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GUETTA “I try to be incredible!”


Vol.4 No.71

What are your dusty classics really worth?

March 2009



Gui Boratto, Dave Seaman, James Zabiela, Nick Warren, DJ Sneak, Anil Chawla & Dale Anderson, King Roc & more…


THIS YEAR’S HOTSPOT! • WMC credit-crunch busters • ATTACK OF THE

50ft TENAGLIA • Ultrafest is ultra-magnetic

• THE MUST-CHECK PARTIES VOL.4/ NO.71 March 2009 £3.95 0 3


770951 514130 £4.50 outside UK & Eire

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Contents UPFRONT 018 Credit crunch beating moves to keep WMC thriving 036 Fashion 041 Burning Issue 042 Bitchin’


FEATURES 046 Nobody does it Guetta Presenting a real challenge to the trance titans in our Top 100 DJs poll, it seems French house DJ and producer David Guetta is unstoppable…

058 DJmag at The Shelborne

In our biggest Miami WMC blow-out ever, we’ve hooked up with The Shelborne Hotel for an epic week of parties featuring all your favourite DJs from the worlds of techno, house and beyond…


066 Simply breathtaking

In the run-up to playing at our WMC pool party at The Shelborne, Brazilian producer Gui Boratto leaves us breathless with his new collection of velveteen techno.


122 Killers – Essential tracks of the month 125 In the Bag – Nick Warren 126 Singles 150 Albums 154 Compilations

068 Darkroom dubs

Reassembling countless components into one long dark groove tunnel, this month’s covermount sees Dubfire present the sound of his label Sci+Tec — ‘Past, Present & Future’.

071 Cash in the attic

Are you sitting on a small fortune? We gather together some of the world’s most unapologetic crate diggers to uncover their rarest and most pricey finds.


094 Set adrift with the MOB Festival, Brazil 098 Chase & Status at Metropolis, Leeds 100 Freaking out at Circus, Liverpool 102 The amazing Grace Jones at The Roundhouse, London

060 Attack of the 50 ft Tenaglia

NYC legend Danny Tenaglia answers your questions prior to his DJ sets at Miami WMC.


158 164 166 172


Tech news, including Native Instruments’ Maschine Denon’s next generation S3709 CD deck Numark’s affordable ARC3 CD deck Producer – hints and tips

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16/2/09 23:13:42 Ltd, The Old Truman Brewery, NEXT ISSUE OUT 91 Brick Lane, London, E1 6QL


Editorial 020 7247 8855 Editor Lesley Wright Upfront/Online Editor Ben Murphy Access All Areas Editor Allan McGrath Music Section Editors Ben Murphy & Allan McGrath Tech Editor David Eserin Art Editor Martin Brown Chief Features Writer Claire Hughes Fashion Helene Stokes Listings


COME UP AND SEE US SOMETIME… We love the Miami Winter Music Conference. It’s like the light at the end of a very long, dark tunnel, allowing us to finally discard the cloak of winter and step light-footed into the sunlight, offering as it does a glorious insight into what music the summer months will bring. It’s still the best playground for DJs and party people alike, where you can hear everything from soulful house to thundering techno and razor-sharp drum & bass. Where you can dance poolside with your arms in the air to sunshine vibes or lose yourself, head down for hours, in a dark downtown club. And we’re more excited — and more visible — than ever this year thanks to our DJmag at The Shelborne hook-up. We’ve pulled out the stops to make the South Beach hotel the No.1 destination during conference week, with a host of off-thescale parties featuring the world’s most revered DJs, and a series of walk-in workshops designed to aid your first steps into the music industry. Make no mistake; DJmag at The Shelborne is the place to be this WMC. So if you’re on Collins Avenue, come on up and see us sometime.


Richard Brophy, Alex Constantinedes, Phil Cheeseman, Paul Clarke, Lewis Dene, Matthew Duffield, Simon Eve, Found Sounds, Yogi Haughton, James Kendall, Chris King, Neil Kulkarni, Ciara Leaming, Jo Madden, Simon A Morrison, Danny McMillan, Tristan O’Neill, Ben Osborne, Dan Reid, Philippa Reed, Mars, Joe Roberts, Tim Sheridan, Jamie Simonds, Giles Smith, Tim Stark, Paul Underhill, Kate Wildblood.

Advertising 020 7247 8855 Advertising Manager Heath Holmes ext 274

Classified Ads Lena Gobine ext 261

Managerial Publisher James Robertson Managing Director Martin Carvell Director Lesley Wright Accounts Pat Donelson

DJ Magazine is published under licence by ltd. DJ COMPETITION RULES: To enter a competition you can send your answer by post to [name of competition], DJ Magazine, 91 Brick Lane, London, E1 6QL or email to be received on or before the closing date. By sending your entry you agree to these competition rules and you confirm you are happy to receive details of future offers and promotions from ltd.The winner will be notified within 28 days of the closing date. Competitions are only open to UK residents. No employees of ltd. or any of its group companies or the employees of any entity which has been involved with the administration of this competition or any member of their households may enter this competition. No responsibility is accepted for entries delayed or lost in the post. Proof of postage will not be accepted as proof of receipt. The prize is as stated and no cash alternative is available. The provider of the prize reserves the right to substitute the prize for one of equivalent value. ltd. is not responsible whatsoever for any failure by a third party to provide the prize on time or at all or for any loss, damage, costs, expenses, or personal injury caused by the prize. If you have any query or complaint in relation to the prize, you should contact the provider. If you are a winner of the competition you accept that ltd. has the right (without additional payment or seeking permission) to use your name, address and likeness for the purpose of announcing the winner of the competition and for related promotional purposes. All entries must be received by the closing date. No purchase necessary. Details of the winning entry will be available at any time on or after the closing date by written request from DJ Magazine, 91 Brick Lane, London, E1 6QL. SEND POSTAL ENTRIES TO: (Name of Competition), DJ Magazine, 91 Brick Lane, London, E1 6QL. SEND EMAIL ENTRIES TO:


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Bicentennial Park // 1075 Biscayne Boulevard // Miami USA

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Tickets Available From / T 1-866-926-8499 Mansion / 1235 Washington Ave, Miami Beach, Florida


IBIZA Swedish House Mafia & Friends Mondays at Pacha Opening Monday 22 June FRANCE Stade de France, Paris Saturday 4 July IRELAND Oxegen Festival Friday 10 July CROATIA Green Beat Festival, Pag Island, Croatia Wednesday 12 August UK Creamfields Saturday 29 & Sunday 30 August

BRIXTON ACADEMY SATURDAY 7 NOVEMBER EARLY BIRD TICKETS GO ON SALE 1 APRIL WWW.TICKETWEB.CO.UK 08700 600 100 For news / competitions / mailing list and merchandise please visit the new MySpace

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Forthcoming on SIZE

Out Now on SIZE

Forthcoming on the road



March 21 Avalon, LA March 22 Opera, Montreal March 27 Ultra Festival & Mansion, Miami March 28 Morning Set at Subliminal Sessions SPACE, Miami March 29 Beatport Pool Party at The National, Miami April 17 Pacha, NYC April 18 Beta, Denver May 2 SIZE Matters at The Arches, Glasgow May 3 Annie Mac at Custard factory, Birmingham May 9 SIZE Matters at Digital, Brighton & Ministry of Sound, London

Kim Fai P.O.V (Including Steve Angello Remix) Out 18 Feb 2009 (Beatport) / 18 March 2009 (Rest Of World)

Rhythm Code Scorpion / Where Is Neil? SIZE022

Funkagenda + Exacta Mad Money (Including Kim Fai Remix)



Sidekick Deep Fear (Steve Angello Remix)

Steve Angello presents Size: First Dimension Brand new compilation of all your favourite Size tracks including tracks by: Steve Angello, Sebastian Ingrosso, Laidback Luke Shinedoe, Whoâ&#x20AC;&#x2122;s Who, Eric Prydz, Rene Amesz, Tocadisco and many more!

Out March 2009

For Festival Appearances, Ibiza & Summer Shows, Release Info, Free Downloads and News please go to








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Kam Miami Party ad DJ Mag 3.qxp:Layout 3

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Fantastic Four p.027

THE hottest new names in dance music this month!

Fashion p.036

THE shades you’ll be hiding behind this spring

Burning Issue p.041 FORGET saving face, tell us your last regret...

Beat the crunch Credit crunch busters to keep WMC thriving With the economic realities of the global credit crunch becoming abundantly clear, the dance music world is gearing up and on tenterhooks, anticipating how it will affect the industry’s biggest annual event — the Miami Winter Music Conference. More people are tightening their purse strings, and with less disposable income, a week in the sunshine, whether for work or play, seems like it may be considerably less affordable. But despite some predicting that the conference, which takes place from 24th – 30th March this year, will be a far quieter place this time around, several of the Floridian capital’s most prominent promoters think that the impact will be far less pronounced than the doom-mongers would have us believe, many working out strategies to make the event just as enticing, but a little less damaging to our pockets. Carlos Correal, director of marketing at Opium Group, who throw many of the city’s biggest nights at clubs like Mansion and Set, has responded by lowering ticket prices, which has seen their pre-sales go through the roof. “Our tickets are actually selling a lot faster than last year. I don’t know what’s going on!” he smiled. “I guess we didn’t go overboard with the pricing.” Correal believes another reason why WMC will be buzzing this year is people’s need to party and forget their stresses. Rather than going out all the time, he reckons many have saved their money for the main event.

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“I think that people are being way more selective with the things they want to see. Throughout the year people go out less and put away a bit of money to be able to spend the entire week here in Miami. We’re going to have a fabulous year.” Main man behind the huge Juicy events and a DJ himself, Robbie Rivera also thinks that anticipation for the conference in 2009 is at an all-time high. “I’ve been travelling all over America and everyone seems to be super-excited about WMC this year,” Rivera stated. “We’ll be giving a better, reduced rate to our events. My prices have come down a lot. It’s gonna be super packed! Carmel Ophir, who co-runs one of downtown Miami’s hippest joints, The Vagabond, with John Digweed, believes that three of the most important elements in packing in the punters will be the sonics, atmosphere and drinks prices. “With us, a vodka cranberry probably costs about half of what it would down on South Beach,” he assured. “And there’s always something to enjoy — whether it’s the music or the actual environment. “The soundsystem here is Funktion 1 in the main dance room and JBL in the bar room. The aesthetics are all in place, but on a sensory level we don’t compromise.” The line-ups The Vagabond has assembled should ensure that it stays packed all week, with Satoshi Tomiie and Hector Romero (25th March), Louie Vega (26th), Erol Alkan, Riton and Hercules and Love Affair (27th), and the man himself, John Digweed, alongside Guy J (28th) all appearing.

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INSIDE TRACK ■ K-KLASS have chosen Miami to launch their Muzik-K imprint with a reworking of their top three pop hit, ‘Rhythm Is A Mystery’. Just as strong and infectious as it was back in 1991, the new mix package favours the synth-driven hook — it’s filled with old school reference points that underscore the still anthemic nature of the song.

EDDY TM’s Stamp of Approval Where dance meets rock every issue…



‘Teen Lovers (The Shoes Remix feat Sky Ferreira)’ CD-R

■ We’re really excited about the prospect of the DUB PISTOLS’ upcoming fourth album, ‘Rum & Coke’, pencilled in for release in April on Sunday Best. The follow-up to the highly acclaimed (not least by us) ‘Speakers And Tweeters’, it will similarly feature a plethora of guest vocalists both old and new, including collaborations with Gregory Isaacs, Terry Hall, Rodney P, Ashley Slater (Freak Power) Lindy Layton (Beats International) and Red Star Lion.

Carlos Correal believes that good line-ups will be the key to packing in clubbers at WMC. “We’re making sure that we have top programming, that’s really important,” he said. “You have to make sure that every show you have is top quality, top-notch, and I think ours reflect that.” Indeed, their billing is bananas, with Kenny Dope (24th), Roger Sanchez and Todd Terry (28th) appearing among others at Set, and Sasha, Digweed (26th), The Swedish House Mafia (27th), David Guetta (29th) and Bob Sinclar (30th) all scheduled for Mansion. Rivera, too, has assembled a slick line-up for his Juicy Beach party at Nikki Beach, on 26th March, where he’ll be joined by James Zabiela, Axwell and Tocadisco amongst others. It looks like the credit crunch won’t be having quite such a profound effect as some have predicted and Carmel Ophir thinks that the conference remains as relevant as ever. “It comes down to the fundamentals of what this is about — which is music, exposure to artists who want to find a wider audience and enjoying the sea, sun and sand during the cold winters in the rest of the world. And those things haven’t changed.” See you on the beach!

■ Those cheeky HOXTON WHORES have done an official re-edit of Subliminal Cuts’ White Isle classic ‘Le Voie Le Soleil’. A true hands-inthe-air moment, it retains the killer piano riff, burbling percussion, and hypnotic drum rolls, making the timing for WMC all the more essential… ■ Once again, EMF’s ‘Unbelievable’ has been updated for the club market. Latest to turn the old-intothe-new are DANNY DOVE & NATHAN C, who construct a rolling techno influenced track with subtle progressive overtones and a very dark menacing vibe. Little wonder then that the likes of Bodyrox, Mark Trophy and Whelan & Di Scala have embraced its charms. ■ Another reissue in time for WMC is Cevin Fisher’s ‘Freaks Come Out’ on Subversive, with PROK & FITCH on mix chores. P&F also add their post-production stamp to Dutch duo Gabriel & Castellon’s ‘Ticoba’ for their Floorplay imprint…

Something special from my Remixer Of The Year, The Shoes, and featuring a genuinely exciting new enfant-terrible from LA.She’s like a cross between Uffie and Brigitte Bardot in her sex-kitten prime, but talks like a Baltimore crack dealer!



‘What’s That Noise?’ Hardcore Beats

They’re going to get bored of people calling them the saviours of breakbeat. This pair of sonic terrorists shoehorned 64 all-time top tunes into a 10-minute mix, the best thing I’ve ever played on the radio, and a distillation of their five deck live show.


KING CANNIBAL This sonically incredible Ninja Tune signing has inspired me to start a new section of the Remix show, called The Darkside, so I can play stuff like his, and scare the shit out of half my listeners.




Best thing I saw at the Standon Calling festival last year, and The Shoes have confessed he’s their favourite UK artist. Trust me, this Essex boy will grow and grow on you until your socks are charmed from your feet.



‘Sex Bomb (Adam Freeland Remix)’

Bodes well for the second Freeland album, which is imminent, and from what I’ve heard thus far, pretty damn sexual. Eddy Temple-Morris presents ‘The Remix’ every Friday, 10pm – 1am, on Xfm London, Xfm Scotland and Xfm Manchester.

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Harmonic 313’s wonk-hop bump MARK PRITCHARD jokes that he could probably do with his own robot to help him in the studio, and when he lists the vast number of projects he’s currently working on, we see what he means. But if, as the title suggests, his new Harmonic 313 album (out now on Warp) is the sound of what happens ‘When Machines Exceed Human Intelligence’ you might question the wisdom of that idea. Stark and sinister, after hearing tracks like ‘Galag-A’ and ‘Call To Arms’, it’s difficult to even look at the microwave without fearing that it’s plotting your demise. Yet whilst you can certainly envision Terminators dancing to it, ‘When Machines Exceed Human Intelligence’ isn’t so much inspired by science fiction as two contemporary cities — albeit two which, in certain areas at least, sometimes resemble the sort of post-apocalyptic environment the music evokes. “It is dark and futuristic and there are a lot of influences from Detroit techno, as well as Dilla beats and Detroit hip-hop,” Mark explained. “But there’s also a big element of London bassline music, like jungle and grime too. “I’ve always loved urban music and growing up in the English West Country where it’s all farms, things like techno and early jungle hit me really hard. “I think it was Moodymann who said, ‘I don’t know why you Europeans are so obsessed with Detroit when you’ve got grime’ — meaning that London bassline music is our own Detroit in a way.”

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A connection made clear not just sonically but also in the use of the 313 Detroit area code in Mark’s latest project. Anyone who’s followed his career to date will recognise a reference to his earlier Harmonic 33 pseudonym, and also be aware that it takes some effort to keep up with his prolific output. Whether alone or with fellow West Country boy Tom Middleton, Mark is the man behind myriad masks in many genres; be it Jedi Knights, Reload, Global Communications or Troubleman, to name just a few. Covering electro to house to drum & bass to Brazilian beats, the multiple monikers were originally intended “as a way of letting the music speak for itself so people wouldn’t pre-judge it on what we’d done before. But I’m trying to cut down on names now because it gets confusing. “Although I was wary of using the Detroit area code I didn’t want to come up with a completely new name for this because — like Harmonic 33 — it’s still based in hip-hop to some extent.” Swapping the UK for Sydney four years ago, Mark added: “I did wonder what effect moving to Australia would have on my music because it’s so sunny here but it’s given me more space and focus.” Indeed it has, with new albums from Reload, Harmonic 33 and his Africa Hi-Tech project with Steve Spacek all planned for the next two years. So maybe the future doesn’t look so bleak after all. PAUL CLARKE

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■ VANDALISM drop another clubbing essential in the shape of a very timely cover of Andrea Doria’s ‘Bucci Bag’ — Ian Carey on the mix of the Vicious release. The label is also scheduling new Dirty South single ‘Alamo’ (with re-tweaks by TV Rock and Mic Newman) and Dirty Funker’s remix of Andy J’s ‘Malibu’…

Disco godfather returns to remix new band

TOM MOULTON — inventor of the remix and true disco legend — has returned from semi-retirement to rework Danish boogie-funk band Cool Million. The producer, who made his name by patenting the concept of the extended version, or remix, in 1974 with a take on BT Express’s ‘Do It ‘Til You’re Satisfied’, was approached by the band through MySpace to add his magic touch to two tracks, ‘Lift Me Up (To The Sky)’ and ‘Give Me My Love’ (out now on DPlay), and jumped at the chance, thanks to their infectious funk propensities. “I liked the soulful quality to them and nothing turns me on like a good soul performance and song,” said Moulton. Keeping the lush soulful flesh of the songs intact, but extending their grooviest breaks and accentuating the musical flourishes, his ‘Cool Million’ versions both have all the hallmarks of a classic Tom Moulton mix. And indeed, Moulton has largely kept to his original remix techniques, only applying newer technology where appropriate.

“I don’t give up anything that works,” said Tom. “I still use some traditional techniques, as well as keeping up with the latest technology.” Famed for hundreds of remixes, among them definitive, dancefloor-ready versions of MFSB’s ‘Love Is The Message’, Patti Jo’s ‘Make Me Believe In You’, and Loleatta Holloway’s ‘Love Sensation’, Moulton believes that a remix in today’s dance scene is a far cry from the true meaning of the term. “A remix is still taking the multitracks and mixing them and if needed, adding some additional parts. What they call a remix today is a reproduction,” he claimed. “They take a vocal and add all the new instrumentation. “I’m not sure how that title came about. I assume the record companies didn’t want to pay producer royalties.” In the current nu disco revival, Moulton’s influence is more pronounced than ever. It’s good to have him back.

■ In 2004 a collaboration between ROGER SANCHEZ and DJ OLIVER resulted in ‘Mysteriosa’ under the Transatlatins moniker. Four years on and they return to the studio and the S-Man’s Stealth label with legendary vocalist India on ‘I Can’t Live Without Music’ — another peak-time clubbing essential bearing all the hallmarks of a future Miami smash… ■ The uber-talented KRIS MENACE, who over the years has given us such defining clubbing standards as ‘Discopolis’ and acclaimed alliances with Alan Braxe, Lifelike and Felix Da Housecat, unleashes his debut album in April on Compuphonic. ■ Fresh from scoring a club chart No.1 with the Inaya Day-sung ‘Natural High’, MICHAEL WOODS releases further details of his new Diffused Music label. Forthcoming is material from minimal upstart Ant Brooks, and Wood’s alter ego Out Of Office paired with The Original on an update of their ‘90s crossover ‘I Luv U Baby’, plus ‘Insatiable’ featuring the vocal talents of sister Marcella Woods… ■ After his killer reworking of ‘Blue Monday’, KURD MAVERICK decides to revisit one of his own productions, namely ‘Strings Of Tortuga’ — the once instrumental jam that now benefits from Sam Obernik’s subtle vocal nuances. Newly entitled ‘Love Emergency’, it’s coming soon via Cr2…

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The music that’s been keeping us sane while putting this issue together… 01.The Juan MacLean ‘The Future Will Come’ (DFA/EMI) 02.Thunderheist ‘Thunderheist’ (Big Dada) 03.Alexander Nut ’Rinse:08’ (Rinse) 04.Kutz ’Travelling’ (Soul Jazz) 05.Joris Voor ‘Balance 014’ (Balance) 06.DJ Koze ‘Reincarnations’ (Get Physical) 07.Various ’Future Disco’ (Azuli) 08.Filippo Moscatello ’Pagliaccio’ (Mood Music) 09.Kode 9 ‘Black Sun’ (Hyperdub) 10.DJ Hell ‘CD Eleven’ (Gigolo)

I 1989

FILIPPO MOSCATELLO “This was the time when I got my driver’s licence and could drive to Munich, where there was a circus tent club called Macht Der Nacht, where Westbam was resident at the time. It was the year when I heard Lil Louis’ ‘French Kiss’ for the very first time and took my first E. Everything changed in that year, and I am happy to have been there!”

