nomination. Sitter has releases through Insomniac’s In/Rotation, Sweat It Out, Perfect Driver and Mau5trap, so be sure to check them out. Recent tracks include “On The Run” featuring Vanessa Michaels and Kaleena Zanders and two projects for Mau5trap, Deadmau5 included: “Are You Not Afraid” and “Ride Or Cry.” Name a festival and she’s probably played it. Her past itinerary is very impressive with dates at Groove Cruise, Spring Awakening, Dirtybird Campout, Lightning In a Bottle, HARD, CRSSD, Beyond Wonderland, Holy Ship!, Splash House, EDC, and Coachella. Future releases will be forthcoming sometime in 2020 via In Thrive, a subsidiary of Capital Records. She’s also launched her own imprint Arrow Recordings showcasing and releasing collaborations with artists that like to push the boundaries. Word has it that Sitter will also launch Arrow Clothing- offering unique fashion forward designs. When she’s not making music, Jamie can be found with her Bischon Poodle “Peter,” cooking- a favorite past time-and devoting time to charitable organizations addressing the needs of Mental Health, the LGBTQ youth community and animal rescue.

Some say she’s the very definition of strong women being part of a male dominated industry and a disrupter of norms. I agree. I also have to note that being passionate and finding time for social issues she believes in also needs to spotlighted. There it is.

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[BUZZ WORTHY] THE YOUNG PUNX

Written by JOSEPH ARTHUR

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he Young Punx formed back in 2003 in London and is led by Hal Ritson. After receiving an email regarding The Young Punx latest single “Wonderland” my interest in learning more about this band was definitely piqued. Over the years past and present members include Cameron Saunders, Nathan Taylor and Simon Bettison.

High praise from Billboard, EQ Magazine, Clash and Mixmag paint a picture that Ritson and company are the reigning darlings of the electronica, mashup and breakbeat scenes climbing out of London’s underground. Career highlights include Radio One’s Bootleg Remixer of the Year, signing with EMI, remix projects for Norman Cook, Scissor Sisters, Tom Jones and Tina Turner. Ritson, Bettison and Taylor also presented Japan’s “So You Think You Can Dance” for two seasons, TV specials for UK’s Flaunt and worked on Four tracks on Dizzee Rascal’s Tongue N Cheek leading to the Young Punx serving a the live backing band for several dates including BBC’s Electric Proms and Glastonbury Festival in 2010. The Young Punx have three full length LPs: “Your Music Is Killing Me” in 2007 followed by 2009’s “Mashpop and Punkstep” and 2014’s “All These Things Are Gone.” And Ritson has credits on over 1000 records and has been nominated several times for Grammys. As a major producer for years and years, Riston has perfected his ears for French house, breakbeat, drum and bass, pop, rock, disco, and even jazz giving fans and listeners the sounds they have come to expect. One thing is certain, Ritson and The Young Punx crew know how to turn out a hot dance tunes. They’ve been doing it consistently for years and with visual provided by multi disciplined digital media artist Han Hoogerbrugge creating the public identity for the band. 2019 looms large for the band as they embark on an ambitious release schedule of one per month leading up to their 4th full-length album. The latest and fourth single this year is “Wonderland” on MofoHiFi Records. It’s overflowing with 80s styled synthesizers and is described as “a radical deconstruction of the 80s classic 'Club Tropicana' to the effect that you might not even recognise it. The Wham! classic is spliced, turned upside-down and inside-out and re-imagined in almost unrecognisable form as a pulsing talkbox driven, ItaloDisco anthem.”

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[BUZZ WORTHY] UPPERMOST

Written by CATHERINE STRICKLAND

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ehdad Nejabakhshe’s aka UPPERMOST musical inspirations lie with traditional Persian music and French Touch influence.

Over the years, the French DJ and producer has been covered in major publications and media outlets including Billboard, Clash Magazine, Earmilk, Vice and Complex among others covering his

music. Starting out using the FL digital audio workstation and a computer, his goal was to make music that places an emphasis on positivity and emotions.

With 9 full length albums, 16 EPs and dozens of remixes (Daft Punk, Burial, Crystal Castles, Dada Life, Keane, Adele and Rihanna) to his credit, including the recent releases “Uppwind On Air,” “Overcome” and “Forever Present,” showcase his passion of making music that comes straight from the heart remaining true to his belief that artists should be able to make music without the influences of industry executives to make money. UPPERMOST not only releases music via his UPPWIND imprint, but also has recorded for Sony BMG, Ministry of Sound, BugEyed Records, Bazooka Records, Starlight Records and Zimbalam.

He is known internationally for his mega hits “Flashback” and “Beautiful Light” surpassing tens of millions of streams across multiple platforms. Career highlights to note include a #3 position of Beatport’s Electro House chart in 2009, a #1 ranking on JunoDownload’s electro-house for his 2011 “Biscuit Factory” EP and in 2015, Mercedes-Benz selected and featured UPPERMOST’s single “Disco Kids” for their Formula One advertising campaign. UPPERMOST’s 2019 has started with a loud bang! March saw the releases of “UPPWIND On Air”-a 14-track compilation featuring the likes of Satin Jackets, and Digitalism among others, and “Better Days Ahead.” April kicked off with the releases of “Overcome” and “Forever Present.” Has UPPERMOST realized his original vision of producing heartfelt music without the constraints of label and industry oversight? I’d say yes. He continues to this day to produce and release music with an emphasis on the importance of self-expression, learning and evolving through a network of likeminded artists while keeping his main influence of The French Touch and the exotic sounds of Persia front and center.

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[LABEL WATCH]

5f 2020 marks a significant milestone for Lawrence and Lenny Burden's imprint 430 West. On May 24th, the latest addition to the label's extensive discography will be an Octave One series of EPs entitled "Locus of Control." The term "Locus of Control" is a psychological concept that refers to how strongly people believe they have control over the situations and experiences that affect their lives. We catch up with the Lawrence and Lenny for this issue's Label Watch and get them talking about 30th anniversary plans, the label's perserverance and longevity, adapting to the continual evolution of technology tools, their "Top 5 Picks" for essential listening and what the future holds ahead.

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"Musically we are exploring the power or powerlessness people feel over the things that shape their world."

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FIVE QUESTIONS & ANSWERS With Lenny and Lawrence Burden aka OCTAVE ONE 430 West is approaching it’s 30th birthday in 2020. How does that feel and how will you celebrate?

Yeah, we’re approaching that Big 30 with the label and we can’t be more amped and pumped about reaching this milestone! So we got some serious celebrating to do around here and we have already been in the studio paving the way with some new productions straight from the mixing console from our flagship group Octave One, Random Noise Generation, KSR and others. One of those others that we’re extremely amped about is a new production from our artist 'Never On Sunday' and the production is a big departure from our usual dance floor releases onto something strictly downtempo and for the ears.

There are not many indie labels that have been in the “game” as long as your label. How has 430 West adapted and evolved in respects to the ever changing music industry models and technologies over the years?

Well over the years styles change so rapidly and technology pushes the envelope for all of that change for sure.

So to keep our label pretty grounded we’ve had to first streamline our approach first to limited the amount of releases we were going to work with a year. So instead of multiple releases we decided to concentrate on what we consider to be our key material and give it a concentrated focus. This keeps us from running after a trend for this and another for tomorrow , so on, and so on.

But on the side of technology, we have decided to really step things up a bit

and really aggressively go after things that we feel can help drive our label to be more competitive on the audio side of things. It’s no good to have an awesome production if it sounds like it was recorded in 1994.

If you had to choose 5 essential picks among 430 West’s massive catalogue for a time capsule, what would they be?

In no particular order: Octave One -"Believe;" Random Noise Generation"Falling in Dub;" Mind Readers feat. Malik Hart -"Living My Life Underground;" Octave One- "Empower" and Octave One-"Blackwater."

Will there be new music coming this year?

Yes, new music is on the way…a new 3 ep. set from Octave One is the focus entitled "Locus of Control."

What does the future of electronic music look like through the eyes of 430 West?

We have a deep love now and have always had it for the sound of electronic music so our outlook is really from what we’ve observed over our years as a label. There’s shift in the sound of dance music once again but mainly on the side of tempos between the genres of House and Techno. House music will be adopting more elements from yesterdays Techno grooves but really slowing the tempos down quite a bit and it’s time once again for Techno to pick up its tempo pace as the newer wave of festival dj’s seem to be speeding things up a bit!

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TALL BUILDINGS & TU

AMBER

Amber is best known for her chunky, techy tunes that have seen her land signings with labels such Plattenbank, Einmusika and a whole host of others. Amber Long has over 20 years of musical expe

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URTLES

LONG

as Bedrock, Armada, Global Underground, Perfecto, Darkroom Dubs, Sudbeat, erience under her belt and an impressive string of accomplishments.

Written and interviewed by Holly Roscoe

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Hi Amber, for those who don’t know you give us a little insight into what you are all about?

I am a Producer/Vocalist/DJ in the underground scene from Toronto, Canada and I run three labels, Modern Agenda, Modern Architect and Honey Drops.

How did you initially get into music?

I started doing music about 16 years ago in a more serious way, instead of simply as a hobby. Originally from the indie scene, I would write, produce and perform more industrial sounding tunes with

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electronic elements. Most of my stuff was made on Sony Acid Pro 7. I used to perform and sing live, solo or with my band. As time progressed, electronic music always had my heart so when I got a grip of Ableton and access to fancy mics and a good laptop, it was all over from there. I learned to DJ so I could change the platform on which I delivered my music and set out on my merry way.

Who are your influences?

My greatest mentor and influence has been Hernan Cattaneo, right from the start, and I believe he did with me what he does for so many producers, he

gave me my career on a silver platter, I just had to run with it. With Hernan’s support, I started to figure out my way around this underground industry, understand its nuances and have enjoyed learning about this new world I was in.

He has been the longest-standing influence, but I also have close friends who keep me sane and staying real. These include Nick Muir, Rick Pier O’Neil, Lonya, Ian Dillon, Priya Sen, among others, along with my rock of a husband, Robert Mason, who always teaches me new things.

What made you fall in love with dance music?

Four little words… Rhythm is a Dancer.

I think in the late 80s and early 90s, the electronic sound resonated with me big time. I was in love with anything like Technotronic, Prodigy, Massive Attack, and as time progressed, so did the electronic music being made. ‘Much Music’ had these yearly compilations Dance Mix ‘whatever the year. Well, for me, Dance Mix ’93 changed my life and it was all over for folk music in my world.

What is your preferred genre?

Genre names change all the time. Once it would have been called Techno but then it was called Progressive House, some call it Progressive Techno, some call it Melodic Techno. I call it ‘good music’ with a lot of low end, full of bass, has minor undertones and is moody. There is no room for unruly high-hats in my mixes!!

What has been your greatest achievement so far in your career?

That is a tough one. I think the greatest achievement is to keep going, year after year.

Everything I have set my sights on, with enough hard work, I eventually reach that goal. Or I almost kill myself trying. I guess what I am most proud of is being able to take the music I produce and the music from my labels and play it around the world to new audiences. I never set out to be a DJ in the first place so becoming a touring DJ is more than I could have hoped for.

Do you have an all-time favorite song and why?

Missing – Everything but the Girl has always been a stand out track for me. Right from the start. I don’t know why I love it so much. Andain – Beautiful Things, the vocal is absolutely incredible. I have so many favourite songs. It is really hard to pick just one since so many of them have been with me through the good and the bad of life. It’s like they are my friends.

Tell us a bit more about the labels you run.

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in Greece and our A&R, Priya, in India. It is three years old and was just a novel idea when we started it. Over the years, it has grown into an entity. The sound is definitely deep Progressive Techno, Melodic Techno and Progressive House.

Modern Architect is the newest label that launches April 15. It is the sub-label of Modern Agenda where we can sign new artists and singles for compilations and possibly to be moved to Modern Agenda as part of a full EP release in future. Honey Drops is a smaller label that releases ambient or downtempo music. The kind of music you want to play in your office on a Monday morning to make you still feel edgy, without any edge.

What’s the dance music scene like in Canada?

Canada is home to many amazing producers and creatives. As producers, we are really making a mark in the scene. As for nightlife? Toronto has its favorite local DJs that play weekend after weekend, for years now. Or promoters have their go-to openers for big names. This is a common vein that is in every city, it seems. It’s like you must leave your hometown to get a good gig, but I wouldn’t be the first to mention this conundrum artists face. Last call is at 2am in Toronto so people come out for midnight and are out of the club by 3am, onto an afterparty or home. Opening DJs can play to empty rooms a lot before 11-11:30 so the window for a banger of a party and set time, it is saved for headliners – or should be, at least.

Toronto has some great organizers and places to party. Montreal is incredible. The crowds are all different ages, so it doesn’t feel like a frat party and the vibe is always free and inclusive. Last call is 4am so parties go on longer and I see way less phones on the dance floor and way more sunglasses on.

Personally, I prefer to party in Montreal because you can watch the night unfold and morning come. Plus… Stereo Montreal? Best club ever!

The rest of Canada, I know of some clubs out west and have my first gig in Winnipeg in June. I lived in Vancouver for years and raved there in the 90s, that is where I began my raver journey. I couldn’t tell you what is hot or not there now, all my favourite clubs no longer exist. Calgary has Habitat, which is a small club that hosts big names from the underground. It is so expensive to fly around Canada; unfortunately, some of us never make it to the other side to check it out.