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AFTER PRODUCING arguably some of the biggest underground dance music floor fillers of last year, Matt Edwards’ trailblazing Rekids imprint is set to leave an indelible mark on 2009 with its mammoth new three-CD compilation ‘Rekids Revolution’, out now. The young label, which only came into existence in 2006, has risen rapidly to become a globally respected outlet of innovative electronic music, full stop, and their prolific output has been collected in a body of varied and quality cuts across three discs. For Edwards — famed for his DJing and production under the Radio Slave alias



GLIMPSE Moodymann ‘Live In LA ’98’ Peacefrog

“I’m a big fan of all of Moodymann’s stuff but a lot of it is not that playable in a club environment. However, this record is an absolute bomb recorded live in LA in 1998. It’s organic, tribal, acidic and jazzy yet never sounds cluttered or over inspired. Only Moodymann could pull this off… Amazing!”

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among others — the new compilation represents something of a milestone for Rekids, a kind of story so far of their compact but eventful history. “We did the ‘Rekids One’ compilation back in 2007,” commented Edwards. “But in 2008, we had been so busy with various singles, we didn’t do one. With this compilation we wanted to wait until the end of 2009, but we realised that we had so much to put on it! I guess it represents where we’re at now and how far we’ve come. “It’s been a real upwards struggle with the whole Amato distribution thing and the music industry downscaling. But we’ve shown that UK labels can compete with the best of them.” With the first disc given over to original tracks, from Runaway’s gritty tech disco epic ‘Brooklyn Club Jam ‘ to Edwards’ own sonorous technoid number ‘Bell Clap Dance’ under his Radio Slave moniker, the second CD collects their biggest remixes, not least that Dubfire remix of Radio Slave featuring Danton Eeprom’s ‘Grindhouse’, which tore such a massive rip through 2008. The third CD sees Rekids’ rising, respected DJ/producer Spencer Parker (pictured left) blend some of his favourite tracks from the catalogue into a beguiling, building club-ready selection. “Rekids are into what I do and how I DJ, so they graciously asked me, which I was very happy about! shared Parker. “There’s so many good records on the label that you kind of have to set out a bit of an agenda before you mix it. The JJak Hogan and Toby Tobias stuff is amazing. “When they asked me to do it, I thought I needed to represent myself as a DJ, so I tried to start it off a bit deeper, not come straight out of the gate with some tearing techno. I just tried to build a good quality DJ set like you’d hear in a club. “There’s the ‘YOGOTO’ single that I did exclusively for the comp, which is an old school Chicago type of thing, and then there’s the more techno stuff that Matt

makes, the Dubfire mix of ‘Grindhouse’. “I take it down a bit more towards the end, with the Roman Flugel mix of ‘My Bleep’, I’m a really big fan of that.” Beyond the horizons of the compilation, Matt Edwards has plenty of new projects mapped out for later in the year. “We’ve got an album by Atlanta space-hop duo JJak Hogan about to drop,” revealed Matt. “We’ve also got an album coming from a Canadian guy, James Teej, who’s done stuff for Tic Tac Toe. And we’re hopefully doing an album with Boola, from Romania. “And I guess the big album will be the Radio Slave remix album, ‘The Works’, which is out in May. It’ll be another triple CD just because of the amount of content.”

Pick ‘n’ Mix

YOUR mixes, YOUR productions, YOUR live acts… We pick the best each issue! The winning mix will be broadcast exclusively on Kiss, on the Main Room Mix Session, 2am – 3am on the last Thursday morning of the month. Hear your mix next to sets from some of the world’s greatest DJs, including Carl Cox, Armin van Buuren and more. Remember to include a pic and a brief biog with your post!


Spencer, meanwhile, readies what could be his biggest production yet for Rekids. “I’ve done a record called ‘My Heart,’” Parker told DJmag. “It’s kind of like a tune you might find on Cadenza, a little bit South American-influenced, I only did it about a month ago. Matt’s been a real supporter of that. “They’re looking to release it around Miami time, so hopefully it will come out then and sell a million!” Another revolutionary episode in Rekid’s history, for sure.


BLURRING THE LINES of techno and progressive with a slick mix of Reboot, Chaim, Audiofilia and Audiofly, Clayton keeps it fathoms-deep. Building from mellower fare into more jacking material, this is a mix for tech connoisseurs.


Rawles’ breathtakingly accomplished tech-house productions — check his remix of Brian Cheetham’s ‘HA’ on the forum — really need to be heard. Incredibly funky percussive rhythms, stepping echoic piano and a warm rib-rattling bassline seal the deal. Sign him up now!

Radio Slave


THE VAGUELY UNHINGED Mr Squalor has been bombarding us for a while now with mixes. His latest mix somehow manages to make M83, Shinichi Osawa, Ulrich Schnauss and Above & Beyond work together — that’s electro, shoe-gazing and trance then… Crazy but cool!

How it works Post a link to your mixes, tunes or live sets on DJMAG.COM’s ‘Pick ‘n’ Mix’ forum. We listen to as many posts as we can and pick the best each issue! Check out totalkiss/mainroommix for the winners’ tracklistings, biogs and much more!

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SOUTH AUSTRALIAN newbie Miss PICK Dusk’s mix got our hearts racing with its effective cone-melting conflation of big room electro and huge techno cuts. The likes of Deadmau5 and Oliver Huntemann feature on a blend that should definitely get Miss Dusk noticed.

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ONE OF HOUSE MUSIC’S most seminal producers, Eric Kupper, has returned to the fray with his first new album in a decade. ‘Electrikiss’ (out now on King Street Sounds), produced under his K-Scope pseudonym, sees Kupper connect with a far more electronic, techy sound than what many will associate with the NYC-raised artist. “I never had, nor have, any rules with the music I make,” Kupper commented. “Some is more organic and soulful, some more poppy, some more electronic. That said, K-Scope was always an outlet for me to experiment with mostly electronic textures. Although all the previous releases had their more organic moments, they were primarily electronic in nature. “Like the previous K-Scope albums, all of these tracks were done in one sitting each. Just a spurt of inspiration, a moment in time encapsulated in a track. It varies from the more relaxed to slightly thumping, but nothing overly aggressive. I hope that it translates as being listenable as well as dancefloor-friendly. I also wanted to make an album that was very sensual.” The influential music man, who rose to notoriety after penning such classics as Frankie Knuckles’ ‘Whistle Song’, and remixing such diverse artists as Ce Ce Peniston, Björk, Mariah Carey, 808 State and Kate Bush, has decided to re-fire his K-Scope persona after a protracted period working with other artists. “While never turning my back on club music, for many years I was also concentrating on working with singer songwriters and bands,” Kupper said. “Although I was working on many remixes, I just didn’t think about writing an artist album. I was so involved in other projects it never really occurred to me that so much time had passed. But last year I felt the need to make this album, and look forward to making another one very soon, hopefully before the end of the year.” Indeed, Kupper’s schedule is showing no signs of slowing down, with a compilation album, new collaborations and new remixes also promised.

Kupper load of this! Eric Kupper’s first new album for 10 years

Going Hellfor leather DJ Hell’s reinvigorated label AFTER A QUIET 12 MONTHS Berlin DJ/ producer DJ Hell’s infamous Gigolo imprint is back with all guns blazing. The first part of 2009 sees a flurry of new releases on the label, and a new audio identity that unites them. With EPs from fresh signings Le Noir and Meriton, Actor One and Kikumoto Allstars currently circulating, and a veritable onslaught of new material promised soon, the new Gigolo sound is a re-booted version of classic house and techno — stripped back but with oodles of funk between the seams. “The truth is, we are busier than ever. We’ve re-arranged the musical direction but at the end of the day it’s still the sound of the mega church of Gigolo. Our motto is, ‘We like house music and we know how to use it,’” grinned Hell.

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A new compilation, ‘CD Eleven’, out now, showcases these driving, Chicago-tinged vibes and contains cuts from DJ Pierre, Acid Junkies, Abe Duque and Lopazz among many others. But this is still futuristic business; Hell and co. are simply looking to the rudiments of dance music for inspiration, and twisting them in exciting new ways. “This is the definition of house music in 2009,” stated Hell, nodding to his classic R&S single ‘My Definition of House Music’. “It will show the Gigolo members of the church which direction to go in.” A glut of albums will also follow from Australian producer Kikumoto Allstars, Captain Commodore, G. Rizzo, the much-hyped Dusty Kid and Hell himself. It’s set to be a hell of a year!

16/2/09 18:40:28

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16/2/09 18:22:02

Morillo takes Strictly into the future Includes multiple exclusives and new mixes of Strictly benchmarks

Hardrive / DLG & Erick Morillo / Underground Solution / Richard Grey Harry Choo Choo Romero / Who’s Who? (Steve Angello) Jose Nunez / ATFC / Copyright / Cevin Fisher / Chris Montana & more Discs one and two: mixed by Erick Morillo Disc three: bonus unmixed selection of Erick’s personal Strictly Rhythm classics

Visit Licensing For licensing enquiries please contact Events and DJs For events enquiries please contact

Forthcoming Erick Morillo 2009 Dates

Out 23rd February 3 x CD & Download

14 March – Ministry of Sound London 27 March – Subliminal Sessions at Space Miami WMC 28 March – Ultra Festival & Liv at Fontainebleau Miami WMC 12 April – Gatecrasher Birmingham Visit for further 2009 dates

Available now at

Distributed by ADA +44 (0) 20 7368 3640

20 years of Strictly Rhythm

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This issue’s hottest four names in dance music

Chris Bradshaw

Raffertie Marmite dubstep for noise demons

Formula mocking electronica breaks

IT takes an unhealthy appetite for noise to stand out on the dubstep dancefloor, which makes Mary Anne Hobb’s declaration that 21-year-old Raffertie is “sick as they come” the ultimate compliment. Whether it’s tearing up Radio 1’s airwaves or clubland, his productions have already drawn comparisons with Caspa. While last year’s EP, ‘Do It’, showed he’s not afraid of a 4/4 — three choice bassline cuts joined by a cheeky twostep version of Faithless’s ‘Insomina’ — it’s his ‘Anti-Social EP’, released 30th March on Secularis, that has all dials set to 11. Dropping rave synths, helium vocals and what sounds like a Paul McKenna hypnosis CD over grinding bass, tracks like ‘Wobble Horror!’ are as heavy as they come, while revealing a tongue-in-cheek humour.

FORGET all that the word ‘breaks’ means to you right now. Suspend preconceptions and allow to have your head mangled beautifully by the unrestricted irreverence of Bristolian producer Chris Bradshaw.

And with further bangers imminent for On The Brink and Planet Mu, it’s surely only a matter of time before Raffertie joins the ranks of dubstep’s fresh new stars. (JR)

Fast forgetting his own former life as a disillusioned drum & bass producer, Bradshaw’s six track ‘Quantum Breaks EP’ — out now on Artificial Bliss — sees the producer slow down the tempos and fill the newfound space with delirious rave bass silliness on ‘Upwardsdown’, Planet Mu-esque 8-bit glitchiness and alien bass badness on ‘Covertly Overt’ and mutant two-step garage funk on ‘Purple Penguins’. The hyperactive ‘2Tone’, meanwhile, sees him tread a line somewhere between the lush prog breaks of Distinctive’s once-futuristic ‘Y3K/ Y4K’ series and the mad bleepy machine menace of Si Begg. And like Begg, Bradshaw skilfully navigates that quicksand territory between gnarly, dancefloor-friendly fun and geeky formula-mocking irreverence. Seek out and hear for yourselves. (AM)

Motor City Ensemble

Casio Kids Electric disco cats go live

Stuttgart’s new house hope…

REMEMBER that unbridled joy of bashing away at your first Casio keyboard, driving the preset rhythms into overdrive? Norway’s Casio Kids do. Bouncing with energy, this multi-limbed groove machine throw everything but the kitchen sink into their sweat-drenched, funk-soaked disco-punk rhythms. Squelching primitive rave keys and 23 Skidoo reverbed guitars meet strutting snares on ‘Fot I Hose’, out now on Moshi Moshi, the first taster of the band’s addictive, organic hybrid on wax.

SCRAP what you think about Danilo Plessow’s production alias. The ‘Motor City’ he’s referring to is his German hometown. “It’s a homage to Stuttgart, home of Mercedes-Benz and Porsche,” Plessow explains. “Ensemble refers to one of my hobbies — collecting vintage drum machines.”

“We draw on Cornelius, Lindstrøm and Liquid Liquid for the sounds. Ivor Cutler for the humour. Afro-beat, Kwela and high-life music for harmonies and general shenanigans,” smiles arch conspirator, guitarist, vocalist and keyboardist Ketil Endresen. “People dance at our concerts and they sing along as well, so we would say that both modes will be represented on our forthcoming album.” (BM)

Despite this, the electronic sound of the 313 still informs the young feted producer’s sound; his debut for 20:20 Vision, ‘Lonely One’, out now, follows releases for Compost Black Label and Mule Musiq. Refracting jazz and disco elements through the tech-house prism, MDE is all about that soulful rhythm, but rendered electronically. And with interest in his fresh tech increasing, it won’t be long before you’re moving to his idiosyncratic groove. “There’s gonna be new stuff on my own labels Four Roses and MCDE, plus remixes for 20:20 Vision, Mule Musiq and Prime Numbers soon,” he reveals.

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Sneak will be rinsing out the WMC at Beatport’s Remix Hotel Pool Party, at The National, on 27th March, and the OM Miami party at Karu & Y, on 28th March. We ask what’s floating his boat right now…

What kind of feeling did you set out to capture with your mix for NRK’s ‘Back In The Box’ series? “It’s a mix of mid and late-’90s tracks, from the time when the disco house sound was picking up and there were a lot of great artists, all doing good stuff, from Bob Sinclar to Ian Pooley. These were the years that I was playing a lot at Ministry of Sound, and the tracks that I was playing. “NRK put one and one together and let me go for it, and they deserve props because they’re showing they want to continue supporting the music they’ve been putting out for years.”

DJ SNEAK 60 seconds with …

WHEN IT COMES to the Windy City’s kinetic house rhythms, DJ Sneak has the scene on lock. The larger than life Chicago native, aka Puerto Rico-born Carlos Sosa, has been instrumental to the development of the second wave of house music from the famed US city, a uniquely swingin’ form of deep-pan club funk, an evolution of the original 4/4 archetype that incorporated disco, US garage, Latin percussion and harder European thumps. Known for filter-frenzied hits like ‘You Can’t Hide From Your Bud’ and adrenaline-drenched DJ sets alike, Sneak’s new mix for NRK, ‘DJ Sneak: Back in the Box’, out now, sees him preach the restorative powers of groovepropelled house music, returning to the classic late-’90s styles that first catapulted him to fame.

As one of the innovators of Chicago house, do you think that it’s evolved recently? “Chicago house has gone in a lot of different directions. You’ve got a lot of producers like Green Velvet, who does techno, he’s elevated himself and is probably the most successful guy right now, while Derrick Carter does that boompty boomp thing. “In terms of new guys, there are people who are doing good tracks, but if you do one hot beat today and you don’t do nothing for the next three years, you don’t exist. You’re only as good as your last good track.”

You’re playing at the Winter Music Conference. What are your feelings about Miami? “Miami is Miami. It’s all about the parties, and they’re always good. It’s great exposure, it’s a perfect opportunity for people to make something out of this industry.”

What else have you got coming up? “There’s a collaboration between Ricardo Villalobos and I, we played together last year in Berlin and it became the talk of the town. “We made a track, and Ricardo’s remixed it, and I’m gonna remix something for him. We’ll see what happens...”

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DJ Marky High Contrast London Elektricity Cyantific Krust B2B Die Logistics Nu:Tone Dynamite MC MC Wrec SP:MC Ruthless

James Zabiela Christian Smith & John Selway Joey Beltram Kos High Tide Robert Babicz Spektre Live Yousef Dan, Gary & Mooj

Dubfire Karl Bartos (Live Cinema) Martyn Eyerer Air Ali B & Friends

Xpress2 Alex Gaudino Tristan Ingram Kids Of Funk Digital Narcotics Ryan Ellis Jesse James Jon O Lewis Wright Gloss Ketrano Djs Jimmy Lee & Jon Slater Lee Somnio Bill Nick





Tinchy Stryder Gary Numan & Ade Fenton The Pipettes (Live) Heart Break Defend Moscow Circus Jodie Harsh Patrick Wolf (DJ Set) William Orbit

Pendulum (DJ Set) MC I.D Pete Jordan Mikey Morph

Etienne De Crecy (Live / Visual Show) Azzido Da Bass Headman Jojo De Freq

Frankie Knuckles Tony Humphries Andy Ward

Benga Tayo Zed Bias Loefah N-Type Heatwave Soundsystem

Karizma Frankie Feliciano Neil Pierce Sy Sez

MARCH 0207 549 6686 For travel info and listings Please vist our website: Advance tickets: 0844 847 2379 The O2 Peninsula Square London, SE10 ODY

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We’ve teamed up with the cats and the innovative sample technicians over at Loopmasters — producers of sample packs from such heavyweight creators as Coldcut and Nu Tone — to offer a special prize. We’re giving away £100 to spend at on their extensive catalogue of sample and sound libraries to one lucky winner. Five runners-up will also receive £30 to spend at the download site. To win, just answer this question... Name one drum & bass artist who has produced a sample pack for Loopmasters.

Win free music software from! WE ALL WANT to make music. Everyone and their cat has been struck by the production bug these days and some of the best music on the planet is being conjured up in bedrooms across the globe, thanks to affordable but sophisticated music software. Now the technology to construct that epic track is more available than ever, thanks to innovative web-based production store Re-launched last year, is the one-stopshop for all budding music producers, and the most comprehensive download site for loops, instruments, beats, grooves, sounds and FX. Suitable for seasoned pros and beginners alike, the store caters for all musical styles, so whether searching for that elusive final effect or looking for inspiration for a brand new drum & bass endeavour, there will be something suitable on

Nu Tone

Send your answer, full name and contact number to ben.murphy@djmag. com. Competition closes 23rd March.

Web-based, it’s as simple as checking out the parts, buying and downloading them — possible in minutes thanks to simple, clear and intuitive design — and getting straight down to producing a hot track.


21st March

Make a date in your diary for live music broadcast website Awdio’s launch party at London’s Scala. Mathew Jonson’s COBBLESTONE JAZZ play live alongside special guests, so expect funky, abstract techno-related tomfoolery and much more…

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Coming up and coming right at ya...

28th March

Warp’s shape-shifting electro-grime-psych crazies GANG GANG DANCE play at Glasgow’s Subclub as part of their UK tour. Anything can happen, and probably will — just let it flow, man…

9th April

Manchester’s Audio Farm — a new night dedicated to forward-thinking future music — takes place at Moho, and welcomes the mighty DERRICK MAY on this date, alongside French tech tearaway Shonky.

19th April

The on-the-money Noise of Art crew host perhaps their best line-up yet for the Ether Festival, at London’s Queen Elizabeth Hall. DFA’s THE JUAN MACLEAN, DJ T, Thomas Schumacher and DJmag’s own Ben Osborne all feature in what should be an amazing event.