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"

Sometimes to see mys minutes. I g still be a mu because in t years is just bucket o

"

s it is hard self in five gather I will usic dealer the end, five a drop in the of time.

Which one of your own production would you say best describes you as an artist?

It’s on Like Donkey Kong is my latest and I made it with the spirit of a Tasmanian Devil. It got its name simply because I was ready to roar when I made it and pushed music into a next-level type of high gear. Sure, I am a vocalist, yes, but I make music too. And this was one of my fierce attempts at this.

Cashmere Lines is my ultimate favorite, despite it being a bit slower in cadence.

If you could collaborate with anyone, who would it be and why?

One of my heros would be great! On a producer level, not just a vocalist. I’d also love to work with some of the ladies in the industry like Tara Brooks, Amelie Lens, Fernanda Martins, Giorgia Angiuli, & Just Her. Tell us an interesting fact about yourself?

I am obsessed with tall buildings and turtles. The two are unrelated. Anywhere I go, I find the tallest tower to climb for the view. Turtles? Well, I look for them too, and their homes and sanctuaries, anything turtle-related, but I have more luck finding them in warmer climates.

What’s the best concert or music event have you ever been to and why?

Another tough question as I have been going to concerts for a long, long time. In adult life, I really don’t want to leave the house if there is a chance I won’t love it. I’m absorbed in music all the time so going to the club on a night off is just like going to work. That being said, I’ll travel all over to see Hernan Cattaneo and have been at many of his amazing shows, starting at Ministry of Sound in the Box, Aug 2013.

Where do you see yourself in 5 years?

Sometimes it is hard to see myself in five minutes.

I gather I will still be a music dealer because in the end, five years is just a drop in the bucket of time. I have releases lined up throughout this year and the labels are in a state of growth. If I haven’t quit by now, chances are I am here to stay!

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AN INTERVIEW BY

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KARIN HASLINGER

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THE WORLD IS HIS HOT SPOT André Tegeler, also known as MOGUAI, has a storied history that runs deep and long. With three (3) decades as a leading force in Berlin's electronic music scene, the prolific DJ and producer's resumé reads as a who's whos in the realm of electronic music. Starting out in the 90ies with his self annoited club nights and parties in Germany to sharing stages with Paul van Dyk, Westbam and Sven Väth, propelling MOGUAI's path to projects with contemporary artists including Dimitri Vegas & Like Mike, Fatboy Slim, Sebastian Ingrosso, Steve Aoki, Hardwell, KSHMR, Timmy Trumpet and most recently with vocalist Luciana, as heard on his latest single "Faith" showcase the artist's development of sound ranging from tech, progressive and electro house music to big beat and beyond. In this interview conducted by Karin Haslinger, André shares his experiences and musical life in the Berlin Underground scene, The Gremlins, the early days of raving in Germany's forests and feeling like Star Trek's Captain Kirk.

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Can you tell us how you came up with the name MOGUAI? When I started DJing, I thought DJ André sounds pretty boring. My sister, who works as an architect, had a project to build a discotheque in Barcelona. She named the project Moguai inspired by the release of the Gremlins movie, where the little monsters were called Mogwai. So I thought, wow, Moguai, that sounds pretty cool. I thought I would create my own skateboard company later because I was very into skateboarding at that time. But it never came to be, so I used the name for my DJ career.

You’ve been working as a DJ since the 90ies. What was your very first DJing experience?

My very first club experience promoted with flyers and posters and all this stuff was in Münster, in the Western region of Germany. I remember it pretty well. It was a more U.K. based area and there were more British guys than Germans. It wasn’t crowded and I think I played in front of 50 people. I was so nervous that my hands were shaking, you couldn’t see it, but I was really pretty nervous.

Did you feel satisfied about it afterwards?

Yeah, because I loved playing music. I loved compiling music. I made my own mix tapes. I sent it to promoters. I was in love with what I was doing.

The 90ies was the big period of the underground rave parties in the middle of the woods. What was your most memorable rave party of the 90ies you played at or participated?

There are two that come directly to my mind. One was also in Münster, which was pretty much influenced by Berlin. The guys who organized this party made it very underground, so less light, and sometimes no light at all, only candles.

And they only had energy for the technique, the turntable and the mixer. So you only had candlelight and PA sound, It felt a little bit like if you were going into a church. That was pretty impressive. I also played in an amusement/adventure park and I played in a spaceship. It was called “Raumschiff Urion.” I felt like Captain Kirk or someone from Star Wars. It was pretty cool, because it was like you were playing in outer space. It felt like being an astronaut or something. These were more like tiny parties compared to when I played at the love parade. So yeah, in the 90ies, it was pretty underground!

Do you miss this period?

I still have this atmosphere every once in a while, because I'm still playing in smaller venues, where they try to keep this vibe alive. I don’t really miss it, because I arrange to still have it.

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Issue N° 122019 86 | Beatselector Magazine | May/June 68

"IT’S A JOURNEY! THE GOOD THING AND THE BAD THING IS THAT I NEVER STICK TO ONE STYLE, BECAUSE FOR ME, IT’S LIKE FASHION. I DON’T LIKE CLOTHES I WORE TEN OR TWENTY YEARS AGO OR SOMETIMES EVEN HALF A YEAR AGO. WHEN I LIKE SOMETHING, I DO IT. IT’S THE SAME WITH MUSIC." Describe how your music has evolved over three decades?

It’s a journey! The good thing and the bad thing is that I never stick to one style, because for me it’s like fashion. I don’t like clothes I wore ten or twenty years ago or sometimes even half a year ago. When I like something, I do it. It’s the same with music. That’s why I’m pretty versatile in what I'm doing from trance in the very beginning to techno/electro to drum’n’base, big beat, my big period where I released 36 tracks on deadmau5's label maustrap. That was very experimental electronica. And right now, what I’m doing is what I call "entertainment techno," because I love playing entertaining music for people. This could be techno, it could be deep house.

You are living in Berlin. Do you still see this city as one of the most dynamic hot spots for electronic music in Europe?

Berlin was pretty cool in the 90ies. But for me right now, techno is a touristic thing in Berlin. It’s not underground anymore. When you go to Berghain and to all these underground clubs, they are not underground anymore because everything is planned and done for people who are coming from Buenos Aires, from London, from wherever just to feel underground, to do underground music, but it’s not underground anymore. For me personally, it’s actually pretty boring because everybody is doing the same thing in Berlin. For sure the techno guys see it differently, but I had my studio for 6 years next to Tobi Neumann, Richie Hawtin, … they are very nice guys and I love what they are doing, but for me, everything's too close. So, I would not say that it’s a Mecca of electronic music, it’s an interesting city, but it’s not the hot spot for me. My hot spot is the world!

Do you have a favorite music club in Berlin?

I like the casa Blau, but I also highly recommend people to check out Berghain because they capture energy from the very Techno beginnings in Germany.

When you go there, you feel like being taken back in time by twenty years. That’s pretty impressive.

What music are you listening to in your leisure time?

Mostly radio. I listen to all kinds of music. I love listening to different stuff and I don’t really do it for a purpose —“now I'll listen to this, now I'll listen to that…” It’s more like I listen to what’s coming out. I'm also curious about what other people are listening to and listen to other playlists on occassion.

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You have your own weekly radio show. Tell us about it.

I have my own podcast "Punx Up the Volume" which is broadcasted in 40 countries, but I also have my own radio show in Germany on WDR—the biggest youth radio station we have in Europe. I've been doing this for more than 11 years now. The good thing about it is, although it’s an official FM station, they never tell me what I have to do. I can play whatever I want, I have total freedom.

This is amazing! They also come up with guest DJs every weekend from the underground to overground. It’s a great opportunity, it’s a great show and it’s nice to present Germany every weekend with new music.

Can you tell us something about your latest release “Faith” and your collaboration with Luciana?

This is a funny story because we talked about Berlin. It’s like a little hommage to my Berlin music life because it’s influenced by my techno groove. I produced the instrumental, but I also had these vocals from Luciana that she had sent to me a long time ago and I never had the right music for it. So I tried to combine it and it worked out pretty well. I sent it to Oliver Helden and he said, hey this is so weird, we have to release it!

Do you have any upcoming releases or projects we can be looking forward to? Upcoming live sets?

I have scheduled five new Club tracks. One will be a collaboration with Oliver Helden. Another one will be on Spinnin’,— it’s a mix between hip-hop and techno. It’s called "Don’t Stop"—a Mos Def cover. I also did a collaboration with Steve Aoki, which is coming out on one of the biggest Manga movies in June or July.

How did you come up with this connection?

I've known Steve Aoki for a long time. I had this music and a friend of mine said, hey why don’t you send this to Steve, perhaps he’ll like it and you can do a collaboration. And I was like, hmmm, I don’t know, because it does not really fit to me. But then I felt like, hey, when we do this together, it makes sense. So I sent it to him and he said that we should do this. And then he was on tour in Asia and he played it to this guy who is super famous for Manga movies in Asia and he told me that we have to do this. Regarding my live dates, I just performed shows in Canada, America, Mexico and Austria. I do a lot of shows in Germany, but I also have a lot international shows coming up. You can check them out on my website: www.moguai.com

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MARKUS SCHULZ FINDING GLORY IN A WHIRLWIND OF EMOTION Each year in late March, Miami becomes the gathering place for every facet of the electronic dance music community as host to Miami Music Week, IDMA (International Dance Music Awards) and ULTRA Festival. Markus Schulz has called Miami his home since his very first experience attending these events way back in 2001. During this one week of the year, Markus has the luxury of not having to travel, sleeping in his own bed and playing host and hanging out with his friends who live outside the United States. We catch Markus at a time of deep personal loss, which he graciously shares, what MMW and ULTRA has to offer first time attendees and his decades long experiences at these events, all the while gearing up with new music and a slew of prime time performance dates booked for this summer.

Written and interviewed by Catherine Strickland

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What does Winter Music Conference, Miami Music Week and Ultra Music Festival mean to you personally and professionally?

It’s one of the periods of the year I look forward to most every year, mainly because there is such a great atmosphere around South Beach.

I spend so many hours a year at airports, on planes and in hotel rooms, that it’s such a nice feeling to have the party come to your home town; and at the end of the night, you get to sleep in your own bed.

In professional terms, it’s a nice way to touch base with your various teams in person whether it’s in-house, label or booking agent.

I think Amsterdam Dance Event has become more business oriented than Miami Music Week, but that’s largely because of how the calendar falls. In Amsterdam, it’s October, and with your teams, you are trying to plan and navigate what you want to do for the next twelve months ahead. Miami is more of a review and make adjustments if needed mentality.

And personally, I really value having the chance to hang out with friends. Because really, unless you happen to have a few days off between gigs and are staying in their home city, we don’t really get to hang out that much and enjoy each other’s company outside of the music scene bubble. Getting to play host to my friends is what makes Miami Music Week extra special.

How many times have you attended these events and what have you gained and learned from your experiences?

I think it’s almost twenty years now, because Miami has been my home since late 2001. My career was at a crossroads around the turn of the millennium, after a nightclub in Arizona called The Works closed down. I was a resident there for seven years, playing every Friday and Saturday night, and the end of that era burnt me out. So in order to undertake a period of reflection and rediscovery, I moved to London and started gathering influences from the Beatselector Magazine | May/June 2019 | 93

"I’ll look out at the crowd and people - I know you from Los Ang I met you in London, so it’s a gre common interest to unite and hav a proper in

—Marku

scene there, going to the big venues and being able to feel the pulse of the music scene from one of its core hubs. Part of this period involved me making a trip to Miami in 2001, and I remember going to Space to watch Danny Tenaglia, who is one of my DJ heroes. For many of us, Danny was the DJs DJ; and I remember standing beside Carl Cox and John Digweed on the dancefloor at Space that night, with all of us admiring what he did.

For people that have not yet experienced these events, what have they missed out on and what advice would you give to encourage them to be there next year?

There have been many highlights over the years, including the residency at Space, warming up for the big international DJs which helped me break internationally, to being part of the Ultra Music Festival, to cementing a legacy with the open to close solo sets in the clubs as well.

One of the beauties of the trance community, the the trancefamily, is that many of these friendships are first kindled online, and with Miami Music Week, many of these friendships are first kindled online, and with Miami Music Week, it gives those people the opportunity to

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Well, if you love your dance music, it gives you the opportunity to attend so many highly anticipated shows in such a short space of time - and in many cases, DJs are saving material to debut at these gigs before anywhere else.

d actually recognise the faces of geles, I think you were in Prague, eat means for people who share a ve that online friendship turn into nteraction."

us Schulz

meet in person and form a bond that will last a lifetime. It’s funny because during these gigs, I’ll look out at the crowd and actually recognise the faces of people - I know you from Los Angeles, I think you were in Prague, I met you in London, so it’s a great means for people who share a common interest to unite and have that online friendship turn into a proper interaction.

What’s it like right before you step on the stage at Ultra? Describe the crowd, anticipation and energy as you begin off your set. How was your “all-nighter” gig at Wynwood Factory?

Obviously, the venue is smaller, which gives way to a more up-close and intimate crowd and interaction, therefore, would you care to share any “amazing WTF” moments?

There is a sense of anticipation of me playing at Ultra that is different from any other festival, because I feel I am there representing Miami to a worldwide audience. I have so many friends and family there, and I sometimes feel that extra bit of pressure to work even harder just for them.