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Saturday 07 th March

Saturday 14th March

Saturday 21st March

Saturday 28th March

Saturday 04th April






Bar — Simple Records

Bar — Housexy



Bar — Little Mountain Records

Dig Deeper

Danny Howells (7hr Set) Will Saul Motorcity Soul Mike Monday

Loft — Bread & Butter

Julius Leonardo Abbate Charlotte Michelle 11th Enzo Tedeschi Baby Box


Subliminal Sessions

Erick Morillo (7hr Set) Jazzy M Richard Murray Tom Murgatroyd

Release Yourself

Roger Sanchez (7hr Set) Lee Mortimer Filthy Rich Chase Buch

Loft — Be Good Music 5th Birthday Loft — Anything Goes

John Spacey Ryan Stern Alberto (Live Percussion) Dave Adams & Dave Jay John Sabian Baby Box

Ministry of Sound DJ Academy

Dave Impact Tobie Allen Martin B Future Filth Baby Box

Ministry of Sound Radio

Hi–Tek Soul

Derrick May Octave One (Live) Stacey Pullen Jim Masters Krysko Dom Chung Loft — Analogue

Eddie Richards Dave Mothersoul Paul Church Baby Box


This Is


Sander Kleinenberg Lifelike Patch Park Dirty Disorder Musikjunkies James Nidecker Dan Sanders Loft — Innuendo

Welfare For The Digital Sam Red Chris Woods Baby Box

FHD Records

Ministry of Sound 103 Gaunt Street, London SE1 6DP. Nearest tube: Elephant & Castle. For guestlist and enquiries email: or call: 0870 060 2666. Advance tickets:, or call Ticketweb on 0870 060 0100. Priority entrance goes to advance ticket holders. VIP table reservations: Maria on 07932 243 963 or Design & art direction: Photography by

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16/2/09 11:20:50

The Dope DOZEN: As Martyn, TRG, Skream and even Hervé all vibe off the sensual bump and groove of two-step garage, we dig back into the sound’s vaults for the heads to remember...

TWO-STEP 01. Dem 2 ‘Destiny’

07. D.E.A. Project ‘Nasty Bitch’

02. The Streets

08. Ramsey & Fen ‘Love Bug’

Cute melody hooks, stretched ‘n’ clipped vocals and a sexy but sinister vibe, this slick bump and grind anthem was two-step garage at its most devastatingly simple.

‘Let’s Push Things Forward’ When Mike Skinner wrote “bangers not anthems” (or weepy mockney pop), this ska strutting steppa’ made two-step a definitive suburban youth soundtrack.

03. M Dubs feat Lady Saw ‘Bump ‘N’ Grind’

This underground vocal anthem kept things runnin’ with a clankin’ bumpin’ groove and killer organ stabs.

09. Tina Moore

‘Never Gonna Let You Go (Kelly G Bump ’n’ Go Remix)’

This bass pulsed ragga garage skanker was the finest moment from the cult M Dubs outfit.

Half-baked US soul singer Tina Moore somehow became the first face of UK garage thanks to this Top 3 smashing remix from Steve ‘Silk’ Hurley’s mate Kelly G.

04. Active Minds ‘Hobsons Choice’

10. Zed Bias ‘Neighbourhood’

05. N.C.A. pre Robbie Craig

11. El-B feat Juiceman ‘Digital’

On wax just a white label with a budget ‘Hobsons Choice’ sticker, on needle a dark-soul, bass marauder that smashed every floor from Vauxhall to Ayia Napa.

‘Lessons (Steve Gurley Remix)’

Craig’s echoed tones spooked out this brooding mutant r&b cut — full of eerie synths and sonic boom bass stabs.

06. Goldie

‘Believe (MJ Cole Remix)’ The Streets

A Croydon classic, this cheeky instrumental from ’98 dropped into an infectiously funky freak-out but kept things dark enough for the Big Apple heads.

Garage’s golden boy lifts Diane Charlemagne’s magnetic tones and eases them into a soothing, sensual cruise.

All ragga chats, soul strings and bass nastiness, this was a mash-up of proper street sounds from future garage visionay Bias.

Burning garage’s dying embers into a minimal dark bass scorcher, this laid the first foundations of dubstep.

12. Ed Case

‘Something In Your Eyes (K Warren Remix)’ Hooked on a gargantuan double bass pluck, this dramatic vocal anthem was Ed Case’s finest moment.

Seminal Selection Each issue we ask a DJ or artist to name an album that’s been an inspiration to them. This time, Mistajam digs out a true disco house classic…

Daft Punk

‘Discovery’ (Virgin, 2001)

“‘Discovery’ was the first album that really opened me up to house music. Around the time this album was released, I was pretty much solely a hardcore hip-hop, r&b and UKG head. I’d first got interested in Daft Punk after I saw the videos for ‘Da Funk’ and ‘Around The World’ on MTV and in turn bought the 12”s, but I never got round to picking up ‘Homework’. “‘Discovery’ was the first house album I’d listened to in its entirety. I was fascinated by the fact that these two guys from France had taken the same sampling, layering and looping techniques used in hip-hop and made house music that really crossed genre boundaries. “I was 18 at the time and had just got the stereo in my first car upgraded so it was on regular rotation on every journey, with ‘Aerodynamic’ rewound time and time again. “I loved the soul and thump in their music and the groundbreaking way that they created a perfect fusion of soul, funk, hip-hop, rock and house music through the way they worked their samples, and what they turned to as sample sources. It’s come as no surprise that the current crop of urban music producers, such as Swizz Beatz and Kanye West, have turned to Daft Punk, and the ‘Discovery’ album in particular, to be sample sources themselves. “Through my love of this album, I then went and discovered other quality house albums from around the same time, such as Basement Jaxx’ ‘Remedy’ and Les Rhythms Digitales’ ‘Darkdancer’, and it really influenced me to fuse the urban and dance worlds with my DJ sets and radio shows.”

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16/2/09 18:32:19

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Anil Chawla and Dale Anderson rev up for Miami “TO START WITH, we were like, ‘What are Global Underground gonna think of some of this?’” admits Dale Anderson with a big grin. “’Cos there’s a couple of pop tracks, even a kinda porno track at the beginning. But they loved it!” Of course, the amiable progressive house team of Anil Chawla and Dale Anderson needn’t have worried about what their label would think of their debut album ‘Roadhouse’, out now. For it’s the dance music longplayer just as it should be: a trip through the many diverse tastes and flavours that inform the DJ sets of its talented creators. From the sleazy, Blaxploitation widescreen funk clatter of opener ‘Jazzy Good Times’ to the disco-punk song-smithery of Justin Robertson collaboration ‘Are We All Together’, ‘Roadhouse’ spans all manner of grooves, while retaining that distinctive Anil and Dale production stamp throughout. “What we didn’t want was just club tracks all bunched together,” asserts Anderson. “We’ve done quite a few tracks for cool labels, which have all been dancefloor-orientated, so it’s nice to have an album where we can branch out a bit, to experiment with some new sounds as well,” adds Chawla.

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But don’t think they’ve abandoned their progressive house roots; the classic, infectious rolling bass and glistening Balearic chords of ‘Leftorium’ see inclusion, whilst elsewhere ‘Minimalise’ sees them embrace incredibly funky, jumpin’ drums, horn licks and a massive trance-flecked riff, designed to nuke clubs. Tracky ‘Automat’ is perhaps the pick of the bunch, all stripped-back acid house low-end burble, crisp claps and an electro skankin’ dubbed-out synth. Indeed, virtually all of the tracks on ‘Roadhouse’ have the ability to obliterate dancefloors — which the duo will have ample opportunity to demonstrate when they play 25th March at DJmag’s Pool Party at The Shelborne, Miami, for WMC. It’ll be the first time for Chawla and Anderson in the US party capital and their excitement is palpable. “It’s going to be a great time and the line up is massive,” says Anderson. Chawla adds: “I’m a big Josh Wink fan so I’m looking forward to seeing him at the party. And I love playing outdoors so it’s gonna be so much fun!” Anil and Dale have been producing together since they were first introduced at London club Turnmills in 2003, and decided to combine their production talents.

“I found out that Dale was making music, and from there we wrote ‘Makes Me Feel’, which Nic Fanciulli signed to Saved Records. It was quite a step from bootlegging Green Velvet to making deep house tracks,” recalls Anil. Since then, of course, Chawla has cultivated a formidable reputation as a DJ, his residency at Turnmills night Together the stuff of legend, while his Canadian compadre Anderson’s productions ‘The More I Know’ and ‘Drift Away’ have been rinsed by everyone from Sasha to Paul van Dyk. Together, they’re pooling their considerable skills to create irresistible electronic music. “The album shows that we go from one end of the spectrum all the way to the other,” believes Chawla.” Following ‘Roadhouse’, there’s with a new double CD compilation planned for Global Underground of underground house classics. “It’s proper underground,” says Anil. “There’s some acid house, some early deep house, like Peace Division sort of stuff, Joey Beltram’s ‘Energy Flash’, all that kind of thing. And hopefully we’re going to be doing a few GU nights in support of the album.” Looks like these lads are on the right road.

16/2/09 18:29:43

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Look into my eyes… Face it, it’s never too early to get your shades on. Get ready to hide behind them at Miami’s Winter Music Conference or brace yourselves for the blinding light of the first spring-time rays back home in the UK.




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Essential Selection This season, PF Flyers are flying!

We look high, we look low and we look for you! And we all concur that this super-buff pair of PF Flyers don’t come emblazoned with the obvious branding. When it comes to footwear, this season think colour, but not too much, a subtle metallic look with a slightly worn-in hint and a touch of embossed print will do. Is that succinct enough for you?

036 36

The perfect solution comes galloping on the horizon in the guise of PF Flyers. They’ve been simmering away for a few years now and we say, “Yes! They’re ready!”

16/2/09 10:15:19

FASHION WHAT A SITE! Let your fingers entertain you. Click on!


ROYKSOPP.COM There are some things in life that one should subscribe to without so much as a second thought. Pete Tong’s MySpace blog, World’s Healthiest Foods daily recipe and Röyksopp’s newsletter are the first to spring to mind. Life would be so dull without the occasional reminder that Sven and Torbjorn’s ‘Junior’ album comes out this month. Sweet joy.


What you wearing?



It’s all about the threads…

PETETONG.TV Double take? Yes, that’s two mentions in the space of a minute! Click on and wise up to the weekly insights of all things Tongy and wonderful, as the man casts over pretty much everything he’s already dipped into on his show. It’s good. 01. GIVENCHY £139 02. LACOSTE £105 03. GIO GOI £55 04. VANS £5 05. DAMIR DOMA £150 06. PEPE £45 0800 783 1372


Describe your style... “It’s a combination of street footwear and pants, with T-shirts with loud graphics and glaring designs.”

08. VON ZIPPER £65 09. OAKLEY £88 chemical-records. 10. RAF SIMONS £165 11. ANON £57 chemical-records.

What you wearing right now? “I’m touring in Asia — I’m in Thailand at the moment, and I’ve just come from the beach, so I’m wearing shorts, flip-flops and one of my Heroes and Villains T-shirts. “I’d been threatening to design my own range of ‘eccentric’ tees for ages and I finally got it off the ground late last year with the help of the guys at”

PAPER-SCISSORSTONE.CO.UK It’s happy days for the Leeds fashion massive as a new store opens up on New York Street. With in-store events and plenty of men’s and women’s wear, plus arty bits and pieces, this little hideout is a gem of a find.

Favourite shades? “I wear glasses so I don’t really wear shades. However, my glasses are photochromic, in other words they go dark when the sun shines and become sunglasses, so to speak.” Favourite designers? “Desigual and Custo Barcelona — a combination of striking designs and very unusual fabrics make these two Spanish brands really stand out.” 37

How do you like to shop? “In my opinion, it’s a bit risky buying anything other than shoes online, as sizing varies enormously between brands — one label’s large is another’s medium, etc. “Plus, I like to kill time between gigs rooting around in malls when I get the chance. Sometimes my wife Amanda comes with me on overseas trips and we end up having to buy an empty suitcase to transport our findings home.” Most treasured possession? “My glasses, which have become a trademark now. They are a unique pair which were bespoke designed for me.” What are you up to? “My second artist album ‘Bring The Noise’ was released in February, and my clothes line — Heroes and Villains — is available now. “Judgement Sundays Ibiza returns to the island in early June for its 10th year anniversary season, and my show on Radio 1 is on from 11pm – 1am on Friday nights.”

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Seek out Emofunk Land a Modfunk T-shirt ahead of the game... PIMO AND TIGERMAAN are founding members of Polish label Seek Records, and together they also form Modfunk, a funky, electronicabased pop act. ‘Emofunk’ is their latest studio album and features collaborations with Philippe Zdar, Cassius and John Web, as well as a tasty cover that’s designed by up-and-coming Swiss graphic designer Philipp Dornbierer, aka Yehteh.

LESS IS MORE... Trend-busting nuggets and fashion predictions COLOUR OF THE MONTH… Strangely it’s back again, the yellow fellow, precisely what is needed to light up our lives. It’s a colour that needs to be treated with care. Just a touch and you’re there, too much and it’s bottom marks for you!

Modfunk liked the design so much they’ve splashed it all over T-shirts and are offering five to DJmag readers, a whole month ahead of the album release date. Send your T-shirt size to helene.stokes@djmag. com or a postcard to: Modfunk T-shirts, DJmag, Old Truman Brewery, 91 Brick Lane, London, E1 6QL.

Hooked up

JUST LIKE THAT… As comic heroes go, Tommy Cooper is right up there with the best of them. Yesnomaybe pay homage to the funny guy with a New Era cap done up in a fez style.

Get kitted out with tasty Dephect gear WANT NEW THREADS? Want a t-shirt, a jacket and a belt? We got it! Thanks to super-stylish streetwear label Dephect. This season they have a whole host of neat hook-ups and collaborations throughout their collection. They constantly keep their sights on the sounds and styles of the underground by sponsoring skaters, BMXers, artists and DJs, like Jobe, Keshone, Mr Brown, Stanton Warriors, Daryl Dominguez and the Bad Taste Crew.

IN THE BUFF… Not so long ago we raved of the beauty of a see-through garment, believe it or not, and now, for reasons beyond our realm, it seems that the next step can only be nudity. Show us your bits!

And they love you too, which is why they’re offering a jacket and a tee for first prize, then three tees and two belts for the runners-up. How nice is that?! Send your details to or on a postcard to: Dephect, at our usual address.

Bands that make fashion sense

THE DEER TRACKS THE DEER TRACKS don’t just make fashion sense, they sound like fashion sense. Crisp and clean, their debut album ‘Aurora’ is a gentle awakening to spring, although we’ll also be tucking into it next Christmas. Swedish duo David Lehnberg and Elin Lindfors create delicate, glitchy electronica that they then craftily meld with folky throwbacks and sounds of days gone by.

It’s a good look! 038 38

Typically, Elin’s sense of style mirrors ‘Aurora’. “I tend to mix a lot from exclusive secondhand stuff to more common fashion labels. In my hometown of Gävle we have a lot of secondhandshops and markets where I can buy a nice pair of shoes for the same price as a soda.” As for David? “I’m really just a boring jeans and T-shirt guy. Mostly I wear black slimfit jeans from the Swedish brand, Cheap Monday. To top it off, it’s a T-shirt from my favourite clothes website,” ‘Aurora’ is released through Despotz Records on 9th March.

MAD MARCH HAIRS… The simplest way to reinvent your tired wardrobe is to do something about your hairy bonce. Do something daring. Cut it yourself, get a mate to do it. Dye it. Try it. ONE STEP BEYOND… We have fabulous news for you fashion fiends — Gio Goi are stepping into the footwear department with a sleek, minimal collection of low-slung pumps and rather natty shoes. Watch this space. FULL CIRCLE… A label that may have escaped your attention is Full Circle. There’s nothing loud or crazy about them, they just put out simple attire that speaks volumes to us.

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Forthcoming... _Carl Cox _Erol Alkan _Crookers _Simian Mobile Disco _Hernan Cattaneo _Friendly Fires _Seb Fontaine _Sebastien Leger _Ben Watt _Rusko Live _Mauro Piccotto _Japanese Pop Stars _Drop The Lime _Scott Bradford _Shadow Dancer

_John Digweed _Axwell _Steve Angello _High Contrast _Brodinski _Ladyhawke _Krafty Kuts _Benga _Apes & Androids _Toddla T _Fake Blood _Paulo Mojo _The Whitest Boy Alive _Raresh _Doorly

plus many many more...






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“Dressing up as a bear in Colchester Zoo for £5 an hour.”

“Wearing a Bernie Clifton fancy dress outfit.”

“Not taking advantage of a 22-year-old Italian virgin.”




“Waking up naked in a hotel corridor — I couldn’t remember which one was my room!” KEVIN, 43, DECORATOR

Own up... what’s your last regret? Most people claim to have no regrets in life. But for you lot that sinking ‘day after’ feeling is all too familiar. Forget sparing blushes as we ask for your latest moments of regret…

“Getting hammered and turning up late to my own birthday party!” SUE, 27, FREELANCE WRITER


“I pulled a girl that looked a bit too close to Gollum.”

“Less of a regret and more of a sorrow: The End closing.”


SARAH, 27, PROMOTIONS DJ4671.voxpops.indd 41

041 6/2/09 17:39:28 where you lot get mouthy...


dance to trance

In December 2008’s DJmag on p.28 there was a letter from Dan. I read it and it made me angry. Actually, I understand him. But I would ask him, why are so many trance DJs in the Top 100? Why? Because this is a public vote! And the public like trance! More maybe than techno or some other genres. Why do people like trance so much? Because there are many more good trance DJs. In some other styles I can hear anger. But in trance... hmm... I can hear the answer. Sounds strange but these are my feelings. I can understand trance and understand the message that the DJ wants to send me. AMELIE, VIA EMAIL


Wow, Amelie, you’re certainly passionate about your trance. We’ll get a CD case in the post to you, to aid your mission to evangelise on the wonders of your favourite music!

soldiering on

Hello, my name is Staff Sergeant Trujillo, with the United States Army, out of Joint Base, Balad, Iraq. I got deployed here in December 2008 and it looks like I’ll be staying for a year. I’m finding that being in Iraq there’s no way of listening to any new music hitting the club scene. I’m originally from Southern California and enjoy listening to my Sirius satellite radio when back in the States. Is there any way you can help a soldier out? I don’t want to be left in the dark on what’s going down for 2009. I appreciate you taking time to read this email and hope to hear from you soon. SSG ANGEL TRUJILLO, VIA EMAIL It must be tricky to access the music out there. We’ll be sure to send some fresh tracks over to keep you in the loop.

From the forums TOPIC:

New digital music site Sound Cloud SIMON BAUGH: What do people think of Sound Cloud? Has anybody used it?

ARTHUR BARR: I think it’s great. I’ve been on it a few weeks so still getting used to it. For labels, producers and DJs, it’s an essential 042 DJ471.bitchin.indd 42



cheers all round

Having finally come round from the three-week blur that is the ‘festive’ season, my girlfriend flops the January issue of DJmag into my lap and says, ‘Cheer up!’ I have a bitch of a cold and while downing more chesty cough mixture than it says is sensible on the bottle, I begin to read. A hundred reasons to be cheerful — great! My point is, I did cheer up and you know what, perhaps there is a little less cash to go around this year, but who cares — there’s a million of us who still wanna party whatever. Let’s go! STEVE WAKELIN, VIA EMAIL

tipping the wink

Really enjoyed the Josh Wink feature last issue. It’s amazing to think that Wink has been around since the beginnings of techno, but is still totally doing it on the dancefloor. It’s also refreshing to see him flicking the finger at the purists. There’s definitely too much classification in music. Everyone is obsessed with minimal this and disco that, but face it, what’s good is good, and what isn’t, isn’t. The best DJs and producers are the ones who are able to think outside the box, and mix up different styles — it’s so much more exciting when you don’t know what’s coming next. I can’t wait to get hold of Josh’s new ‘When A Banana Was Just A THE STAR LETTER wins a UDG Banana’ album. It’s still a SlingBag 258. It’s the perfect partner for DJs, DVD funny old title though… enthusiasts, creative Long live legends like the professionals or just to sling into your car! Winkmeister! DAVID BREWSTER, VIA EMAIL

Reader chatter from DJMAG.COM

tool. And also a great way to get tracks aired if you are a new producer wanting feedback.

DARK ROOM ROBOT: Used it since the beta version, and I think it’s pretty cool. Though it’s been a bit of a pain of late with sluggishness ‘n’ stuff. The yearly price is way too steep to me, but I managed a cheap deal when it was on beta, so long-termwise I’ll see how it works out and what the fee is next year. Deffo good for

sharing stuff, the last couple JOIN IN THE of tracks I’ve SCUSSIONS DI done with a OW, ON THE N mate, we’ve FORUMS EW been able to AT THE ALL N listen ‘n’ add DJMAG.COM comments on parts we think need changing, while we were working offline. A great tool.


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25TH MARCH 100 * TOP CLUBS 2009

The world’s best clubs as voted for by the planet’s top DJs!


NYC’s disco dons smash it!