You mention the word “energy” - I think that is a key to highlight; because in the past year, I feel that there is a new generation of fans that has spawned even beyond the initial EDM explosion at the beginning of this decade. My attitude with festivals used to be that I didn’t enjoy them as much compared to club sets, because the set length was much shorter, but in way, I think the festival regime has actually made me work even harder and make my sets in that environment Beatselector Magazine | May/June 2019 | 95

more polished. There really isn’t room for dead or quiet spots in a festival set anymore - everything has to be so tight and packed full of energy, and it’s vital now that if you are not playing your own tracks, to reconstruct them in a way that means they can go in a direction you want. However, my soul is forever intertwined in the DJ art, and that fully blossoms in the open to close solo set mantra. Wynwood Factory was slightly different, because you have to treat it as an afterparty, rather than just a standalone show.

I think with parties that take place after festivals, many DJs make the mistake of coming into the clubs and playing exactly the same set and music they played at the festival earlier in the day, and to be honest, I don’t think that’s what the crowd wants, because they’ve heard all the big anthems during the festival stretch. When you play an afterparty, I feel you have the chance to do something legendary, with music that is under the radar and nobody expects.

Reflecting on the day and night, I played 90 minutes at Ultra and then for 10 hours at the Wynwood Factory, so it was an excellent day’s work. I was delighted with how both went.

We imagine your schedule was quite full during the last week of March. How did you get through it and how do you find making decisions on whom to book your time with during these events?

Actually, this year was less hectic than other years, because there have been instances where I’ve flown to other cities for gigs on the Friday and Saturday, and come home to Miami on the Sunday for the closing day. But this year I was able to put extra time in to preparing the two sets on Sunday - two sets that would be quite different musically and in terms of presentation.

Let’s shift directions, shall we? How’s your new single “Heartbeat” doing and for those that haven’t picked it up yet, what can they expect?

It's funny, because Andre and I never really thought

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about working together, despite really enjoying each other’s company while on the road. I think it was a vast response to a photo on Instagram of the two of us, where so many people were saying “you should collab”. So when we met one day we discussed it.

Andre lives right on the Dutch-German border, and I had a gig in Amsterdam a few days before Christmas.

So after the gig Adina and I paid him a visit, and we just geeked out in the studio; not particularly intending on making a finished product.

However, we soon realized that we were clicking, and I'm really glad that we did take that step in doing something together. It’s a beautiful track with a lot of different influences if you really listen to it. It was nice to see us support each other once the track became a hit. We have made a point of making sure we do a follow-up for Coldharbour as well.

What does the rest of 2019 look like for you and what are you most looking forward to?

2019 has been an absolute whirlwind of emotions for me so far. A very happy occasion is on the horizon with my upcoming wedding to Adina this summer.

But the year began with sadness, following the unexpected passing of my mother Rose. She had been in and out of hospital for a few months before the passing occurred, with each day bringing more suffering. I desperately wanted my mother to be part of the wedding, but it sadly wasn’t meant to be. My wishes soon changed for her suffering to come to an end, and she passed in February. While she was sick, I was working on music while travelling between gigs and the hospital in Arizona, and the main focus during that time was a track with HALIENE on vocals; a cover version of the hymn Ave Maria. As time wore on, the musical bed was being sculpted and further shaped around thoughts towards my mother. She was always my biggest supporter and I would let her listen to every little thing I was working on, but sadly with Ave Maria, she didn’t get to hear any of it.

For those reasons, Ave Maria is a hugely personal and emotional moment in my live sets now. People will have heard me close my set with it at A State of Trance 900 in Madridnd at Ultra in Miami, and the release will be coming towards the summer.

On the gigs front, I have Dreamstate Europe in Poland coming up, as well as Mayday in Dortmund and some high profile open to close solo sets at SaSaZu in Prague in June and Avalon in Los Angeles in July.

And I’m also looking forward to a big show at Echostage in Washington DC, where I’ll be sharing the night with the legendary Paul Oakenfold.

And finally, what makes Miami so attractive and do you miss Berlin?

It would have to be the coast and the weather.

Being able to wake up and look out at the water in the morning is very calming on the soul.

I’m proud to call Miami home; and indeed it has been the city I have spent living in the longest in my entire life.

I do have to stress however that I have great affection for both Miami and Berlin, and indeed have homes in both cities.

When my career expanded to touring regularly on an international scale, I wanted to come up with a solution to cut down on travel, particularly if there were periods of having gigs in Europe for successive weeks. So, Berlin was ideal for my frequency.

Much of the darker, Dakota material that I produce is inspired by Berlin, and to be honest, I don’t think I could do that if I lived in Miami all year round.

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[MUSIC REVIEWS] Masterpiece  Excellent  Good  Fair  Poor 

THE CHEMICAL BROTHERS No Geography Virgin/EMI 

Make no mistake, Tom Rowlands and Ed Simmons aka The Chemical Brothers have cemented their place in electronic music history along side The Prodigy, Fatboy Slim and The Crystal Method for pioneering Big Beat music and moving the genre into the mainstream.

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[REVIEWS: ALBUMS] Over the course of their successful career, the duo has nine (9) albums to their credit, six (6) of which have topped international charts, dozens of hit singles and remixes, numerous awards from Brit Awards, MTV, The Grammy’s and NME, among others.

In today’s EDM space, The Chemical Brothers still play an important role in moving the music into the mainstream.

Earlier this year, The Prodigy (RIP Keith Flint) and The Crystal Method released new albums and now joining in the recent resurgence, The Chemical Brothers reenter the arena with the April 12th new long player release of “No Geography.”

Following up 2015’s “Born In The Echos” “No Geography”, titled after a line in Michael Brownstein’s poem Geography features vocals by Aurora and Japanese rapper Nene. Preceding the album’s official release, four singles were put out: “Free Yourself;” “MAH” (Mad As Hell); “Got To Keep On ” and “We’ve Got To Try.” Ten (10) tracks deep, spanning over 45 minutes, the album brings a certain kind of futuristic feel front and center.

Rowlands and Simmons do not break new ground, but they do supply the high quality songs fans and critics alike have come to expect—hot beats and rhythms, lots of percussion, super samples, second-

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to-none electronic skills and techincal wizardry. As you dig in and absorb the shifting feels, tones, and sounds presented in the songs, the attention to detail, polish and composition sophistication demonstrated by the duo becomes very apparent. They’ve mixed it up to where one moment you are hearing bona-fide bangers in “Got To Keep On” and “We’ve Got To Try” then a totally tripped out psychedelic “The Universe Sent Me” and the mellow dramatic closer “Catch Me I’m Falling.”

Is “No Geography” the Chemical Brothers’ best album to date? No. But they have re-stoked the fires with this album and where there’s smoke there’s fire. Make no mistake about it, there is fire on the latest collection on new songs.