MAN * RAIN Oakenfold’s colourful Las Vegas cabaret

FREE DON * DIABLO CD! Electro mash-up from the Dutch master

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NOBODY DOES IT GUETTA French house DJ and producer David Guetta is simply unstoppable…

“G “I’ve been seen as ‘underground’ at some points in my life and ‘commercial’. You’re always going to be the ‘cheesy’ guy to somebody.”

uetta! Guetta! Guetta!” The kids taking a tour of the Stade de France in Paris on this freezing Saturday afternoon are shouting out the name of the man they’ve just recognised on the otherwise empty pitch. But even though David Guetta isn’t a member of the French national football team who normally kick around on this turf, the kids’ squeals of excitement when he turns towards them are as feverish as if it was Thierry Henry waving back. Then again, David Guetta should be used to hearing his name reverberating around this stadium, although last time he was here there were more like 45,000 people than 45 chanting “Guetta!” from the terraces. Back in July, the Stade de France was the setting for Unighted, where Guetta captained a handpicked squad of superstars like Carl Cox and Tiësto at the single biggest electronic music event in the nation’s history, an achievement that confirmed his place not just at the top of the league in France, but as one of dance music’s true world champions. But how did David Guetta get here, to the point where he can pack France’s biggest stadium and is as revered there as any of the country’s footballers? And that’s no exaggerated comparison either, for the kids in the stadium are far from the first people to clock him in the few hours DJmag has already spent in David’s company. Earlier on, when we rendezvous outside a city centre hotel filled with models and delegates attending

Paris Fashion Week, it isn’t any of the razor-cheeked catwalk queens who are turning heads but this man with his floppy blonde hair and five o’clock shadow, although he takes the constant pestering for photographs not just with good grace but with genuine enthusiasm. “I’ve never had any aggression from anybody,” he grins. “Everybody’s always nice to me so I’m nice to them back. I have a very different status in France than I do elsewhere, where people know me mainly as a DJ. There people scream my name in a club but when I walk out here it’s all over. "But I’ve sold so many records and been on primetime TV here, so I can’t do that and then complain that people recognise me. "Yet because I’m travelling so much I sometimes forget how famous I am in France.”

Contrast However, if things continue on their current trajectory that won’t just be the case at home. With the USA beginning to fall at his feet, American r&b stars queuing up to work with him, more Youtube hits than any other electronic music artist and the Highest House DJ and overall No.5 placing in our Top 100 DJs poll, David could soon well become dance music’s most famous face. Which is certainly in contrast to his first DJing experiences, when the man who would subsequently produce a string of worldwide smashes wasn’t even allowed to choose which records to play. “I got my first DJ job at a gay club when I was 17,” he recalls, relaxing in a

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chic restaurant after our visit to Stade de France. “This was the mid-’80s; there was no house music and back then you played the records that belonged to the club. I’d turn up with my own records but the manager made me play hi-NRG and new wave. "I came from a funk background and hated all of that at first but I started playing New Order and Front 242 and think the base of the music I make today comes from there. I often use electronic instrumentals with gospel vocals so there’s opposition between dark and happy and black and white influences.” It was house music that was his real Damascene moment however, something he experienced for the first time during a trip to London’s legendary Shoom club in 1987. “That was it for me!” he laughs. “I spent all my money on house tunes in Blackmarket Records and knew that it was what I wanted to do. I came back and said to the owner of the club, ‘Give me the Monday night when it’s totally empty and I’ll print all the flyers and promote the night myself. The only rule is that I get to play what I want.’ "So I went riding around Paris giving my flyers to people and saying, ‘There’s this new form of music called acid house. You have to hear it because it’ll change your life!’ "I was like an evangelist! Laurent Garnier was playing house music at The Rex but he’d been living in England so he was used to it, but it was all completely new to me. The parties were very successful and soon I was

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playing at all the clubs in Paris, filling in on the regular DJ’s nights off. I soon realised people were following me between clubs.” Not that his fans had much chance of actually seeing him though. “You would never see a DJ on stage in France then,” he says. “Even though I was regarded as super cool, when I played at Les Bain Douches I was in a room where you literally had to open the door and walk around to the dancefloor. There was even a phone in there! And at Le Palace — which was like Paris’s Studio 54 — I was in the cellar and could only see the shoes of the people dancing through this little window. "It was mainly weekdays but they were getting more popular than the Saturday nights and because people were going there just for my parties I thought I should be not just the DJ, but the promoter as well.” So with his wife Cathy, whom he had met whilst she was working as a waitress in St. Tropez, the couple began buying and running venues across Paris, establishing a nightlife empire encompassing restaurants, clubs and strip joints. “The first thing I ever said to Cathy was, ‘You’re going to spend the night with me, we’re going to get married and have kids and have a fantastically successful life together,’” he laughs. ‘I think she was a little bit shocked but I did keep my word.”

Emboldened But whilst the success certainly came, David admits that his time as a nightlife mogul “left me deeply unhappy”. Running clubs not only meant DJing took a backseat but also that he had absolutely no time free to spend in the studio following his first production ‘Up and Away’ with Robert Owens in 1992. “I was missing it so much so I told my wife that I had to have one day in the studio a week,” he reveals. “I went into the studio with an old friend one Monday

and after a few hours we had a track. Then the next week I was in a restaurant with some old friends and met a gospel singer called Chris Willis there. I invited him into the studio to do some vocals and they were absolutely amazing, and we’ve worked together on all my albums since. So after two weeks we had ‘Just A Little More Love’ ready.” The support of Daft Punk’s Thomas Bangalter — to whom David tentatively played his demo asking for advice — sealed him a record deal and made ‘Just A Little More Love’ a French chart hit in 2001. Emboldened by its success, David was determined to devote himself to music full-time, even if Cathy took some convincing that selling all their clubs and venues was a good idea. Of course, with three albums, the last of which — ‘Poplife’ — has spawned five hit singles in the UK alone, and sell-out international tours now under his belt, it proved a wise decision. Tracks like ‘Love Don’t Let Me Go’ caught the crest of the electro-house wave, which reinvigorated house music, although David is adamant that he’s no bandwagon jumper. “People might say what I do is formulaic stuff for the radio but when I came through with ‘Just A Little More Love’ that totally wasn’t the format,” he claims. “‘Just A Little More Love’ was No.1 in the club charts for six months but we couldn’t get it on the radio! What helped me take it somewhere else was taking my roots in the underground and combining it with real songs that would reach people outside the ‘dance’ scene. I’m not afraid of ‘pop’ music.”

F**k Me! Indeed, David has learned lots from studying the charts, particularly when it comes to packaging a personality. “I started putting my picture on covers and adverts for my parties,” he explains. “Every DJ does that now

but I was the only one at first. Plus, we spend lots on the videos and have a strong visual concept because this is about making big records for everybody rather than just music for a basement.” All of this has arguably made David Guetta as much a brand as a DJ, something he won’t dispute despite saying, “I’m no more of a brand than Tiësto or Carl Cox.” And whilst he also claims to be unsure exactly what that brand represents, an idea of what people are buying into can be found at his ‘F**k Me! I’m Famous’ parties in Ibiza. Packing first Privilege and now Pacha for the last 11 seasons, ‘F**k Me I’m Famous!’ is almost clubland’s ‘Footballers’ Wives’ in the way it polarises people between those who see it as a glamorous escapist fantasy and those disdainful of a surface narcissism where how you look is as important as the music. Plus, with both David and Cathy’s pictures featuring heavily on the ‘F**k Me! I’m Famous’ compilation series and in the club itself — last year’s closing party featured a wedding-themed stage show to mark their 15th anniversary — you could speculate that the couple are almost the ‘Posh and Becks’ of dance music. “Absolutely not!” replies David indignantly. “We both met before we were famous so it’s not the same at all. She’s not been part of my career musically — just when we were promoters. But I think what people like about us is that she’s black and I’m white so we represent a lot about tolerance and what you can achieve from different backgrounds. It’s easy to invite a couple like us onto TV because that’s an accessible image.” Indeed, David claims that ‘F**k Me! I’m Famous’ was always intended to be tongue-in-cheek. “It’s funny because when I started it I wasn’t famous at all!” he laughs. “It started as a night called Oo-LaLa back when the Brits dominated Ibiza and people were laughing at me for trying to promote French

048 DJ471.guetta.indd 48

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house music. So we had to come up with something provocative. My wife was a fashion PR and moved in that VIP circle but the games that people played around celebrities were just ridiculous. We were taking the piss out of aspects of our own lifestyle.” It was maybe difficult to detect the irony in the infamous L’Oreal adverts he appeared in though. “I have no regrets about that at all,” he states emphatically. “It was really hard getting my music on TV and radio at the time and they took ‘The World Is Mine’ and it became a global hit! "I don’t mind people taking the piss out of the way my hair looked in it or something, but that was typical of the self-destructive nature of the dance scene, where if something is successful people try and kill it. People don’t understand that they’re just shooting themselves in the leg.


David's Parisian dancefloor memories...

The Rex

“The Rex was my first success at a club where I wasn’t resident. It started out as a rock club but was the first place in Paris to play dance music with the ‘Jungle’ nights and Laurent Garnier’s parties. “I used to do Tuesdays in the late-’80s and it was the first place I could really play what I wanted with no concessions. "It’s still the most underground and musically credible club in Paris and is really important for both the city and me.”

“I’m not the only producer to be successful and when another one is successful I’m very happy because it makes me more powerful. I don’t see this as a competition because if several artists are successful it’s a real movement that is strong and we can go to the media and say, ‘Why aren’t you playing this music on the radio when hundreds of thousands of young people are following us everywhere?’ “This music is 20-years-old now and I can understand people wanting to keep it to themselves when it was new but do we still all want to be playing the music Frankie Knuckles was just to keep it real?”

Criticism Indeed, the division between ‘commercial’ and ‘underground’ is a concept David says he gave up struggling with some time ago. “‘Commercial’ and ‘underground’ don’t mean

anything to me,” he argues. “If ‘commercial’ means successful then I’m happy to be commercial but if it means making lowest common denominator music then that’s not what I do. "We need big names for this music and we also need ‘underground’ producers. I’ve been seen as ‘underground’ at some points in my life and ‘commercial’ at others but I’m still the same person and I realised that you’re always going to be the ‘cheesy’ guy to somebody." Meaning he takes the constant barrage of criticism he’s subjected to on internet messageboards with a pinch of salt, although he’s keen to clear up the persistent rumour that it’s his friend Joachim Garraud who has actually produced most of the music sold under David’s name. “That actually started with one crazy guy posting it everywhere,” he states. “Everyone I’ve worked with

“Do we still all want to be playing the music Frankie Knuckles was just to keep it real?”

Folies Pigalle

“I came here after The Rex in 1991 when it was a strip club, with all these 60-yearold strippers ripping tourists off. I kept the strippers but started playing 100% house music. “It has this really sleazy red light district vibe but we used to get such a mixture of people here — gay and straight, gangsters and whores and even celebrities like David Bowie and INXS. “It was the craziest year of my life because it was also the year Ecstasy really arrived in Paris and the police just didn’t know about it. I’ve not been back here in 18 years but it’s still got the same feeling as The Prodigy’s ‘Smack My Bitch Up’ video!”


“I opened Queen as DJ and director in 1992 and stayed for two years. I booked big guests like Masters At Work and Danny Tenaglia and it became the hottest club in Paris. It’s been my biggest success and it’s great to see that it’s still here. "If The Rex represents the underground, Queen represents the real club scene here.”

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knows it’s not true. I’ve never said I did everything on my own and I’ve credited Joachim on all my album sleeves, but if you listen to ‘Poplife’ and Joachim’s ‘Invasion’ album they’re clearly completely different styles. I’m making my new album without him anyway, although that doesn’t mean we won’t work together again. You only get criticism and jealousy when you’re successful though, and the opinions of clubbers are the only ones I care about.” He believes that ‘knock-’em-down’ attitude to be a distinctly European mentality however, which is why he’s embraced America so readily. “I started to tour America seriously three years ago and now it’s bigger than Europe for me,” he enthuses. “They see me as a new phenomenon because dance music has never been big there but my track ‘Love Is Gone’ has been played on all the hip-hop and commercial stations. America is really changing and that market will soon be the biggest thing to ever happen to dance music.” It’s not just the American public who’ve taken to this Frenchman either, but also some of the country’s biggest stars. After producing for Kelly Rowland, she’s just one of the many huge names David is working with on his own new album, alongside Chris Willis again. The fact that it’s still in gestation when we speak means David is loathe to reveal too many specifics, save that, “It’s my homage to dance music from its disco roots until now. One of my favourite tracks is a sort of minimal techno beat with an r&b vocal on, for example.

“I’ve made some tracks on my laptop but for others I’ve been working in big studios with major names in Los Angeles. At first I was really nervous being in the studio with some of these people and telling them what to do but I soon understood that they were as keen to learn from me as I was from them. “But what most impressed me was their attitude. It’s like it doesn’t matter if you’re not the best piano player yourself because they’ll just hire the best piano player for you. They have this philosophy that there should be no constraints on creativity. "There’s none of that strange relationship to success you have in Europe because the American dream is all about achieving respect through success.”

American Dream David’s own ascension through the American dream could well be charted through his visits to the Miami Winter Music Conference. A regular visitor since the early days, David returns this year for headline slots at DJmag’s pool party at The Shelborne Hotel, on Wednesday 25th March, the Ultra Festival, on Friday 27th, and his own 'Fuck Me I'm Famous' party at Mansion the following night. “Miami’s always the best party of the year for me!” he enthuses. “It’s maybe not as important as it once was musically because so many records are swapped on the internet now, but there’s no better place to go to just feel the vibe.” But whilst his hunger for success is all-American, David’s attitude towards money is somewhat different. The only time he appears embarrassed during our interview is when he mentions the house

DOESN'T TIME FLY! Zipping through the wonder years...


David Guetta begins playing funk, new wave and disco at gay club Broad.


Throws first acid house party at Broad.


Starts his ‘Unity’ parties at The Rex, featuring guests like Norman Cook playing house and hip-hop.


Opens Queen club and invites DJs like David Morales and Erick Morillo for their first French gigs. Releases first single ‘Up and Away’.


First ‘Oo-La-La’ (later ‘F**k Me I’m Famous!’) parties in Ibiza, where Daft Punk pack out Privilege.

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16/2/09 11:01:53 10-02-2009 12:49:55

that he’s just bought in Ibiza, quickly following it up by saying, “But that’s the first thing in my life I’ve ever really bought. I rent my house in Paris and I don’t own a car.” Which sounds strange for a man raking in a superstar DJ’s astronomical earnings, until he reveals: “I was raised in a really left-wing Trotskyist family where I was taught that money and capitalism were really bad. In some ways, me being an entrepreneur was me being rebellious and it was only when I sold all my clubs to become an artist that my mother was proud of me, and I still have some of those family values. “Don’t get me wrong, I love money — but only for the freedom it gives me. I don’t want to spend it on a private plane because I think owning things also means you become owned by them.” In fact, that’s a belief that’s already been put to the test once today when, in the taxi on the way back from Stade de France, David receives a call on his mobile. Even with DJmag’s shaky grasp of French it’s quite clear from David’s face that all is not well as he hurriedly chatters on the line and when he finishes he turns to us and explains he’s just been informed that his new house in Ibiza has suffered extensive damage in a storm. Looking slightly crestfallen for a second, he then gives a ‘c’est la vie’ shrug and resigned smile and continues pointing out landmarks out of the cab window. He’s also remarkably grounded when it comes to fame. In his speech after receiving his award for ‘Highest House DJ’ at the DJmag Top 100 party last year, David said: “I personally don’t think that this is a talent competition, but it is a popularity vote, which is just as important to me” — words he still sticks by. “People who aren’t in there might say it’s bullshit but it can’t be bullshit if it’s real clubbers voting,” he elaborates. “But it doesn’t mean one DJ is better than another — it’s simply a snapshot of your popularity at that moment. So I’m very happy to be No.1 House DJ and I’d love to be No.1 overall but I can’t say if I’ll ever overtake the trance guys. I do think that trance fans are maybe a bit nerdier and spend more time voting on the internet than the house crowd though!’

Peaking Becoming increasingly philosophical as our conversation progresses, David seems keenly aware of fame’s evanescent nature. “I know that there’s a curve and I’m at the peak now,” he observes. “You go up as you get hyped and then you go straight for a while before you fall. This will happen to me because it happens to everybody so my only ambition is to be able to play my music with this many people in front of me for as long as possible.”

feedback we got was really positive and when I told them it was me everyone was like, ‘Okay — you got us!’ but no-one stopped playing it. “Even though we play for completely different crowds all these hype DJs like 2ManyDJs and Dubfire are my really close friends. I gave Pedro Winter (who now runs Ed Banger Records) one of his first jobs. Some of the really cool underground DJs might not play me because of who I am but I look at them and I just think that they must be so tired because they spend all their time acting — having to talk a certain way and only saying they like certain records.”

“I’m not interested in being credible because I try to be incredible instead.” Ultimately, David Guetta is a man completely comfortable in his own skin. Something obvious when he later takes DJmag on a tour of three of his old club haunts in Paris. Three very different clubs, but in each one the reaction to his presence is exactly the same. For whether it’s the ultra-hip techno kids in The Rex, some of the decidedly dodgy transvestites in Folies Pigalle or the dolled-up dancefloor bunnies in Queen, almost everyone who passes this lanky unassuming figure at the bar does a double-take before rushing over to shake his hand. Although he admits he rarely goes to clubs in his hometown anymore “simply because I’m hardly ever here”, he’s still obviously a well-known face on the Parisian club scene given the star treatment everyone seems desperate to lavish upon him. No-one’s too cool not to want a piece of David Guetta it seems and — whilst he clearly wouldn’t be able to keep himself to himself here even if he wanted to — he’s also got more than enough of himself to share around. “I was never obsessed with having people love me or belonging to a certain group,” he tells us. “I don’t care what people think about my music but they can’t say that I’m fake or aren’t passionate about it. I’m not interested in being 'credible' because I try to be ‘incredible’ instead.”


‘F**k Me I’m Famous!’ moves to Pacha.


‘Just A Little More Love’ is released.


The ‘Guetta Blaster’ album featuring ‘The World Is Mine’ and ‘Money’ is released.


The ‘Poplife’ album featuring UK Top 10 single ‘Love Is Gone’ is released.


David plays to 45,000 people at his ‘Unighted’ event at Stade de France (below) along with Carl Cox and Tiësto.

And he should have at least 45,000 people in front of him for the next Unighted, taking place in Stade de France, on 4th July, and where David has again assembled the entire line-up, which features — amongst others — Sven Väth. A booking which will probably raise a few eyebrows amongst those who might regard Väth’s underground techno as the very antithesis of David’s commercial house. But then, David says such divisions don’t really exist outside of a few people’s minds and certainly not amongst most of the DJs themselves, a point he illustrates with the story of how he first circulated the promo of ‘Jack Is Back’, a rough acid track that became a staple in the sets of Laurent Garnier and 2ManyDJs amongst others. “I just made it on my laptop and sent it out without telling anyone who it came from,” he recalls. “All the

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It’s coming! Break into a smile as we bring you the biggest news from the sooncome Miami Winter Music Conference. This year we’re pulling out the stops with our DJmag at The Shelborne hook-up, making the South Beach venue the mustcheck destination of conference week. We’ll see you there! DJ471.miami_intro.indd 57

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n our biggest Miami WMC blow-out ever, we’ve hooked up with The Shelborne Hotel for an epic week of parties featuring all your favourite DJs from the worlds of techno, house and beyond. Come with us, as we give you the lowdown on who’s playing when… Credit crunch be damned — there are more parties than ever happening in Miami for this year’s Winter Music Conference — it’s an embarrassment of riches! But from Tuesday 24th – Sunday 29th March, there’s really only one place you want to be. And

that's at The Shelborne Hotel, on Collins Avenue, in South Beach! “We're landing in Miami with a bang this year,” said DJmag editor Lesley Wright. “Our team up with The Shelborne means all our activity is concentrated in one great venue, boasting the best DJs in the world." "Over the course of the six days, the hotel will be a one-stop shop whether you want to party, buy tickets, or get involved with our workshops, DVD screenings and seminars.”

Dubfire will be bringing his funkin’ tech rhythms into play; Josh Wink will conjure some contemporary acid magic; James Zabiela brings his electric, eclectic trickery; tribal and progressive don Steve Lawler brings his Viva vibes; Brazil’s techno giants Gui Boratto, fresh from finishing his new album, and Anderson Noise bring their melodic sonics; progressive heroes Anil Chawla and Dale Anderson showcase tracks from their new ‘Roadhouse’ longplayer; Way Out West bring their slick soundsystem; Josh

For those staying in the hotel, there’s no door costs at all: guests get into The Shelborne events free. Whether it’s enjoying the amazing parties by the pool, featuring the best selectors playing under blue skies and blazing sunshine, or checking out the freshest upcoming talent, or attending the DVD screenings and seminars in the cool of the lounge, The Shelborne offers the best entertainment that the WMC has to offer. And when the sun sets you needn’t venture far, as Shine Nightclub — built into the hotel itself — has the hottest events in town. Rooms during the week are available from $375 per night, allowing you to enjoy the Art Deco splendour and luxury of the hotel’s many amenities, great pool and of course, the best parties under the sun for an all-inclusive price, making for a least a $100 saving each day off ticket prices. On Wednesday 25th March it’s the big one: the DJmag Pool Party. We’ve assembled one of the most stunning line-ups in living memory. Our cover star this issue, French electro star David Guetta will be rocking the joint with his smattering of party classics, funky house and electro grooves; minimal techno mastermind

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Miami '09

Gabriel is full of steely tech promise; and DJ Dan is destined to deliver some fresh house sounds. Taking place from noon – 10.30pm, it’s a beast. And the price? Either free, if you’re staying at the hotel, or a trifling $10 — yup, you heard, a mere 10 bucks! Whether buying advance tickets for any of The Shelborne's great parties or venturing beyond the hotel to check out what the rest of what WMC has to offer, then — America’s largest club tickets sales company — can cater for all your ticket needs. They’ll be located in the hotel again this year, offering state-of-the-art ticketing machines and selling tickets for every event in Miami: convenient and time saving, meaning you can spend more time having fun and less time in a queue. Beyond the brilliance of the parties themselves, DJmag at The Shelborne also boasts a succession of useful industry seminars and sessions. In the lounge on Thursday 26th March, Sander Bouma (Armada’s head of A&R), Markus Schulz and Gareth Emery gather for a special trance demo listening session from noon until 2pm. Bring your latest tracks for the three experts’ perusal, and they’ll offer their tips and opinions on your work and let you know if you’ve got a future hit on your hands. The best tracks might even be signed! “Ideally, we’re looking for something that’s a bit different,” said Gareth Emery. "A lot of people are going to have demos that have high production values, but personally what I’m looking for is something that excites me. Hundreds of tracks sound the same — I’m looking for that track where I say, ‘Yeah, I’m going to play that out’. "I’m on the search for new music at the moment 'cos I’ve just launched my new label Garuda, so it’s perfect timing for me to hear lots of demos from people who may not get their tracks heard otherwise. "A track needs the complete package — it’s hard to sign something on the basis that it needs remixes. But if it’s well produced and original, and we could

see Garuda releasing it and getting support, then absolutely, I’ll sign it up there and then!” Straight after the trance demo session, we're screening Carl Cox's new DVD followed by a question and answer session with the larger than life legend. And then from 4pm – 6pm on the same day, Fedde le Grand and Funkerman sit in the hotseat to listen to your house demos. Saturday 28th March is another unmissable beaut — Pacha Ibiza take over the pool area from noon with something a little bit different. The Pacha Classics party sees DJs who’ll be playing at Pacha Ibiza in summer 2009 — including Jazzy Jeff, Kurd Maverick, Mark Farina, Mark Knight, Mo Funk, Sander Kleinenberg, Sarah Main, Simon Dunmore, Todd Terry, Wally Lopez and Goldfish — converge for an excursion

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into their retro favourites. Think classic house, disco, funk and more eclectic gems — perfect sunshine fodder. And to wrap things up on the Sunday, there’s the party to end all parties: the 29th March is reserved for New York City legend Danny Tenaglia (see our interview on page 60) who will be treating us to one of his customary epic journeys, this time from noon all the way through till 10.30pm. Tenaglia is a Miami institution not to be missed — this is seriously special. “Tenaglia is house music, and his sets at Miami are the essence of what WMC is all about,” said DJmag editor Lesley Wright. “Danny’s WMC closing pool party at The Shelborne is bound to go down in history as something very special indeed.” Make sure you make it — see you by the pool!

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avid Mancuso, Larry Levan, Walter Gibbons. Of all New York City’s DJs, there are only a select few whose names continue to be spoken of in such hushed tones. But if any DJ working today could claim an affinity with these disco greats, it’s Danny Tenaglia. Innovator of tribal and progressive house; seminal DJ and producer; resident at mythic NYC clubs Vinyl, Twilo and The Tunnel and at Space Ibiza; remixer of Madonna, New Order and Loleatta Holloway, to name but three; Danny has done more for house, and dance music in general, than many of his contemporaries combined. His Tribal America releases echo in the productions of artists like Radio Slave and Timo Maas, while his name on a bill remains one of the biggest dancefloor draws on the face of the globe. Prior to his WMC party 'Attack of the 50ft Tenaglia', at Parkwest Nightclub, on Wednesday 25th March, and his marathon poolside closing party at The Shelborne, on Sunday 29th March, we ask readers and fellow DJs alike to put their burning questions to the house music hero…

Would you rather lose your entire record collection or never DJ again? KRISTAN, LEEDS “Wow, an extremely difficult question! I’d keep my entire record collection, but naturally, only if I were still able to play my records as my heart desired at my personal loft space and recording studio on my original Vinyl and Shelter soundsystem, as I’ve been doing for the past seven years.” One of my favourite DJ mixes of all time is your ‘Mix This Pussy’ compilation. What's yours? MAX, BIRMINGHAM “Two that have got my attention most are Jeff Mills’ ‘Choice Classics’, and one that I really liked was by a DJ that I’m not all that familiar with, Ellen Allien’s ‘Fabric 34’. I was so impressed by her style. Those are the ones that focused my attention most.” When was the last time you were genuinely shocked by what you saw in a club? ED, LONDON “When I saw with my own eyes that many dancefloors were starting to become over-occupied by VIP tables and sofas, and in order to get onto some of these former dancefloors, very expensive bottles of liquor and champagne needed to be purchased first. This trend is a plague, it’s happening more and more. It’s like the music is an extra. "But the places that are doing it right, and aren’t letting this kind of thing effect them, as far as NYC is concerned, are places like Pacha." You’ve finally landed in Ibiza. Last season went well. What are we to expect from this coming season? TIM SHERIDAN “Ibiza has been truly wonderful to me since I first stepped foot on that mystical island back in the very memorable year of 2000. "However, 2008 was extremely different and very successful with me playing every Thursday for 14 weeks at the one and only club Space. All I can say for now is that the only thing that I have planned for 2009 is a ‘major change’ in my direction, but right now it’s under wraps.” What are your views on dubstep? SIMON, WALSALL “Dubstep is a wonderful and creative genre. I’ve always been a huge fan of almost anything dub-related and it would not be out of

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the norm for me to drop something as different as dubstep, unless maybe if I was playing a short two-hour set at a festival, where I might sense that the people are probably more eagerly awaiting something with a higher energy.” You’re famed for your sets in Miami but what has been your greatest WMC experience? MARK, READING “I would easily have to say the consistency that we once had going annually at the venue Groove Jet, which ended in 1999. It seems that back then it was the last of a very special era where everyone was much more united, and also, right before a new millennium was just about to begin with so many drastic and unexpected changes within the wonderful world of dance music. "I still participate in WMC heavily each year and it’s all still wonderful. Many old timers no longer attend, but there’s always lots of new great talent, too.” Hi Danny, remember the first time you played for my Bedrock night at the Beach club, in Brighton, back in 2001? You played an amazing four-hour set that everybody loved. Is there any chance I could air an hour on my Transitions radio show to give people a taste of that rocking night? JOHN DIGWEED “Thanks John, it’s always been a pleasure and an honour playing alongside you. I think it would be wonderful to have a portion of this set aired on your radio show, but please allow me the opportunity to review it first, as I have no recollection of which tunes were played and I just want to be certain that none of the songs were mixes that were exclusively given to me, and not meant to be given out. This would be with all due respect to the artist, producers and all of the record labels involved.” What’s the best way to market yourself as a DJ/producer in today’s music world? CHRIS, JOHANNESBURG “You have to make your own tracks as well as exclusive edits and mash-ups! This is the best form of promotion, and now more than ever. It’s also important to be a little aggressive, but with class. If you’re going to promoters, you need to give them a professional looking CD, think about the look of it, do a good cover.

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“You can’t just scribble your name on the cover with a Sharpie (marker pen). Make sure it’s legible, make sure you put your email and number on it. And make sure to always remain humble and always desire things for the right reasons.” When was the last time you were out on the dancefloor dancing to the DJ? DUBFIRE “It was in New York City, and it was two DJs who I’ve been working with for a couple of years, they did a remix of my track ‘The Space Dance’ — Antranig & Burchan. Whenever they’ve played they’ve been getting my attention. They were playing at Pacha New York one particular night when I was playing too, and I hadn’t started yet, so I was out on the floor for their DJ set.” If you could remix anyone, who would it be? And what’s your favourite remix of your own? PAUL, SALFORD “I've always wished I had the masters to remix ‘The Spirit’s In It’ by Patti Labelle, having seen her perform it at the Paradise Garage, which was life-changing for me — this is from when she moved on and worked with the MFSB Orchestra. We all remember ‘Lady Marmalade’, it’s a fun funky tune, but with this the vibe was more gospel. "I have a rather long discography of remixes, but I've always felt a close connection to all of the remixes I have done for The Daou. There were four in total and all reached the No.1 position in Billboard. ‘Surrender Yourself’ and ‘Give Myself To You’ are at the top. My favourite remix for the UK was on Junior Boys Own, ‘The Rising Sun’ by Farley and Heller.” What are your three most important tips before a gig? OMID 16B “No.1: study the music that you might play as much as you can, so that you are familiar with the breaks and you can become a part of that song, because how you deliver it to the people is nothing short of performing other peoples’ productions and there is a lot of practice involved. “No.2: rest and eat well, and try not to consume too much alcohol, so that you have the endurance to keep on — and naturally. "No.3: get it all out of your system before you get to the gig, including stress and anxiety, and don’t take personal issues to work with you!” Did you ever resent being tagged as a tribal DJ when your sound has always been so richly textured with house music’s many flavours? DJMAG “I’ve unfortunately been tagged with various titles that I often did not agree with. Tribal has definitely been one of my main flavours and still is, as the drums, beats and rhythms are the foundations of the grooves that we move to, and I do understand with so many genres out there why people feel the need to place a title on producers’ styles. “I consider mine a form of ‘future garage’ and I loved the title of my first artist LP, back in 1995, called ‘Hard & Soul’. That said it best and it’s something that I live by today, and probably will forever.”

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You’ve recently been playing more techno than ever. What is it about that genre that you like? DEAN, NEWCASTLE “I’ve always loved techno! And it’s true that I have been recognised for playing it a lot more in the past few years, and the main reason is that it’s less banging. It’s as if techno has an entirely new meaning. "To me, it restarted with Maurizio and Chain Reaction, but there were also those super hard house and tech-house monster bombs that I would purchase, and I would get them into my Pro-Tools and get the tempos down, and this would almost make these banging techno tunes sound entirely different, and many people started to catch onto what I was doing, as I was not shy to tell everyone either!” I was fortunate to be invited on a number of times to play with you at ARC in NYC before it closed and what consistently blew me away was how it sounded. Can you give the readers some insight into some of these ‘secrets’ that made that room special? DEMI “Audio giants like Steve Dash, Gary Stewart and Dave Soto would build soundsystems in NYC (and beyond) and I was fortunate to be at the helm of many of these incredible systems, which started for me in 1995 at The Roxy, then Twilo, then Tunnel and ultimately for five years weekly at Vinyl. David Mancuso from the original Loft’s philosophy was mainly to ‘respect the soundsystems’ and that less was better! Bring it up when it needed to be boosted, but to always save much of the headroom to enhance those special parts of the songs.” Who’s your favourite living DJ? MATT HADLOW, MANCHESTER “Tony Humphries. He was such a legend at Zanzibar and he truly mastered the art of mixing. He would often beat match two songs that many of us would try to attempt when we got back home and wonder, ‘How did he do that?’ “What amazed so many of us followers was how Tony was able to do what he seemed to do better than anyone I have ever witnessed by not using Pioneer decks, but by using Thorens belt-driven turntables, with a wheel for pitch control and no fader. He was brave at taking chances with musical styles and it was simply amazing to watch him. He’s a role model in every way." What’s your greatest ambition? DJMAG “I think it’s to one day bring the art of dance music culture of all forms to Broadway or to Hollywood! I dream of acting out as a dancer and a maestro to an entire orchestra such as the MFSB and Salsoul Orchestras, and maybe dreaming up a storyline on the love and passion for NYC nightlife in the ’70s, and include the greatest underground clubs like the Paradise Garage, The Loft, Studio 54, Funhouse, The Saint and Roller Disco too and just make people feel great — even if it means adding that sense of cheesiness and pop stuff like so many undeniable disco hits by Chic, and even throw in some Madonna and some Village People too and just go for it. “I wanna keep reaching for the stars and just give it all I got. My great friend and manager Kevin McHugh always says to me, 'You either gotta go over big, or stay home!'”

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JAMES ZABIELA 2xCD & Download (iTunes exclusive) Out Now Over 2 hours & 30 minutes of music across 2 discs! Disc One (Down) is a unique travelogue, an emotive electronic composition where Zabiela perfectly captures his musical adventures between gigs; whilst Disc Two (Up) represents his inimitable, peak-time club experience Features James Zabiela's exclusive 'Field Recordings' and 2 brand new original productions Tracks and remixes from Trentemøller, Modeselektor, Boards Of Canada, Paul Woolford, Apparat, Extrawelt and many more...

James Zabiela Tour Dates

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Feb 21st Seven - Cardiff, UK 22nd Arma â&#x20AC;&#x201C; Moscow, Russia 27th Potterow @ Edinburgh University, Scotland 28th Circus @ The Masque - Liverpool, UK

April 9th Club Q - Zurich, Switzerland 12th S Club - Vienna, Austria 18th Harry Klein - Munich, Germany

March 6th Leeds Academy - Leeds, UK 7th Matter - London, UK 14th Kaballah Festival Curitiba - DAY - Curitiba, Brazil 14th Anzuclub - NIGHT - Itu, Brazil 21st Green Valley - Camboriu, Brazil 22nd Kaballah Festival Sao Paulo - Sampinas, Brazil 26th Nikki Beach - Miami, USA 27th Kore - Miami, USA 29th Snowbombing - Mayrhofen, Austria

May 1st Sunwaves Festival - Constanta, Romania 2nd La Loco - Paris, France 8th Zouk - Singapore 9th Ministry of Sound - Kuala Lumpur, Malaysia 15th Blowfish - Jakarta, Indonesia 16th Answer - Seoul, South Korea

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uest journalist and DJ veteran, Dave Seaman gives James Zabiela a light grilling as the pair prepare to hit Miami for the Winter Music Conference, where James is playing our DJmag at The Shelborne pool party, on Wednesday 25th March, and Dave is dropping into the hotel’s Shine Nightclub, on Friday 27th March. With Seaman’s new single ‘Attack of the Abalones’ and Zabiela’s fresh mix for Renaissance ‘The Masters Series’ both out now, there could be no better time to catch up with them…

DAVE: I had one of the best WMCs ever last year at Shine and I’m looking forward to doing it again this year. Is Miami still one of the most important dates in your diary? JAMES: “Yes, it is because you’ve got to go there to pimp yourself out! I’ve got this new CD, ‘The Masters Series: James Zabiela’, on Renaissance, which is kind of the reason that I’m going this year. It’s normally a good time to release something. You can go there and show it off. “This will be my fifth year in a row. You don’t go to Miami to make money, you go there for the fun of it and to promote what you’ve got coming up. It’s important in that respect.”

DAVE: Joss Stone said recently that she didn’t care if people ‘pirated’ her music and she felt artists should give their music away for free. What are your thoughts on that? JAMES: “It’s down to the artist. If I could give it away for free, I would, but for someone like her, who’s a popstar, everyone knows who she is. Not many people, in comparison, have heard of me and my music. So I need a record label to get it out there and obviously that record label has to get paid! “Otherwise there’d be loads of small artists that don’t ever get a look in and are working in Burger King, producing the odd record.” DAVE: You’re renowned for being a DJ always on the cutting-edge of technology. What’s your current set-up? JAMES: “My new set-up enables me to play whatever I like. I have these little attenuators that turn all the phono inputs on the mixer into line inputs. I can have two channels for Ableton, two CDJs, two for Traktor, one for a Korg touch synth, and through the last one I have my FX unit. “I just have to think about what I’m playing and how I’m playing it but it’s great to have all those options in front of you. The only nightmare is plugging it all

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in! You don’t want to upset a DJ who’s on before or after you. I just start and every two minutes plug a new cable in. It’s become part of my act in a way. Not intentionally, but it’s quite funny!”

DAVE: Have you felt any effect from the world’s economic crisis on your gigs? JAMES: “I haven’t yet but I’m sure I’ll be effected in one way or another. I’ve been fortunate so far. I’m always gonna want to DJ so if it means that I play for less money that can be cool, as long as I keep gigging ’cos that’s what I love doing.” DAVE: What’s the best and worst thing about your job? JAMES: “Actually, the flying I think is the worst thing. It used to be exciting but now it’s kind of boring. Getting from one place to another, that’s the work part of it, the whole travelling thing. It poops you out as well. That’s my only complaint, really. I might go deaf a little quicker, but I do wear earplugs. “And there’s a long list of amazing things. For people to want to hear your music, that’s the most rewarding thing in the world, and I think every DJ would say the same.”

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verybody loves Gui Boratto. When Brazil’s most European producer exploded across the world with the velvet soft techno of ‘Chromophobia’, everyone from DJmag to Pitchfork hailed it as amongst the best albums Kompakt had released in years. Deeper than Jacques Cousteau in concrete flippers, Boratto still managed to woo dancefloors with the gentle, beautiful collection of songs. Time to sit back and enjoy the success, then? Well, workaholic Gui had other ideas. Slotted between touring the world, remixing Goldfrapp, the Pet Shop Boys, Robert Babicz and countless others, and releasing a bunch of standalone tracks away from Kompakt, he’s made another album, just two years after his groundbreaking debut. The aptly-named ‘Take My Breath Away’ is every bit as arresting as its predecessor. Cut very much from the same cloth, the title track kicks things off with the most seductive, melancholic distortion since Duke Dumont’s remix of the Mystery Jets, before ramping thing up a little with discordant elements in recent single ‘Atomic Soda’. From there it’s saturated melodies all the way, with elements of MFS Records’ Cosmic Baby and early Paul van Dyk blended perfectly with ‘Republic’ era New Order. It’s a textured, all-encompassing listen that ‘Chromophobia’ fans will love. Gui says that the process of making ‘Take My Breath Away’ was very much

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the same as that of the album that made his name — broadly ignoring what might or might not work inside nightclubs and concentrating instead on the songs. “When I’m composing and producing I don’t think too much about the environment the tracks will be heard in,” he says. “I think both albums are pretty much the same if you think that they’re not concerned about the dancefloor much. They are both slow and both have four or five more clubby tracks.” If it ain’t broke, as they say. Like ‘Chromophobia’, the next LP is great through headphones, perfect behind the wheel of a car, and tracks like ‘No Turning Back’ — which features Gui’s wife’s vocals over pulsating synths and pretty bleeps — are going to leave the same emotional stamp in clubs more used to harder sounds. When pushed about the differences Gui shrugs and suggests that the new one is “more kinda trancey, maybe”. “I think it’s different depending on the person who is listening,” he says. “Some melodies that mean nothing to one person can totally affect another.”


Certainly even the coldest of hearts should be touched by some of the tunes on ‘Take My Breath Away’, out 23rd March on Kompakt. It very much appears to come from Gui’s heart rather than the skilled programming of his brain. He thinks for a minute and suggests that his young daughter has had an influence on the tone of the LP. “I made the album while she was playing around me in my living room,”

he explains. “The results can be really different depending on whether the track was made at 3am after a bottle of wine or if it was made after breakfast in the morning. That makes them really, really different.” It doesn’t take many listens to realise that most of the tracks were made during the day. ‘Azzurra’ has a blissful cleanliness that could only have come from a sunny day, but could revive the most twisted of minds at 5am. ‘Eggplant’, meanwhile, is purely electronic in its mechanical sounds but has the same beauty as an Aphex Twin melody. It’s this beauty that holds the album together so is that something on the Boratto checklist? “The only thing I’m concerned about is the whole song,” he says. “But I always start thinking about the melody or the harmony.” It’s telling that Gui can play most of the tracks he has made on the guitar or the keyboard. Not only is it key to his highly regarded live show — which you can experience at DJmag’s Miami WMC poolside party at The Shelborne, on Wednesday 25th March — it also gives Gui a different feel to his contemporaries. “It’s different to when you listen to a typical minimal techno track with just bleeps and drones that can’t be played with an instrument,” he believes. “The composition is more important to me. I’m not a deeply talented musician — that’s why my tracks can be more emotional in a way.” Gui might not see himself as master of an instrument, but he certainly knows his way around a studio after ten years


in the run-up to playing at our WMc pool party at The shelborne, Brazilian producer gui Boratto leaves us breathless with his new collection of velveteen techno.