I think fans of The Chemical Brothers will find “No Geography” appealing, satisfying and interesting with its futuristic thematic direction.

One must listen with an open mind to appreciate the precision construction and technologic expertise displayed throughout.

Favorites include “No Geography,” “Got To Keep On,” “ We’ve Got To Try” and “MAH.” —JOSEPH ARTHUR

[REVIEWS: ALBUMS]

AMON TOBIN FEAR IN A HANDFUL OF DUST NOMARK

 Amon Tobin is a true electronic music pioneer. Spanning a career of more than twenty years, Tobin has dabbled in Electronica, Nujazz, Trip-hop, Experimental and Drum and Bass styles, releasing on labels including Ninja Tune, Ninebar, Big Dada Recordings, and Paper Bag Records. Over the years, Tobin has established himself as one the electronic music scene’s most adventurous and ambitious composers.

His highly explorative and adventurous reputation for stellar recordings have inspired diverse acts from The Kronos Quartet to Diplo which showcases Tobin’s ability to create electronic music that crosses and breaks all barriers. In recent years, his vision has been leaning more to the cinematic. Recognized for his film and soundtrack work, Tobin has had his compositions featured on shows like Top Gear, commercials for Nissan and contributing music

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for the video game Tom Clancy’s Splinter Cell: Conviction as well as composing the theme music for the BBC America/Space original series Orphan Black. On April 26th, the Brazilian born and London resident released his first album in eight years to launch his newly formed label Nomark. “Fear In A Handful Of Dust” is the follow up to 2011’s exquisite full-length and critically acclaimed album “ISAM.” Praised by Rolling Stone, Wired and NPR, “ISAM” is widely considered to be a landmark piece of electronic music. Like “ISAM,” Tobin’s new album continues the journey into the ambient stratosphere with ten tracks that create a soundtrack guaranteed to induce a peaceful state of mind.

Throughout the album, Tobin employs lots of space, air and mystical electronic sounds that dominate the overall flow and ebb. From start to finish, exotic yet soothing sounds sans the drums and percussion instrumentation, takes you on hypnotic and weird trip.

Spacey, strange, ethereal, and chilling immediately come to mind when listening, while at the same time, a sense of calm and peace lie just below the surface. Upon listening to the album, one must have a clear open mind and not to expect anything remotely close to dance music. It’s a piece of work that is simply perfect for chilling out. While “ISAM” featured big melodies and hooks, “Fear In A Handful Of Dust” does not. It is, however, a continuation of his evolution delving in to more experimental sonic soundscapes that teeter on the exotic Sci-fi tip makes him one of the most innovative electronic music producers working today.

Highlights include the tracks “On A Hilltop Sat The Moon," "Vipers Follow You,” “Freeformed,” “Velvet Owl” and “Three Different Hat Sizes.”

—CATHERINE STRICKLAND

[REVIEWS: ALBUMS]

POTATOHEAD PEOPLE NICK & ASTRO'S INSTRUMENTALS, REMIXES & B-SIDES

BASTARD JAZZ RECORDINGS

 Nick Wisdom and Nate Drobner (AstroLogical) are two Canadian producers merging hip-hop and electronic music for NYC’s Bastard Jazz label. Sharing a deep love for hip-hop visionary J. Dilla and Madlib, the duo established themselves as Potatohead People over ten years ago and has early recordings under Vancouver’s digital label Jellyfish Recordings umbrella. In 2012 Bastard Jazz re-issued the duo’s Kosmichemusik EP. Their debut album, “Big Luxury,” released on Bastard Jazz in 2015.

Their 2nd album, “Nick & Astro’s Guide to the Galaxy,” was released early in 2018, followed by a DJ Spinna 7” vinyl remix. Called a “formidable tandem”

by OkayPlayer, their innovative sounds have been supported by the likes of Kaytranada, Soulection, Nightmares on Wax, Pomo, Exmag, Big Boi, and Phife Dawg.

Now comes the “Nick & Astro’s Instrumentals,

Remixes & B-Sides.” This project brings together some of the duo’s favorite producers providing some killer remixes.

Leading off the 13-track LP is a brand new track titled “Iced Tea” featuring vocals and lyrics by fellow Vancouver residents georgi and Radina Vee. Silky smooth electronics and soulful vocals, a deep bouncy bass beat and jazzy guitar gets it all started.

“No Sleep Till MTL” is a funked up ditty with horns (trumpets and trombones) and a bumpin’ bassline along with some fine brass solos drive the groove. “Lifin’ Up” is wild throwback to 80s funk style blended with smooth underlying synth laden layers and a sick bass line. Infinite Blaq’s take on “Quest For Love” features some fine vocals and a smooth and jazzy sax line. Up next comes “Do My Thing” by which Kerem Akdag delivers some tastey break beats in the classic West London style. DJ Spinna puts the groove to the test on the Galactic Funk remix of “Morning Sun,” 10.4 ROG places a dreamy wonkiness on the track “All Alone” and concluding the remixes, Sam O.B. whips in disco ingredients to “Quest For Love” and brings additional vocals delivering a bonafide dance floor filler.

Throughout you get a few instrumentals-“Do My Thing,” Morning Sun,” "All Alone,” and “Change Of Heart.” Closing the LP is one more Potatohead People original-“Nightcap.”

Throughout , Jazz, Funk and Hip-hop are fused in to an enjoyable hour long listening experience.

It’s a testament to Nick and Nate’s great taste in music that transcends genres and periods.

It's a winner and as one who loves contemporary jazz, old school funk and disco, I find “Nick & Astros” Instrumentals, Remixes & B-Sides” a compelling package reflecting the duo’s reverence for the aforementioned musical stylings front and center.

—JOSEPH ARTHUR Beatselector Magazine | May/June 2019 | 105

[REVIEWS: ALBUMS] Med School, among others. Since 2012, he’s been an exclusive reecording artist signed to Hospital Records and during that first year, took home Drum & Bass Arena’s “Best Album” award for “What The Future Holds.”

In recent months, S.P.Y has been revisiting his roots in Jungle, Hardcore and Breakbeat and their respective music cultures. “Dubplate Style,” a 15-track new LP of hard-hitting music is the result.

Hospital Records has the release available in three different formats: a seven 10” White Vinyl + CD Limited Edition Boxset; a 2 CD package and as a Digital download.

For the album, S.P.Y brought in MC GQ (“After The Rain”), Shadow Child (“Rudeboy Step”) and INJA

S.P.Y DUBPLATE STYLE HOSPITAL RECORDS

(“Landslide”) exemplifying S.P.Y’s musical vision and

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Hospital Records is pushing the tracks “After The

direction.