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Miami '09

are different ways to express yourself but both are about full spaces and empty spaces. Even the numbers, the melodies and the rhythms.” That Boratto looks to architecture as inspiration for his beats might explain why his music sounds nothing like even the most minimal of South American producers. Shunning carnival percussion in favour of European cleanliness, he seems more concerned about the notes rather than the drum cracks. “Most of the Brazilian producers like typical Brazilian drums,” he agrees, “like samba or carnival percussions, bongos and the like. I really don’t like that. I think in a way I’m more Brazilian in my melodies, influenced more by the bossanova thing than the carnival sound.” It’s lead to success beyond what is expected from such thoughtful dance music. Gui admits that he was shocked by the response as doubts about a lack of dancefloor focus had ‘Beautiful Life’ cut from ‘Chromophobia’ at one point. “‘Mr Decay’ was huge on the dancefloors but if you listen to it you don’t feel like an explosion for the dancefloor,” he says in the poetic way that sometimes happens from English being his second language. “But the reaction — especially in Europe — was such a surprise.” Many producers would take some time to ride the success, but not Gui. The quick succession of ‘Take My Breath Away’ isn’t an attempt to strike while the iron is hot though, Boratto says he just has to produce. “That’s my need,” he says earnestly. “It’s like a disease. I have a need to create even if I’m on vacation for a week. I used to take my laptop and controller on holiday with me. In my free time I produce. Work for me is being on tour, getting the aeroplanes, staying in hotels away from my family.” of engineering and producing other bands. Pato Banton, Steel Pulse and — perhaps most bizarrely — country artist Garth Brooks all have his name in the credits of their record sleeves. Then in 2003 he was asked to do a couple of remixes for the seminal ‘City Of God’ movie. “Especially, the first remix I did,” he remembers, “everyone was telling me, ‘Gui, it’s beautiful’. Even the common people really loved that remix. After that I decided to be more focused on

my own music, to send tracks to other labels — some European imprints. The pleasure was so great the first time I released a track under my own name. When you do something good and people love it, you feel proud and want to put your name on it.”

Using Space

From there it was a short step to ‘Chromophobia’, but that isn’t even half of the story. There are at least a hundred tracks that Gui made with his

brother before that, under a whole host of different names, in a variety of styles and on a ream of labels. But music was lucky to get him at all. Thinking the prospects were better in a country where music is hard to live on, Gui trained as an architect. One of his greatest ambitions is still to build a house, but that’s not the only thing from his studies that has left an impression. “Music and architecture are pretty much the same,” he reckons. “They

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One of the most content producers we’ve had the pleasure to spend time with, Gui’s world is not one without some stress on the verge of the release of ‘Take My Breath Away’. “It’s nice now that I can present a new work to my crowd but I feel a bit of pressure,” he admits. “People are expecting too much, and I really don’t want that pressure. I just make music, I know a lot of people will like it but others won’t like it. That’s life.”

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Reas semb ling c tunn ount el, th less c i s mont ompo of his h’s co nent label verm s into Sci+T ount one l ec — sees ong d ‘Past Dubfi ark g , Pres re pr roov ent & esen e orget Bowie and Ciccone, none of us were Futur t s t h e’ anticipating the reinvention that Ali e sou nd ‘Dubfire’ Shirazinia was plotting when he


left Deep Dish. Leaving behind the chart house smashes, Dubfire instead delved deep underground and uncloaked himself as a lover of a devilishly dark, relentlessly unwinding techno. Initial reaction might have been sceptical but by the time tracks like ‘Roadkill’ and ‘Rib Cage’ dropped any scepticism was blown away by the hypnotic force of the chrome-plated Dubfire sound. Instantly, everyone from Hawtin and Väth was put under his dark spell. The label they surfaced on — Ali’s own Sci+Tec — was initially conceived as an outlet for Dubfire’s new sonic mutations but has long expanded to showcase darkroom grooves from a growing army of production talent. From Italian Joseph Capriati to UK sensation Reset Robot and Japanese artists like A.Mochi and Shin Nishimura, Sci+Tec is fast becoming a breeding ground for tomorrow’s techno innovators from across the globe. As Ali gears up for a special appearance at our DJmag WMC pool party at The Shelborne Hotel, on Wednesday 25th March, we catch up with him to talk about the concept of the mix, as well as what Miami and ’09 have in store… There are over 30 producers showcasing the Sci+Tec sound on this mix. Are you hoping to build a clear family roster similar to labels like M-Nus? “It wasn’t a conscious thing but it’s kind of turning out that way as much as I am releasing their music and we get along well on a personal level. I really respect what Richie has accomplished with M-Nus, they are a collective in the truest sense.” The mix incorporates elements of over 22 different tracks using Traktor. Was it a pre-planned process or did you spin it all off on-the-fly? “It sort of happened on-the-fly, I wanted to cram so much in there. I wanted to present a certain sound and that sound tends to be about using tracks as building blocks. With Traktor, I’m often taking loops from three different tracks and using them to make one.”

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This mix is a real blend of sounds but is Sci+Tec heading in any particular direction in 2009? “There’s honestly no masterplan, I’m just looking for whatever connects with me on an emotional level — it could be something on the darker edge of techno or something super housey. “What I wanted to do on this compilation was present a collage of all the label's releases — including past releases, the current stuff and also excerpts of upcoming tracks.” In Patrick Lindsey you’ve got a real early-90s techno legend on the mix. Any other legendary names you’d like to have on Sci+Tec? “I’m more excited about showcasing newer talent. When you get to a certain point in your career it becomes a lot more gratifying to bring up the younger guys, as there are so many people vying for the same spotlight.” One young producer on the mix is Joseph Capriati, whose track featured on Sci+Tec’s ‘Angels Of Naples’ EP. What was the inspiration behind that? “I wanted to give a tip of the hat to what was going on in Italy and the Naples techno scene in particular. For years I have been playing great music from the region and I wanted to take those that went right back to the roots of techno — like Rino Cerrone — and present them alongside the newer guys under one banner. The project was in conjunction with the Angels Of Love promoters.” Who are you staking your money on as this year’s breakthrough? “A UK guy called David Robertson — Reset Robot. He has been engineering great stuff for Fergie and Alan Fitzpatrick but the stuff he is doing on his own is phenomenal.”

What is it about his sound that grabbed your attention? “It just has the funk. He has a real good grasp of that old school swinging funk groove that Masters At Work and guys like Todd Terry pioneered in the early days but is totally pushing it into the future at the same time.” With so many looking back to house grooves, do you think there came a point when techno was lacking that organic funk feel? “Maybe many years ago but I think techno in general always has that funk intact. You’ll always be able to find really great techno tracks that waved that funk banner. I personally have never lost my faith in techno because it pushed a lot of different sounds that more commercial music wasn’t able to take a chance on — it always opens things up sonically.” There definitely seems to be a sense that many people are looking back at the moment…? “People of my age group are at a point where they’re able to appreciate the vast history of dance music and we’re borrowing from the past. A lot of these younger producers are also looking back on what they missed — it’s great.”

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MIAMI '09 TRACK BY TRACK Dubfire guides us through his mix…

01. Zoo Brazil ‘Your Way’

Delete ‘Flight Schedule’ “‘Your Way’ was the perfect opener as it’s just so stripped down.”

02. Uto Karem ‘Trentatre’

Gaetano Parisio ‘Partenope’ “I’m a great fan of Italian producer Uto. Very dubby, bouncy and happy, this is different from his norm.”

03. Paul Ritch ‘Crazy Madness (Luca Bachetti Remix)’

Davide Squillace & Michele Tabucci ‘One Lobster, Please (Mathias Kaden’s Gambass Remix)’ “Luca brings the summery Ibiza vibe to Paul’s harder style on this remix.

04. Plasmic Honey ‘Jungle’ Mutant Clan ‘Inside’

“Plasmic Honey is a guy from New York who was kinda prolific back in the day — it’s kinda stripped down tribal. Mutant Clan is Timo Maas and ‘Inside’ is another tribal beast.”

05. Joseph Capriati ‘Roboters’ Reset Robot ‘Pig Nose’

“‘Roboters’ is a great bridge between tribal rhythms and the shuffling techno sound, whilst ‘Pig Nose’ is getting unbelievable reactions.”

06. Rocha & Lewinger ‘Santiago’

Federico Grazzini & Alex Neri ‘Habla’ “Rocha & Lewinger are two Uruguayan guys doing great stuff. Alex Neri is an old school Italian DJs’ DJ and his work with Grazzini is marking a new chapter in his sound — it’s energetic but very housey and accessible.”

07. Simi ‘Undernaples (Remix)’

Shin Nishimura ‘Frustration (A.Mochi Remix)’ “A.Mochi and Nishimura are two Japanese friends. Japan still loves to bang it out so this has quite a harder, old school edge but is still very forward looking.”

08. Patrick Lindsey ‘What Is This?’ “Rather than an obvious linear approach, this has a very unique arrangement.”

Another nod to your roots seems to be the tribal influence on the mix… “It’s a sort of a stripped down tribal. Tribal has always been a big part of what I’m about and it’s also the summer groove that soundtracks places like DC10 in Ibiza.” When was the last time you found yourself inspired on a dancefloor? “All the time! But the last time I really went for it was at Amnesia closing. I was in the club for 12 hours. I played for three hours then Sven Väth came on and we actually dragged Danny Tenaglia out on the dancefloor with us. It was a magic night.” Looking ahead to the upcoming WMC, Miami must have thrown up a few memories over the years? “Oh man, there’s too many! Danny Tenaglia’s Space marathons, anytime I catch Josh Wink play, the pool parties… I remember tag-teaming [Loco] Dice last year, looking behind me and seeing Matt Radio Slave, [Marco] Carola and lots of others enjoying themselves. There’s somethingreally magic about it.”

Is Miami still the forum for new music it once was? “Round the year, Miami and the US in general aren’t the best places for pushing new music right now but I think it’s important for us to go to WMC and represent our sound. It can educate people into realising that there is an alternative to what they are hearing all year round.” You’re guesting at our DJmag pool party at The Shelborne on Wednesday 25th March. But where else will you be playing during WMC? “My party is also on the Wednesday, at Kore, with Paul Ritch and David Squillace. I’m also playing Pete Tong’s Surfcomber party. I like playing the afternoon things as it allows me to play a bit more tribal.”

“This is one of my all-time favourite Paul Ritch productions. That synth is the most sinister thing you can imagine — it was so severe that my mastering dude refused to master it!”

10. Sian ‘Skeleton (Pan Pot Remix)’ “Sian is a great Irish producer who creates minimal vibes but with strong atmosphere.”

11. Paul Ritch ‘Aquarel’

Smith & Selway ‘Push Factor’ “‘Aquarel’ is almost a DJ tool, very much a drum track, but with really intricate effects.”

12. Steve Mac ‘Gotta Have Fun (Prudo Remix/Original)’ “Steve Mac has a really instinctive grasp of old school NYC house rhythms but this is a bit edgier than what he is known for. It’s a beautiful track.”

13. Rino Cerrone ‘Moment’ “Another Naples techno legend — a class act.”

14. Dubfire ‘I Feel Speed (Audion Remix)’ “Not a peak-time tune, this remix is really out-there, but if played at the right time it’s a total headfuck.” article.indd 69

09. Maurizio & Danyelino ‘Adenine (Paul Ritch Remix)’

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CASH IN THE ATTIC In recognition of our love affair with the dusty old black stuff — and in the run up to Pacha’s Classics party at The Shelborne — we gather together some of the world’s most unapologetic crate diggers to uncover their rarest and most pricey finds.


hen Compact Discs first appeared on the marketplace in 1982, gaining widespread acceptance a couple of years later, it was widely assumed — and in some areas of the music industry even wished for — that vinyl would go the way of the dodo. Over a quarter of a century later and the mainstream media — ranging from the BBC to the Daily Mail — are reporting stories heralding the resurgence of those pieces of shiny black plastic that have been behind every musical revolution from jazz to rock ‘n’ roll through to hip-hop and house.

According to figures released by Nielsen SoundScan at the beginning of this year, sales of vinyl albums in America rose by a staggering 89% in 2008, and while there are no comparable figures available for the UK yet, a simple online search shows an abundance of accounts celebrating vinyl’s rude health. For those reading this magazine such news might appear as revelatory as Victoria Beckham admitting that she’s a bit partial to the spotlight, but nonetheless it demonstrates that vinyl is irrevocably here to stay. This isn’t mere sepia-tinted, nostalgic whimsy, but a love affair with vinyl is unlike any other relationship with a

WHAT’S YOUR RAREST RECORD? “A 7" by Carol called ‘Breakdown’. It came out in 1982 on Dirty Dance and is produced by Mikey Mike, a UK producer who stayed in Belgium for a few years. It’s this great early electro record, which we bought in 1987. At the time we paid the equivalent of €150 for it. We have over 10,000 7"s and that is in there somewhere.” THE GLIMMERS

musical medium. She can be an expensive mistress that’s for sure, but once you’ve popped that 12" cherry it’s nigh on impossible to resist. Once this seduction has taken place, those who have succumbed find themselves getting deeper and deeper into their habit. Trips abroad become less about taking a boat ride along the Seine or strolling down the Ramblas and more about digging through endless crates of records in some dingy shop in the 18th arrondissement or the Barri Gotic. One DJ, who understandably wishes to remain nameless, confesses that such is his excitement at entering a secondhand record shop he has to go to the toilet before, and often during, his shopping spree. “It’s a bit like those robbers who go for a shit while ransacking a house,” he laughs. “It’s not a calling card, more to do with the fact that they’re excited — it’s an adrenaline rush. That’s what I get when I walk through the door of a secondhand record shop. “I used to tell my ex-girlfriend it was to do with the musty smell, but it’s the rush. The thrill that maybe within the four walls of the shop I might find a record I’ve been looking for for years. “I remember being in this shop in Nashville once and they had a toilet for customers — I spent a lot of money that day!” in the attic.indd 71

WHAT’S YOUR RAREST RECORD? “A white label of Aphex Twin’s ‘Didgeridoo’ on Rabbit City. I think there were only 1000 pressed. I got it from a little dealer on a market stall in Chelmsford, back in 1992. I paid something like £4.50 for it. I haven’t thought about how much it’s worth now, but a little more than that I’d imagine!” HERVÉ

Illicit Affair

Rare, expensive and/or valuable records are at the heart of this illicit affair. Some will be unheard of lost gems, others will be classics that have accrued value because they’ve been out of print for decades.

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Pacha’s Classics party, on Saturday 28th March, at The Shelborne, in Miami, during this year’s Winter Music Conference — and featuring Jazzy Jeff, Kurd Maverick, Mark Farina, Mark Knight, Mo Funk, Sander Kleinenberg, Sarah Main, Simon Dunmore, Todd Terry, Wally Lopez and Goldfish — plays testament to this turn of events. Not only does the past present the future, but the future is present in the past — classics of yesteryear inform the latest releases as they get remixed, refabricated and represented. And as Mark Netto of Pacha points out, no two DJs tell the same story when it comes to their idea of rare and classic sounds. “People like Mark Farina and Wally Lopez are each going to have their take on this music,” he says. “And that’s the beauty of it.” Nearly all the DJs, producers and record shop owners spoken to for this feature gladly admit that it’s all about the music — as it should be — but finding that rare Larry Levan remix or Andrew Weatherall edit is an important weapon in any DJ’s

arsenal. Plus stumbling upon such rarities and then boasting about it to your friends, and, since the advent of the internet, across the blogosphere, can be a curious, if somewhat anal, guilty pleasure. “There is an element of male smugness to it,” explains Robert Thomas of Manchester’s Piccadilly Records. “It’s unavoidable. However, it’s not like collecting Star Wars figures and leaving them in their boxes. I enjoy tracking the records down, but I also get to listen to them. It’s double the fun.” “If I love a record I hunt it down like a man possessed,” admits DJ, producer and acid house veteran Kelvin Andrews. “I’m not really tuned into the rarity thing — if it turns out to be expensive I feel no guilt in spending the money. I’m a DJ, I’m going to play it.” Dave Lee, who records under a dizzying array of aliases including Joey Negro, Jakatta (with whom he had a No.1 in 2000 with ‘American Dream’) and Raven Maize, concurs. To a point. “If a record is over £100, you do question how much you want something and what else you could spend the

WHAT’S YOUR RAREST RECORD? “Steve Reid’s ‘Rhythmatism’ album on his own Mustevic label — I think it came out in 1976. A few years ago a jazz collector died in Oslo and her son sold her collection. Those he thought were worth something he sold on eBay and the rest he left at a shop I buy from. This album was in with all the crap. It was still sealed and is worth loads. “Reid is this amazing leftfield deep jazz guy who recently worked with Kieran Hebden. Soul Jazz re-released his ‘Nova’ album a while back.” HANS-PETER LINDSTROM

money on,” he says. “However, I don’t have lots of expensive vices so you have to throw caution to the wind occasionally. “For me, to shell out big bucks it has to be a new record, not something I already own on a compilation or an LP. Many collectable records are just 12" issues of an album track. I’m not really into spending a lot of dosh on something I’ll look at for 20 seconds, then just file away.” He also strikes a note of caution when discussing the unmistakeable presence of eBay and other internet auction sites. “When I was first on eBay five or six years ago, I would sometimes get in after a night out and get into bidding battles on rare records, which was pretty silly. I definitely paid too much

for a few records back then, but I also got some bargains and lots of records I didn’t even know existed. I try to justify paying a lot — when I occasionally do — by thinking of it as research for future compilations,” he laughs. “Which is semi true.” Shame at spending huge sums of money would appear to be a fleeting sentiment. Hans-Peter Lindstrom admits to not going crazy when spending money on rare records but tempers this by saying: “I don’t really feel guilty because music is such an important thing.” Belgian DJs The Glimmers second such a notion, placing an emphasis on the music rather than the price. “We don’t value music in monetary

WHAT’S YOUR RAREST RECORD? "As far as things I’ve bought, lots of rare promo-only disco 12"s by people like Ashford & Simpson, Mid Air, Norman Connors — most of these are worth £100 – £300 depending on whom you are selling to, the exchange rate and how desperate you are to shift it.” JOEY NEGRO

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WHAT’S YOUR RAREST RECORD? “Maybe Joe Coleman’s ‘Get It Off The Ground’. I also found a five nok (roughly 50p) copy of Marta Acuna’s ‘Dance, Dance, Dance’ about 10 years ago, which I have heard sells for over £200 on eBay.” PRINS THOMAS

terms, but in emotional ones,” says Mo Becha, to audible nods of agreement from his partner David Fouquaert, aka Benoelie. “We’re not afraid of spending money; obviously some records are rare and thus expensive, but for most collectors it’s about the music. Anyway, what one person places value in may make another shrug his shoulders.

“One of our most valuable records is the ‘Beastie Boys Anthology’ box-set because we met the band when they came to Brussels three years ago and got it signed. The same with a Grandmaster Flash compilation, ‘Grandmaster Flash Presents Salsoul Jam 2000’, we met him and got it signed too.” A Mountain of One’s Mo Morris does counsel some restraint when it comes to parting with money though. He admits he’s never spent over £100 on a record. “Any record over that price has to levitate, make tea for me and clean the flat! It’s very rare anything that obscure and costly can be that good. If it’s that good it’s normally been repressed or licensed in some shape or form. I’m not precious about having the record on some crazy Russian pressing or on square tie-dye vinyl. It just needs to be on a record and playable. I’m not that religious about the format or its originality.”

Art & Science

Is there an art to collecting rare music? Evidently. Anyone with a passing

WHAT’S YOUR RAREST RECORD? “A very early pressing of the eponymous ‘Manfred Mann Chapter Three’ psych album. It sounds like a woozy, bluesy acidic Dr. John, and is steps ahead of anything else around at that time. I listen to it a lot and it’s given me a lot of inspiration on the production side of our new album, ‘Institute Of Joy.’” MO MORRIS, A MOUNTAIN OF ONE (left) knowledge in economics recognises that the scarcity of a product will see its price rise exponentially. Devouring blogs, Record Collector and will see vinyl seekers armed with knowledge that they can take into future battles. If there’s an art to it all, it also goes without saying that there’s a science too. in the attic.indd 73

Of course times change. Over the past decade how we consume music has radically altered. What happens when a record that previously cost £100 can be burned, often illegally? Simon Rigg, manager of London’s Phonica record shop, has noticed some changes in the purchase of music. “In the past, if the only way to get a piece of music that you loved was to spend £50, most music lovers would do that,” he explains. But, as he notes, if half the battle is a) obtaining the music so that b) you can listen to it whenever you like and play it out if you so wish, what’s the point of paying £50? Like true devotees he knows the answer. “It’s not quite the same having a download as opposed to a record,” he says. “Firstly, the sound quality is inferior, but then there’s the sleeve, the history of that record and the tactile quality of actually owning it. It’s much more tangible than a file on a computer.” And in these days of limited vinyl pressings value is inherent anyway, thus fuelling the collecting boom. Notable examples of this are the two recent Whatever We Want 12"s — House of House’s ‘Rushing To Paradise’ and Food Of The Gods’ ‘Boy From Brazil/Poison’. Both sold for £15 in the likes of Phonica and Piccadilly but in limited runs of 600 pressings. As Simon Rigg notes you can find both those 12" on eBay for three times that amount now. “At least with the vinyl releases there is usually a higher quality threshold,” he

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FROM DUST TO DOSH Are you sitting on a small goldmine? Is it time to wipe off the dust and make some dosh from your old records locked away in the attic? Here’s what a selection of house tracks are fetching right now…

explains. “If it’s worth pressing on vinyl, it’s worth something — and of course, 50% of the records we sell at Phonica and in other specialists shops, you can’t get on download — not legally anyway!”

1. Moodymann 'Moody Trax EP' (KDJ1) $400 – $510 on The very collectable Kenny Dixon Jnr. tops the list with this prohibitively pricey first release on his own label.

However, to damn MP3s out of hand would be churlish. Just the act of listening to music and being turned on to new sounds can cause seismic shifts. Mo Morris recognises that there are negatives to downloading music but believes the positives outweigh the negatives. “I’ll go to Scandinavia to DJ,” he says, “and there are these kids barely 20 digging the psych, rock and disco tracks that I’m playing. They’ve heard them on blogs and downloaded them from the internet and as a consequence are creating a scene for a new generation. They’re writing new music with that as an inspiration and that’s a huge positive.” What’s the future for rare and expensive pieces of vinyl, then? One thing that can be said with utmost certainty is that as long as people buy and sell records a market will exist. Value — monetary and musical — will come and go depending on changing cultural tastes and more but as long as music is a shared artform and not something to be kept behind lock and key, vinyl will appreciate and depreciate at will.

2. Model 500 ‘No UFOs’ (OG Archer pressing) (Metroplex)

£199.99 on This is a super early showing from Juan Atkins, classic primitive techno, now fetching beaucoup bucks in its original form. 3. Various ‘Equinox A Retroactive Compilation’ (Retroactive)

$249.99 on Strange to see a CD on here, but nothing’s that surprising when you’re talking about Carl Craig’s early material on the Retroactive imprint. 4. Mantrax ‘Scarlet Circus’ (R&S) £94.99 on The Belgian R&S stable have many collectable records up their sleeve, but none as rare as this — only 300 pressed. WHAT'S YOUR RAREST RECORD? “I spent about (Aus) $140 on Gene Farris's ‘Visions Of The Future (DJ Skull Remix)’ on Force Inc. Records. By far one of my favourite house records ever, I went to great lengths to find this on vinyl. When Gene Farris actually came to Sydney he played my copy of it and even went on to say that he himself never owned a copy!” MO FUNK

WHAT'S YOUR RAREST RECORD? “I have a platinum disc of Run DMC’s ‘Raising Hell’, which was presented to Daryl Simmonds. Also, me, my brother and Owen from Toolroom managed to track down on eBay a rare promo copy of ‘Mix A Fix’ by Haydocks Rock House on Columbia. My dad played drums in this band. He no longer had any copies of his music and we wanted to say thanks for all his help with the business side of things at the label. The track is actually a bomb! Apparently it was dropped often during the early days of the Hacienda.” MARK KNIGHT

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5. Carl Craig ‘No More Words’ (Retroactive) $99.99 on Carl’s second showing on the list, and another corker from the Retroactive label. 6. God Within ‘Raincry’ (sealed copy) (Hardkiss) $99.99 on Sublime breakbeat business from Hardkiss. Well known and a classic, but have you got an original sealed copy? 7. Ce Ce Rogers ‘Someday’ (Atlantic Promo) $83.99 on Epic piano anthem. Safe to say we’ve all got this in some form but the original virgin vinyl, in promo form? Are you having a giraffe? 8. Cliff Frazier ‘Video Freak (Frankie Knuckles Mix)’ (Prelude) £50 on The dawn of house in 1983, thanks to this showing from Mr. Knuckles. 9. Moodymann ‘A Silent Introduction’ (Planet E) £39.99 on An album from Kenny Dixon Jnr. on his pal Carl Craig’s current imprint. Worth big cash in its original incarnation. 10. Kos/Separate Minds/Tranzistor ‘Definition Of Love/First Bass/The Force’ (KMS) £32.99 on Yet another Detroitian release, this time from Kevin Saunderson (of Inner City) and his KMS label.

16/2/09 23:19:06

Beyond The Wizards Sleeve Re-Animations Vol. 1 Includes Re-Animations of Franz Ferdinand, The Chemical Brothers, Late Of The Pier, Midlake, Goldfrapp, Simian Mobile Disco and more

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On CD & Digital

In Stores 02/03/09 16/2/09 11:38:54



DJmag at The Shelborne is the place to be this WMC. So make sure you don’t miss a trick with our cut out and keep guide to what’s going on at the South Beach hotel. See you down the front!

POOLSIDE WEDNESDAY 25Th MARCH: DJmag at The Shelborne pool party featuring David Guetta, Josh Wink, Dubfire, Steve Lawler, James Zabiela, Way Out West Soundsystem, Gui Boratto, Anderson Noise, DJ Dan, Josh Gabriel and Anil Chawla & Dale Anderson. Noon – 10.30pm. Special ticket price of only $10! THURSDAY 26TH MARCH: Luciano, Loco Dice and Dennis Ferrer with Paola Poletto (Angles of Love) & DJ Simi. Noon – 10.30pm $30 adv FRIDAY 27TH MARCH: Jonathan Peters & Friends. Noon – 10.30pm $40 adv SATURDAY 28TH MARCH: Pacha Ibiza classics party featuring a host of residents from the Ibiza club. Noon – 10.30pm $30 adv SUNDAY 29TH MARCH: Danny Taneglia's WMC closing party featuring a marathon set from the dance music legend. Noon – 10.30pm $40 adv

LOUNGE LIZARDS WEDNESDAY 25Th MARCH: DJmag Brazil & 3plus Music present… The Boys from Brazil featuring Rodrigo Vieira, Marcelinho Cic, Leo Janeiro, Rodrigo Ferrari (Pacha Sao Paulo), Meme, Raul Boesel, Mario Fischetti, Paulinho Boghosian, Joao Lee & Ale Reis (Dubshape). Noon – 10.30pm $Free THURSDAY 26TH MARCH: Watch and listen… Trance demo listening session. Bring your demos along and receive expert advice from Sander Bouma (Head of A&R at Armada), Markus Schulz & Gareth Emery. Carl Cox DVD screening and Q&A session. Catch Carl Cox’s brand new DVD and then fire your questions to the superstar DJ. 2pm – 4pm $Free House demo listening session. Bring your demos along and receive expert advice from Fedde Le Grand & Funkerman. 4pm – 6pm $Free FRIDAY 27Th MARCH: In your pocket! Pacemaker demonstrations. Get to grips with the pocket-sized new digital DJing device with the help of the Pacemaker DJs. Noon – 2pm $Free Reduce your carbon footprint: Richie Hawtin explores ways that DJs can reduce their carbon footprint. 2pm – 4pm $Free Pacemaker demonstrations. Get to grips with the pocket-sized new digital DJing device with the help of the Pacemaker DJs. 4pm – 6pm $Free SATURDAY 28TH MARCH: From Russia with love… Our Russian cousins supply the beats all day long. Noon – 6pm $Free SUNDAY 29TH MARCH: In your pocket! Pacemaker demonstrations. Get to grips with the pocket-sized new digital DJing device with the help of the Pacemaker DJs. Noon – 6pm $Free

SHINE NIGHTCLUB TUESDAY 24TH MARCH: Shelter party with Timmy Regisford, Quentin Harris and more. 10pm – 5am $20 adv WEDNESDAY 25TH MARCH: Ovum party with Josh Wink and friends. 10pm – 5am $20 adv THURSDAY 26TH MARCH: Hernan Cattaneo, Darren Emerson and Oliver Moldan. 10pm – 5am $20 adv FRIDAY 27TH MARCH: Hope vs Audio Therapy party with Dave Seaman vs Nick Warren (exclusive set), plus Hybrid, Jody Wisternoff, Scott Bradford (Lexicon Ave), 16 Bit Lolitas. 10pm – 5am $20 adv SATURDAY 28TH MARCH: Sasha all night long. 10pm –5am $20 adv SUNDAY 29TH MARCH: Little Mountain Rocks featuring Sander Kleinenberg (exclusive extended set). 10pm – 5am $20 adv Ticket prices are based on advance tickets at press time and are subject to change. Advance tickets are available from shelborne. Info line: (00 1) 305 341 1455 For cabanas, tables or bottle service email Registered Shelborne Hotel guests receive complimentary admission to all events. The Shelborne is located at 1801 Collins Avenue.

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Miami '09


Recommends Whether you want poolside schmoozing, dark room techno raving, hands-in-the-air festival moments or beach party bedlam, you’ll find it all here — crammed into Miami’s unbeatable WMC week. Outside of our own cracking events at The Shelborne, here’s our heads up on the best of the rest… 078 DJ471.djmag recommends.indd 78


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Miami '09 TUESDAY 24TH MARCH DEFECTED IN THE HOUSE AT SET Hype: The UK house label with the US heart, Defected fly their soulful house flag as high as they can yet again. Talent:  Kenny Dope, ATFC, David Penn, Hardsoul, DJ Spen, Chocolate Puma, Simon Dunmore, DJ Yass, Studio Apartment, Baggi Begovic and Marc Evans PA. Tax & Time:  $30 adv 10pm – 5am


Hype: It’s hard not to love electro with a line-up quite like this. Talent:  Benny Benassi, Calvin Harris, The Bloody Beetroots, Sneaky Sound System (live), Joachim Garraud, LA Riots and Dom Rimini. Tax & Time:  $30 adv 10pm – 5am


Hype: The SOS trio go at it all night long. A journey of Balearic disco bliss, melodic techno waves and progressive grooves from three of the most underrated DJs in the game. Talent:  Omid 16B, Desyn Masiello and Demi Tax & Time:  $25/$20/$15 10pm – 3am


Hype: Unspeakably hip French label Institubes celebrates six years of electronic dirt (the nice sort) and block rockin’ French techno. A fashion set get their sweat on. Talent:  Surkin, Para One, Das Glow, Orgasmic, Bobmo, Curses!, Calvin Harris, Dom Rimini and more. Tax & Time: $25 adv 10pm – 5am


Hype: The S-Man does what he does best. Talent:  Roger Sanchez Tax & Time: $35 10pm – 2am adv


Hype: The DJs’ DJ and one of dance music’s genuine legends, Danny Tenaglia is joined by the prodigal sibling duo tagged as the ‘next Masters At Work’. Talent:  Danny Tenaglia and The Martinez Brothers. Tax & Time: $40 adv 10pm – 5am


Hype: Deep chunky house of all shades as Satoshi’s Saw celebrates nine years. Talent:  Satoshi Tomiie and Hector Romero. Tax & Time: $20/$15 10pm – 5am


Hype: UK trance titans Above & Beyond present the boundary nudging sound of their muchlauded label. Back room sounds come courtesy of their deeper crossover label — Anjunadeep. Talent:  Above & Beyond, Cosmic Gate, Signalrunners, Boom Jinx, Josh Gabriel, Electrobois, Liluca and James Grant. Tax & Time:  $30 adv 10pm – 6am


Hype: Ben Watt, Solumun and friends blur the colours of house and techno at this sunset party. Talent:  Ben Watt, Ewan Pearson, Solomun, Justin Martin, Stimming, Will Saul & Mike Monday and H.O.S.H. Tax & Time:  $20 6pm – 1am


Hype: An epic, perfectly-crafted marathon from a DJ whose record collection is an expansive as his shirts are loud. Talent:  Danny Howells Tax & Time:  $20 adv 10pm – 7am


Hype: Fedde Le Grand invites a few choice chums to join him. Bumpin’, funkin’ good-time grooves all the way. Talent:  Fedde Le Grand, Tocadisco and Patric La Funk. Hosted by MC Gee. Tax & Time: $30 adv 10pm – 5am

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Hype: Two of the biggest names in electrohouse go head-to-head. Don’t expect a quiet one. Talent: Dirty South and Sebastian Ingrosso. Tax & Time: $30 adv 9pm – 5am


Hype: Robbie Rivera’s annual Nikki Beach session runs from 1pm – 5am with its biggest line-up yet. Oil up and get down. Talent: James Zabiela, Axwell, Wally Lopez, Tocadisco, Kaskade, Kurd Maverick, Alex Gaudino, Wally Lopez, Stonebridge, ATFC, Joachim Garraud, Starkillers and more. Tax & Time: $45 adv 1pm – 5am


Hype: The Messiah of minimal techno, Richie Hawtin handpicks his best disciples for this lights-out celebration of a label that is still pushing back the boundaries after all these years. Talent: Richie Hawtin and more tbc Tax & Time: $tbc 10pm – 5am


Hype: Lush Latino-tinged house and chunky tribal drums like they’re meant to be heard — in the sun! Talent & Time: Victor Calderone, DJ Vibe and Chus & Ceballos Tax & Time: $60 adv 10pm – 5am


Hype: Live performances from Anane and The Elements Of Life band at this celebration of all things soulful. Talent: Little ‘Louie’ Vega, Kevin Hedge, Anane and The Elements Of Life band Tax & Time: $20/$15 10pm – 5am

Talent: Sasha & John Digweed and Guy J. Tax & Time: $50 adv 9pm – 5am


Talent: Armand Van Helden, Todd Terry, Kurd Maverick, Bodyrox, Tobi Neumann, James Priestley, Tiger Stripes, Ron Carrol, Jon Cutler and more. Tax & Time: $free 9pm – 5am

Hype: Toolroom Knights roll big with a host of heavy-hitters and the freshest electronic grooves. Talent: Mark Knight, Benny Benassi, Fedde Le Grand, D.Ramirez, Dave Spoon, Funkagenda and Dirty Vegas. Tax & Time: $40 adv 10pm – 3am




Hype: Laidback Luke curates a bill of block rockin’ global beat assassins. Talent: Laidback Luke, Diplo, A-Trak, Chocolate Puma vs Bart B More, The Partysquad vs Hardwell and Avicci. Tax & Time: $25 adv 9pm – 5am

Hype: The flamboyant Frenchman Bob Sinclar delivers house music with a flourish. Talent: Bob Sinclar and Cutee B. Tax & Time: $60 adv 10pm – 5am

Hype: John Davis presents this daytime party bringing the spirit of New York to South Beach. With the founding fathers at the helm, this is not to be missed.


Hype: Lawler and Luciano battle it out for techno and tribal supremacy on Miami’s legendary Space terrace. Talent: Steve Lawler, Luciano, Loco Dice, Timo Maas, Tiefschwarz, Mirko Loko, Thomas Melchior, Livio & Roby and Bearweasel. Tax & Time: $40 adv 10pm – 5am


Hype: UK label Formation Records bring the big boys of drum & bass together with extra punch power from the dubstep and hip-hop camps. Talent: Grooverider, Shy FX, Fabio, John B, DJ SS, Benga, Caspa, Adam F, Tee Bee, Bailey, Killa Kella (live) and more. Tax & Time: $50/$20 10pm – 5am


Hype: The masters of the progressive journey, Sasha and Digweed relive the magnetic magic of their mutual ‘Northern Exposure’ expeditions.

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Hype: MN2S’s annual free Miami party this year showcases its biggest line-up yet. Taking place at the plush Nikki Beach, entry is free. Email to book your place.

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MiaMi '09 Talent: François K, Joaquin ‘Joe’ Claussell and Danny Krivit. Tax: $20 2pm – 9pm


Hype: The badboy that put futuristic German rave funk firmly on the map heads a bill of ill spinners from his own label. Talent: Boys Noize, D.I.M., Shadow Dancer and Steve Strip and more. Tax & Time: $30 adv 9pm – 5am


Hype: London’s unsung leader of the indie avant-garde, Erol Alkan brings his favourite acts together for this diverse offering. Talent: Erol Alkan, Rory Phillips, Hercules & Love Affair (DJ set), Late Of The Pier (live), Rye Rye (live), Riton and more. Tax & Time: $20/$15 9pm – 5am


Hype: Following the success of their One + One stint, the UK duo hook up for their 4th annual WMC party. Expect prog, tech, house and beyond. Talent: James Zabiela, Nic Fanciulli, Kos and Tom Budden. Tax & Time: $tbc 10pm – 5am

Tax & Time: $25/$15 adv 8pm – 8am


Hype: When these three get together there’s only ever one result and be sure anything short of mayhem isn’t a part of it. Hip-wiggling electronic house that will get the ladies moving. Talent: Axwell, Steve Angello and Sebastian Ingrosso. Tax & Time: $35 adv 9pm – 5am


Hype: Dark techno, hypnotic minimal, cheeky house, uplifting trance… you name it, it’s all here. A celebration thrown by the US’s allpowerful AM Only booking agency. Talent: Adultnapper, Steve Bug, Bart B More, Christopher Lawrence, Paul Ritch, Misstress Barbara, Guy J, DJ Dan, DJ Craze, Josh Gabriel, Laidback Luke, Guy Gerber and more. Tax & Time: $35 adv 10pm – 2am


Hype: Having flown their flag in Berlin and Ibiza, East London’s underground trendsetters add Miami to their list of conquered lands. Deeper than deep house and spacey techno. Talent: Dixon, Keith Worthy, Giles Smith and James Priestley.