From start to finish, “Dubplate Style” offers up a cornucopia of beats, tempos, and feels. S.P.Y and Rain” as a stripped backed stealthy banger featuring

Throughout his career, Carlos Lima aka S.P.Y.

the grizzly vocal tones of MC GQ, the heavy bass

has continuously backed up his stellar releases with

and reggae themed “Runaway Dub,” the new-school

fierce skills behind the decks that delight fans and

hardcore hybrid track titled “Whole In The Speaker”

provide an educated blend of old school classics

and the summertime inspired “See Your Face Again”

and fresh new beats.

featuring uplifting vocals and rave styled piano. All

Performing and thrilling worldwide audiences

winners!

at massive festivals such as Tomorrowland, Global

“Dubplate Style” represents Carlos Lima’s way

Gathering and Electric Daisy Carnival plus an

of re-introducing original jungle culture into a fresh

“Essential Mix” for Pete Tong’s BBC Radio 1 program

and modern environment.

shows that the acclaimed Drum & Bass producer is top shelf talent and draw.

For quite some time, S.P.Y has been a household name among drum & bass fans, producers, and DJs.

Put together and recorded in two different studios using vintage synthesizers and sequencers, the recreation of authentic jungle feel is undeniable and irresistible.

The London transplant from São Paulo jumped

The limited Edition Box Set is a slick package

into the U.K. Drum & Bass scene in 2006 debuting

embossed with premium quality foil casing with

on Metalheadz and then moving on to leading

a luxurious jet black finish that encases ten Pearl

labels of the genre: Ram; Critical, Shogun; OWSLA,

White Vinyl 10”s and a CD.

Spearhead; Digital Soundboy; Innerground and

106 | Beatselector Magazine | May/June 2019

—LEO WEAVER

[REVIEWS: ALBUMS]

VARIOUS ARTISTS PUTTIN' OFF THE RITZ (PUTTIN' ON THE REMIX) R&B MUSIC

 Rainer C. Regatschnig has selected some of music’s most popular tunes from the Swing era, and with the help of legendary acts Taco and Right Said Fred along with DINKS, Alex Lark, Stella Jones, Kitten, Darren Fewins, Scarlett Quinn, Louie Austen, George Bangable and Alvin Chea, produced an album of brilliant remixes.

This collection features ten songs originally written by Irving Berlin, Fred Astaire, George and Ira Gershwin and Sidney Mitchell, Con Conrad & Archie Gottler are reborn as Disco, House, Electro and Progressive dance club gems.

“Puttin Off The Ritz (Puttin’ On The Remix)” triumphantly opens with a spectacular Disco Mix of “Puttin’ On The Ritz.” Taco’s latest re-incarnation of the classic track is Electro-swing at it’s finest.

Featuring choice vocal loops and samples,

coupled with hot beats, IMO equates to a 2019 smash hit.

Track two brings together DINKS and Alex Lark in the reproduction of “Dancing Cheek To Cheek.”

House beats and rhythms add a new dimension to the classic melody accented with lots of percussion, deep bass, horns, drops and epic vocal samples.

Right Said Fred and Stella Jones feature on Philip Larsen’s Remix of “Let’s Face The Music And Dance.” Disco inspired guitars, horns, kicking and driving drums, along with sexy cool vocal performances from Right Said Fred” and Stella Jones reconstructs the original into a 21st century epic club track.

At almost the halfway point of the album, shuffling drums and indie styled rhythms leads to a dope piano and bass hook. Wokka wokka guitar licks, horns keys and organ display prominently on “Crazy Feet.” This track has tremendous radio appeal and a hat tip to Kitten and The Hip’s for their superb vocal contributions.

“If Swing Goes, I Go Too” features a deep bass groove that transforms into a hard swinging arrangement with Swing era styled vocals before reverting back to the totally dope intro and that filthy bass line. “No Strings” (Andy Sikorski Remix) feature bouncy beats, lots of classic crescendos and drops providing the backdrop for Scarlett Quinn’s vocals.

Tyler Stone sits at the controls on “They Can’t Take That Away” and Something’s Gotta Give.” You get a contrast of styles on these two tracks. One being a downtempo track and the other a grooveladen jazz lounge track.

The closing track “ The Way You Look Tonight” features the slow jam and soulful voice of Alvin Chea and Malachai Mott’s wildly re-arranged melody line.

Simply put, “Puttin Off The Ritz (Puttin’ On The Remix) is a must listen and must have!

—JOSEPH ARTHUR Beatselector Magazine | May/June 2019 | 107

[REVIEWS: EPs & SINGLES]

DNMO DEFINITION FORBIDDEN DEADBEATS

ILAN BLUESTONE WE ARE THE UNIVERSE ANJUNABEATS

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In 2018, Aiden Morgan aka DNMO made his U.S. debut as the “youngest electronic artist ever” to perform at Red Rocks Amphitheater. Additionally, his performance itinerary included dates at Electric Zoo, HARD Day Of The Dead, The Ministry Of Sound, Aragon Ballroom and Exchange and touring America with Ghastly and Ookay. 2018 was a pretty good year for DNMO. 2019 started with buzz revolving around a forthcoming EP. Teasers for fans began earlier this year via single releases “Sick of You” with Sub Urban and “Now Way Out” featuring Noy Markel. On April 19th, DNMO announced his latest Deadbeats (Zeds Dead label) release with the four-track EP “The Definition Forbidden.” Staying true to his roots and composing with spacey funk, electronica, and hip-hop elements in mind, this new EP shines with imagination, diversity and a touch of doom and gloom.

The last project Anjunabeats project from ilan Bluestone was his debut long player, “Scars” last year. Returning to the label, ilan Bluestone has delivered an EP titled “We Are The Universe.”

Spread out through its six tracks--three of which feature London based vocalist EL Wave (“We Are The Universe,” “Mama Africa” and “Distance”) along with three instrumentals (“Steeder” “Raindrops” and “Hong Kong”) interspersed, Bluestone lays down some stadium prime choice cuts and right on time, as the festival circuit gets in to full swing. Bluestone’s talents are on full display as a dance music composer on this EP of new material. Mixing up the exotic “Mama Africa” and “Hong Kong” with vocal led tracks such as “Mama Africa” and “We Are The Universe,” are equally bold, innovative and gorgeously composed, easily meeting the high expectations placed on the “Scars” LP follow up.

—LEO WEAVER

—JOSEPH ARTHUR

108 | Beatselector Magazine | May/June 2019

[REVIEWS: EPs & SINGLES]

KIWI & DJ ROCCA I GOT A TOY CROSSBREED

NØLAH MANDRAGORA EINMUSIKA2

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Alex “Kiwi” Warren’s Crossbreed Records ethos reads as "…the belief that working together breeds great things…we want to harness our creativity and play together…encourage freedom of expression and hedonism and breaking down social constructs and stigmas." Premiering the debut of the new label will be a two track EP with Italy’s DJ Rocca, released on May 10. The EP opens with “Bronze.”

Six plus minutes of contrasting sounds involving hard-hitting drums, swirling chords and rhythms.

The flipside and title track “I Got A Toy” blazes with screeching synths, a rolling deep bass-line along some great drum work laying down a tight groove for the bold and brash melody. Kiwi and DJ Rocca’s meeting of musical minds has been, through this EP, proven to be an important and “in your face” statement that establishes the label right out of the gate.

—LEO WEAVER

Nølah has studied Classical music, has played and written music as a guitarist for a rock band and these days, has been on clear cut mission to follow her true musical passion—composing Electronic music, specifically melodic Techno. On April 26th, Nolah released “Mandragora” via Einmusika2. The EP is comprised of two distinct tracks-the title track “Madragora” and “Dictamo,” plus a brilliant remix of “Mandragora” courtesy of Philipp Kempnich. The music flows with hypnotic, 90s trance influenced mysticism and as with Nølah’s previous releases, “Madragora” features her trademarks: relentless pounding beats, intricate bass-lines and striking synth work. These are the signature traits that she is becoming known for. Clocking in at close to twenty minutes long, “Madragora” is the portrait of an artist that is passionate about making melodic techno music. Not only can you hear it, you can feel it.

—LEO WEAVER Beatselector Magazine | May/June 2019 | 109

[REVIEWS: EPs & SINGLES]

OFENBACH OFENBACH RENEGADE MUSIC/PARLOPHONE

BROOKE EVERS FEEL IT HUSSLE

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Let’s get this party started shall we? Ofenbach (Dorian Lo and César de Rummel) rocks the electronics on this 8 track mini-album. If you’re a fan of the Rock-Electro duo from Paris, France, then you heard and seen “Katchi,”“Be Mine” and more recently “Rock It.” These awesome tracks are on it, along with 5 other golden nuggets. The self-titled package kicks off with two “stuck in my head” songs “Katchi” and “Rock It.” Also included on the EP are previous single hits “Be Mine” and “Paradise.” Now with 5 new tracks to showcase, to go along with 3 worldwide smash hits, “Ofenbach” is the total package-high energy, lots of guitar, bass, horns and deep house electronics. You’ll find yourself replaying, singing along, and simply rocking out. Guest appearances include Tim Rogers, Alexandre Joseph, Benjamin Ingrosso and Tyler Sjöström.

Brooke Evers, an Australian DJ, Producer and iHeart radio host has created quite a name for herself. In her short two years on the scene, she’s supported acts that include Steve Aoki, Zedd, Lil Jon, and has produced music for Tiësto’s Musical Freedom label. Known for exhibiting lots of energy, blending mashup stylings with electro-house sounds, represents a personality that loves making music for the party lifestyle. Brooke’s latest single “Feel It” on Hussle, teeters on the drum and bass tip with it’s low end bass lines and rolling percussion.

The track is bouncy and feverously hot, rhythmically speaking, and is complimented by Ever’s spicy vocals. As with her previous singles that went on to accumulate millions of streams, “Feel It” has all the ingredients, fire, spice, great vocals and beats that get deep, down and dirty. Now feel it!

—JOSEPH WENSELL

—CATHERINE STRICKLAND

110 | Beatselector Magazine | May/June 2019

[REVIEWS: EPs & SINGLES]

DAVID MORALES D-TENSION DIRIDIM

DJS FROM MARS DANCE 2 THE BEAT EGO

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“D-Tension” is the first single of a series of releases leading up to a forthcoming LP from legend David Morales. For the track, Morales harks back to his heydays of spinning 8-hour sets at the Red Zone, one of New York City’s hottest clubs in the late 80s and early 90s for inspiration and technique, bringing his classic house sounds in to the 21st Century. Disclosure, Detlef, Nicole Moudaber, and Groove Armada, among others, have given their support to Morales’ latest single, helping to push the track out to the masses. The track is heavy on percussion beats, driving rhythm, and vocal loops, capturing the music genre’s pure essence and roots.

On “D-Tension” Morales has stepped back in time and triumphantly re-introduces his classic sound to a new generation of house music fans and followers.

Let the re-education begin.

I’ll go ahead say it. I love DJs From Mars. 2019 has already taken the duo to the number one ranking on Billboard’s Dance Club Play Songs and a Top 50 Hot Dance/Electronic charter with “Gam Gam” Add in the wildly popular mash-ups for David Guetta and Steve Aoki, this duo are, in my opinion, the undisputed kings of the mash-up. “Dance 2 The Beat” featuring U.S. recording artist Davis Mallory is the latest single from the “Martians.” The track is a disco infused floor filler in the stylings of Daft Punk, complete with robotic stylized vocals, groovy basslines and hot beats. To fully appreciate the track, you must jump over to Youtube and check out the official video. The visuals are funny, sexy, and showcase the “wildness” of DJFM. “Dance 2 The Beat,” in the simplest of terms, is one more hit of a string of many hits from the kings of mash-up.

—JOSEPH ARTHUR

—JOSEPH WENSELL Beatselector Magazine | May/June 2019 | 111

[REVIEWS: EPs & SINGLES]

MARCUS JAMES OVER YOU PHYSICAL PRESENTS

PHIL FULDNER TAKE ME ARMADA SUBJEKT

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Marcus James’ music has been coined as “Emo House.” He’s mastered the skill of incorporating poppish, love angst lyrics, and soft acoustic and electronic instrumentation loom large on the newest single for Physical Presents “Over U” featuring RYYZN. Definitely radio friendly, the track’s easy listening vibes delivers music that is bright and airy and at the same time teeters on the melancholic.

The lyrical message “Over U” tells the story of failed relationships. While in the studio, the track went through many incarnations right up to the release including a Pop-punk version. I wonder what that sounded like. The finished product features an acoustic guitar lick melody, accompanying house electronics and emotive vocals. If there is such a thing as “Emo House,” Marcus James will be one producer that will be moving the new so called “genre” forward.

For 20 years, German DJ and Producer Phil Fuldner has been blending House, Tech and Disco music in to a signature sound. The latest track “Take Me” is inspired from Mary Clark’s “ Take Me I’m Yours” and features disco styled sting arrangements, dance oriented and low end grooves, funky horns, hot rhythmic guitars and Mary Clark’s vocals. Fuldner stays true to the original Mary Clark track released in August 2018 on Boss Records, adding his "tried and true" touches of modern electronic techniques such as speeding up the tempo, bringing in the strings and horns in a more prominent fashion and laying down an underlying dreamy and muted atmosphere in which to display the added inflections of House and Tech to the disco based foundation. “Take Me” is a hot, sweaty, soulful piece of modern disco that further cements Fuldner long standing reputation.

Aces.

—JOSEPH ARTHUR

—CATHERINE STRICKLAND

112| Beatselector Magazine | May/June 2019