Hype: Damian Lazarus’s legendary after-hours sucks us into a vortex of twisted techno. Talent: Damian Lazarus, Jamie Jones, Clive Henry and Lee Curtis. Tax & Time: $tbc 5am – noon


Hype: David Guetta doesn’t care to be credible he simply wants to be incredible. If any of his parties in Ibiza last summer were anything to go by, this will be too. Glam genre-hopping decadence like only the Guettas can. Talent: David Guetta, Laidback Luke, DJ Chuckie, The Partysquad and Hardwell. Tax & Time: $100 adv 9pm – 5am


Hype: Tonight the nice guy of trance takes Miami on a journey with lush house, prog and techno all stirred into the mix. Talent: Armin van Buuren and Jerome Isma-Ae. Tax & Time: $75/$50 9pm – 5am

BEDROCK & CREaTiON aT VaGaBOND Hype: Still pushing the boundaries, John Digweed’s Bedrock flies the flag for deep dancefloor electronics tonight. Talent: John Digweed and Guy J. Tax & Time: $30/$25 10pm – 5am


Hype: German label bring their A-Team to Miami, including the debut of Bronnt Industries Kapital’s unique live show. Talent: M.A.N.D.Y. vs Booka Shade, Matthew Dear, Audiofly, Italoboyz and Bronnt Industries Kapital (live). Tax & Time: $tbc 2pm – 2am


Hype: It’s 8am, you’ve been up for something like four days and you’re climbing at the hotel

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Miami '09 walls for the next party. Well, here it is. Chunky house and tech beats with vocal touches. Talent: Tom Stephan (aka Superchumbo) and Tracy Young plus hosting by Alan T. Tax & Time:  $30 adv 8am – 4pm



Hype: Moustache-loving, rock ‘n’ roll discopunks MSTRKRFT unleash the sound of their imminent second album. Talent:  MSTRKRFT, The Bloody Beetroots, LA Riots, Klever, Felix Cartal and Bird Peterson. Tax & Time:  $30 adv 10pm – 5am

Hype: Steve Lawler and DC10’s Clive Henry take us deep into an abyss of dark room techno. Talent:  Steve Lawler and Clive Henry. Tax & Time:  $30/$2 10pm – noon


Hype: Dark tribal grooves and seductive, sinister techno from two legendary DJs. Talent:  Victor Calderone and Marco Carola. Tax & Time:  $40 adv 10pm – 5am


Hype: US label Om unite house legends and techno trailblazers. Talent:  Kruder & Dorfmeister, Mark Farina, Diplo, Radio Slave, DJ Sneak, Colette & Heather, Charles Webster, Hipp-e and more. Tax & Time:  $35 adv 10pm – 7am


Hype: Mr Satisfaction pleases himself and many others by taking control of Set for the evening. Talent:  Benny Benasssi Tax & Time:  $30 adv 10pm – 5am


Hype: Sinclar and Axwell celebrate what a wonderful world it is with a special live PA by the Sugar Hill Gang. Smiles come as standard, glam get-up optional but advised. Talent:  Bob Sinclar, Axwell, Sugar Hill Gang and DJ Cutee B. Tax & Time:  $30 adv 10pm – 5am


Hype: The S-Man’s legendary label matches up the godfathers of house with those carrying the torch into tomorrow. Talent:  Roger Sanchez, Todd Terry (special Narcotic Records appearance), Bart B More, Prok & Fitch, David Vendetta and Baggi Begovic. The Superchumbo mob are upstairs with Tom Stephan, Jessie Garcia, Noferini, Lex Da Funk and Masi & Mello. Tax & Time:  $30 adv 10pm – 5am


Hype: A 24-hour session that begins at 10pm on Saturday, this techno marathon is the best reason you’ll find to miss your flight back. Talent:  Adultnapper, Argy, Barem, Cassy, D’Julz, Joris Voorn, Steve Bug, Solomun, Matthew Dear and more. Tax & Time:  $40 adv 10pm – 9pm

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MIAMI ADDRESS BOOK 90 DEGREES:  90 NE 11th St, Downtown BED:  929 Washington Ave, South Beach CAMEO:  1445 Washington Ave, South Beach CHARCOAL STUDIOS:  2135 NW 1st Ave, Downtown DREAM:  1532 Washington Ave, South Beach ECCO:  168 SE 1st St, Downtown ELECTRIC PICKLE:  2826 North Miami Ave, Downtown ICE PALACE:  59 NW 14th St, Downtown KARU & Y:  71 NW 14th St, Downtown KORE:  1439 Washington Ave, South Beach LOUIS:  Gansevoort South, 2325 Collins Ave, South Beach MANSION:  1235 Washington Ave, South Beach NIKKI BEACH:  1 Ocean Drive, South Beach PARKWEST:  30 NE 11th Street, Downtown SET:  320 Lincoln Rd, South Beach SHORE CLUB:  1901 Collins Ave, South Beach SPACE:  34 NE 11th Street, Downtown VAGABOND:  30 NE 14th Street, Downtown

ULTRAMAGNETIC! Ultra Festival step up a gear Now in its 11th year, the US’s premier dance festival —Ultra — shows no signs of slowing up as it unveils its most comprehensive line-up yet for this year’s WMC. Taking place on 27th and 28th March, at Miami’s Bicentennial Park, Ultrafest will launch off with Friday headline talent like Tiësto, indie rockers Bloc Party, David Guetta, Santogold and Pendulum (live), as well as a separate stage hosting the Swedish House Mafia, Benny Benassi, Tiga, Dirty South and Busy P. Saturday, meanwhile, showcases the new live show from the globe conquering cyber-punks The Prodigy, who join DJ megaliths Paul van Dyk, Armin Van Buuren and Above & Beyond on the main stage. A second live stage will present performances from cutting-edge talent like Deadmau5, Booka Shade, Boys Noize, Cut Copy and The Presets, with separate arenas for drum & bass and breakbeat big guns like Andy C, Goldie and Hybrid. “We feel we’ve got dance music covered from every angle, from every sub genre,” says Ultra co-founder Russel Faibisch, “from lots of real credible live stuff like Crystal Castles and Simian Mobile Disco to legendary DJs like Carl Cox, who’ll be DJing and headlining his own tent on both days. “Friday, the Carl Cox & Friends arena goes underground with Richie Hawtin and Luciano vs Loco Dice, whilst on Saturday it’s slightly more mainstream with Erick Morillo, Pete Tong and Moby DJing.” “We have also just confirmed that the Black Eyed Peas will play the Friday night on the main stage,” reveals co-founder Alex Omes. “They have just finished their new album and several of the tracks have been produced by dance artists like Fedde Le Grand and Crookers. Ultra will be the first to hear them.” “Ultra is so much more than a party or a festival,” adds Ultra producer Adam Russakoff. “It is a destination experience for people all over the globe. Besides all the States across the US, people from 54 different countries came to last year’s Ultra.” Ultra Music Festival takes place Friday 27th March and Saturday 28th March at Bicentennial Park, Miami. Check for more info.

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After 2004’s lacklustre ‘Always Outnumbered, Never Outgunned’, The Prodigy are regrouped, recharged and reclaiming the raging rave-punk landscape that made them the biggest band on the planet...


eather clad and raising his tribal tattooed hands, Liam Howlett sits square in front of us and blasts that he will “not be fuckin’ ignored with this fuckin’ album”. It is impossible not to sit up and take notice. This is, after all, the man who took the sound of underground early-’90s rave to the global masses before launching the first — and most devastating — missiles at the once impenetrable barricade that stood between the smiley keyboard hugging ravers and the grubby synth-hating rockers of that very era, blazing a trail that allowed The Chemical Brothers, Daft Punk and, later, Justice and Pendulum, to freely follow. But whilst Howlett’s Prodigy might have claimed more top five hits than those four acts put together, their last LP hinted that their best days had been and gone. Ostensibly a Howlett solo LP, 2004’s underwhelming ‘Always Outnumbered, Never Outgunned’ was shorn of The Prodigy’s iconic frontman Keith Flint and received lukewarm coverage at best. Was it really the creative end of a band that had once soundtracked a whole generation? Was it fuck.

always was, Howlett’s chat is ingrained with bring-it-on belief but never once grazes any superstar arrogance, instead coloured with boyish enthusiasm and constant “d’ya know what I means”. The newly teetotal Flint, meanwhile, is humble and polite to the last but looks every inch the aged vaudevillian rave punk — his asymmetrically mohawked hair bleached an electric yellow, a tailored designer shirt and gold Nike Air Force Ones adding a touch of irreverent bling. Together, the pair feel a renewed fire at the heart of their band but, most importantly of all, they sound like The Prodigy again. From the over-spilling acid house ecstasy of the titanic breakdown of 'Warrior Dance' to the sampled Outlander stabs on the growling ‘Worlds On Fire’, their ‘Invaders Must Die’ LP (out 2nd March on their own label Take Me To The Hospital) is stamped in ’91 rave motifs and bounds through cyber-punked Mad Max-styled territories with all the thuggish, guitar throttled attitude of 1997’s ‘Fat Of The Land’ — an album that shot to No.1 in 23 countries. Contrasting their mutual omission from ‘Always Outnumbered…’, Maxim and Flint’s spit now fires over half the tracks on the LP.

Sitting reunited and relaxed in a sedate Portobello Road members’ bar in London, Howlett and his punky cohort Flint (third member Maxim has cried off with man flu) might be touching 40 and more likely to be found jogging on a Sunday morning than rolling bug-eyed in a grimy warehouse but they aren’t about to roll over as touring relics of a bygone era. The Rolling Stones of rave they are not. Neither do they carry any airs or graces. Still the Essex boy he

“A lot of people have tagged this is as the ‘back to the roots’ album,” remarks Howlett slightly frustrated. “But for us it’s the band album — the live album. "It’s a statement that we’re back as a gang and we mean business. We don’t just want to beat people with a load of stab noises from 1991, we’re kind of reminding people of what we’re about but making sure the songs are good and fresh enough to carry the old sound into new arenas.”

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Soon talk turns to the lost weekends and cultural rebellion of the hardcore rave revolution that spawned The Prodigy — one that infiltrated derelict warehouses and open fields across the land in the early-’90s. Howlett flicks a boyish grin that belies the towering screw-faced figure often seen in press pictures and, before long, both him and Keith are lost in reminiscence. “We lived through it in every sense,” burns then Prodigy dancer Flint. “I didn’t go to fuckin’ RADA to learn rave. RADA — school of rave. I went to every fuckin’ party I physically could. We all did. We all lived the scene.” Name-checking his favourite rave acts, Howlett might laud Shut Up And Dance as the true originators of London’s early’90s breakbeat sound but it was the anarchic euphoria of his own bedroom hatched, sample stitched roller-coasters that somehow transformed the dark warehouse beast of ’ardcore rave into an insanely futuristic, subversive strain of cyberdelic pop music. Oscillating with anthems like ‘Out Of Space’, ‘Charly’ and ‘Fire’, Howlett’s ‘91 ‘Experience’ album not only represented the era’s definitive sonic document but it catapulted The Prodigy from a gang of ballsy Essex youths into unknown territory as the scene’s globe conquering figureheads. As if to hammer home the unstoppable accessibility of Howlett’s hooks, six of ‘Experience’’s 12 tracks were released as singles, three gatecrashed the top five and all hit Top 20. But, amidst the manic hype, the rush soon wore off for Liam. “I remember exactly where I was and the moment,” recalls Howlett matter-

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powered into No.1 in the UK charts — much like the dirgy Flint screamed rocker ‘Breathe’ that followed — and by the time 1997’s ‘The Fat Of The Land’ LP was released The Prodigy were the biggest band on the planet. Period. In combining the uncontrollable energy of an enraged rock style frontman (times two given Maxim’s added spit on tracks like ‘Breathe’) with the frontierless abandon of Howlett’s technological mastery and love of raging guitars, The Prodigy had smashed up the traditional dance gig template (two geeky men fiddling with keyboards) and instead infiltrated territories that no electronic outfit had previously treaded. Diehard rock fans and rags like NME embraced them wholesale whilst stadiums of thousands shook to their electric circus of punk anarchy the world over.

of-factly. “We were on stage in Scotland playing ‘Wind It Up’ and I just thought, ‘Fuckin hell, what has this become?’ I didn’t believe in it. It wasn’t that I didn’t believe in my music — I just didn’t believe in what I was seeing at this particular rave. Everyone was in uniforms of white gloves and yellow jackets. It wasn’t the London party scene we got into — the warehouses, the rebellion, the adventure.” “We didn’t want to be the flagship of rave,” adds his flamboyant cohort, before correcting himself. “We didn’t want to be the flagship of THAT rave. It was raving by numbers. Bosh two pills, slip your white gloves on and dance at 300 bpms.” Ironically, it was whilst they were in LA recording the video for ‘Wind It Up’ that Howlett gained unexpected inspiration — coming into contact with the politically charged funk metal insurrection of US band Rage Against The Machine. “I was very much a pure hip-hop head who got swept up in the rave scene so that was the first rock record, apart from Nirvana, that connected with me — especially on a groove level,” he tells DJmag. “I came back and the first thing I did was call Clint Mansell who was the guitarist in Pop Will Eat Itself — we’d met on gigs. I wanted to create my version of that attitude.” Acid spiked and hip-hop wired, the resulting ‘Their Law’ erupted into a callto-arms riot anthem that summoned the fuck-you fists of dark metal to fight the dying battle for rave’s future.

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“From their on we were like a different band,” adds Liam. “We ditched the green costumes and the rave gigs. But we didn’t turn our backs on the rave scene. For us, it kind of disappeared under the weight of the Criminal Justice Bill — ‘Their Law’ was a cry against that. For our band to go on we needed to rebel and stand up for ourselves again.” “We needed to stand alone,” adds Keith.

Employing a scorched Saturn approach, Howlett’s subsequent LP ‘Music For A Jilted Generation’ stood so far alone it genuinely belonged to ‘another dimension’ altogether as he grabbed what he wanted from rave’s ashes and melded his own darker and more devastating forms. A mangled vision of sci-fi futurism and delirious shamanism, ‘Voodoo People’ was beastly rampaging techno but its thundering guitar riffs were pilfered from iconic grungers Nirvana and their track ‘Never Ape’. A dystopian digitalisation of hip-hop’s raw funk attitude, ‘Poison’ laid Maxim’s violent spit over a morphine drowned ‘Higher State Of Consciousness’ riff

whilst the hyper rhythmic tension of ‘No Good, Start The Dance’ reshaped the naïve euphoria of the smiley rave rush and dragged it into a decaying industrial future. Neither rave, nor rock, nor hip-hop, the LP stirred the rebellious energies of all into a bewitching sonic cauldron that still resonates today. “We don’t feel connected to any one scene and never really did once we left the rave scene,” explains Liam. “We were the furthest thing away from the superclub thing that replaced it. We couldn’t have been further away from Oakenfold, Sasha and all those post-rave DJs — no way were we that. “On the other hand, we weren’t anything to do with the rock scene either. We were in this weird no-mansland but were never going to become some DJ lead, dance PA — we wanted to become a band. We always wanted our own identity.” In 1996, The Prodigy’s ‘identity’ was suddenly given a singular, snarling face by the release of their corrosive punk breakbeat fire alarm — ‘Firestarter’ — and the accompanying devil horned drawl of dancer-turned-frontman Flint. Despite suffering outrage from the Daily Mail belt, ‘Firestarter’’s uncontrollable force

Fast-forward five years and The Prodigy’s non-stop rollercoaster had left multiple bruises. Nerve endings were frayed, internal relationships were strained and the record label (XL) were pounding at Liam’s door for ‘The Fat Of The Land Part Two’. In response, he hashed out the weak ‘Firestarter’ parody that was ‘Baby’s Got A Temper’. Disillusioned, Howlett’s creativity dried up. Rumours of a split were soon rife and during The Prodigy’s silent civil war Keith committed to a solo album before Liam started working as a lone Prodigy ranger. “To be fair to the other two, there was a long period when I just wasn’t ready to do the new album,” leads Liam. “Keith and Maxim were chomping at the bit — ‘Come on, let’s fuckin go’ — and I just wasn’t in the right head space to do it. By the time I was ready, Keith had committed to other projects.” Dropping the punk and rocking the funk, Howlett’s trashy electro-smeared result — 2004 LP ‘Always Outnumbered, Never Outgunned’ — wasn’t the musical tragedy that its media reception declared but little of its mixed bag was charged with The Prodigy’s ingredient X — that rebellious energy that was once hardwired into The Prodigy mainframe. By far its standout was the sonic sledgehammer ‘Spitfire’, but whilst it featured the seductive feline screech of Juliette Lewis rather than the man many saw as the band’s frontman it was to prove a key force in pulling Keith and Liam back together. “When Liam gave me ‘Spitfire’, I put it on my stereo and it just blew me to bits on impact,” recounts Keith, his eyes bugling with the same devilish energy he breathes on stage. “I packed up my studio, sold it all and never wrote anything again. I actually had a full-on fight with the guy I was writing with. A literal physical fight — glass broken, blood, everyfink — because I was like, ‘That’s the fuckin’ shit, that’s the shit right there, that is what we should be

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doing’ and he was like, ‘What about all the shit you’ve written with me?’ "But I didn’t care because it was like Liam had written this baseball bat that thumped me round the head and left me stunned, half conscious with stars round my head like some sort of cartoon character. It was like… ‘I’m coming home.’”

But maybe now — more than ever — it is. As the ongoing embrace of all things rave continues, the stage is set for The Prodigy yet again with a largely sold-out April stadiums tour in the UK following their headline show at Miami’s megalithic dance Mecca Ultra Music Festival. Summer, contrastingly, sees them grab UK heavy metal fest Download by the scruff of its neck, as well as a show at its German equivalent Rock Im Park.

Steadily bridges were rebuilt and when the trio reunited for 2005’s ‘Their Law Greatest Hits’ tour they were reconnected with the unstoppable live power they can wield. Whilst Keith humbly admits that “Liam is the eggs, the flour and the milk” to him and Maxim’s “pinch of salt or sugar”, there is no argument that The Prodigy’s combustible mix only rises to its most towering when the three of them are there — on-stage, enraged and in action. “That is the way we are best, there’s no doubt about it,” believes Liam. “We wanted to write an album that captured that feeling, pretty much from start to finish. The track that really set the writing process alive was ‘Warrior’s Dance’. We had a big gig at last year’s Gatecrasher Summer Soundsystem and knew we just needed a new track that made an impact, a track that…” “… was just a fuckin’ killer,” completes Flint. Sure enough, the reaction to the retrotinged rave rush of ‘Warrior’s Dance’ recalled the frenzied ecstasy of their most classic moments and from there Liam’s creativity was let off the leash. Swapping an expansive studio unit for the sort of condensed bedsit-sized room that he wrote ‘Experience’ in, Howlett melded 40 minutes of audio adrenaline that is teaming with the testosterone-fuelled ecstasy that The Prodigy’s live performances embody — wrestling a surging euphoric urgency against sweat steamed lunges into teethgritted mosh-pits.

Brash and balls-out, their sound might not win any awards for avantgarde posturing, nor is it pushing the same boundaries it once was, but any questions about its relevance were fast consumed by last December’s unstoppable ‘Invaders’ mini-tour. For whilst timewarps like ‘Out Of Space’ and ‘Charly’ caused instant delirium, the impact of new tracks like the bleepy DiY punk rally ‘Colours’, ‘Take Me To The Hospital’ and recent single ‘Omen’ wasn’t far behind in terms of devastation. “It isn’t like we are playing to a bunch of ’91 veterans who have called up their old dealer for some pink calis and dragged themselves back out for the night either,” jokes Flint with typical wit. “We’re rockin’ whole stadiums of up-forit, on it ravers. People across their teens, twenties and thirties who just want to

thrash out and be uplifted by it all — and the gigs are better than they have ever been.” “The dance scene lost all its balls until a couple of years ago,” adds Liam, “but now it feels like a lot of the really good shit is real bollocks-out, noisy, raw shit.” Did any of it influence his own sound, we wonder? “Maybe subliminally,” he says. “I was really into all the Ed Banger stuff and the noisy French stuff but it influenced me more in the attitude and dirtiness of it than the sound itself. It got me excited again, it meant that suddenly I didn’t have to look to rock music for that fire — that attitude.” “We just had a set of beliefs,” says Flint, “and it was about being real, not selling out and just thumping it.” “None of it was planned, none of it was contrived,” joins Liam, adding that his sole regret was putting out ‘Baby’s Got A Temper’. “As far as the charts go, that can’t offer me anything else that can make this band better. That is fuckin’ not important — not at all. Respect is important to me.” ‘Invaders Must Die’ might not be the best Prodigy LP in your collection but — make no mistake — respect is due. And when it comes to The Prodigy it always will be. ALLAN MCGRATH

COMMAND AND CONQUER Three of our favourite tracks from the ‘Invaders Must Die’ LP.

‘WORLD’S ON FIRE’ Take the violent urgency of ‘Smack My Bitch Up’, add Maxim’s enraged battle chants, raging guitar stabs, cod classical bleepy rave melodies and then mangle in the iconic Belgian techno stabs of Outlander’s ’91 rave beast ‘Vamp’. ‘RUN WITH THE WOLVES’ The most venomous track on the album and the last to be added, this razor-teethed, rough ‘n’ ready rock war-cry comes with Liam’s guitar thrashing, fierce live drums from Foo Fighter’s Dave Grohl and Flint’s corrosive drawl. ‘TAKE ME TO THE HOSPITAL’ Like ‘Out Of Space’ mangled, battered and mutated after years of mosh violence. From the immediacy of the rave synth intro to the chemical rage of the beats and the demonic charge of the vocals, it fires adrenaline at every one of its headspinning turns.

Their most uplifting record since ‘Experience’, ‘Invaders Must Die’ represents a settled score for Howlett. “The rave scene feels like unfinished business to us,” he adds. “At the time, it got too cheesy too quickly, but it gets overlooked that it was one of the most significant and innovative eras of British music. People love to take the piss out of everything around it but forget it was all about these kids in their bedrooms writing these really amazing pieces of music that have stood the test of time. “We all fuckin’ love it — you love it, our mates love it — but somehow it ain’t cool to go, ‘Fuckin hell, remember that wicked piano tune’ or whatever.”

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The Year of the Bull King Roc hits paydirt with his debut album…



ou have to go at it like a bull in a china shop,” says King Roc. “If you’re not obsessive about music, you just can’t succeed.” And that’s exactly how Roc, aka Martin Dawson, has played it since he first started learning flamenco guitar, aged nine. Now, over 20 years later, he’s just about to release his debut solo album, the electronica-meets-techno opus ‘Chapters’. Launching his own label Mutual Society in 2007, Dawson released a quartet of ‘Chapters’ EPs that served as the blueprint for the album. He’s remixed everyone from D-Nox and Beckers through to New Order, Future Sound of London and S’Express. And as deep house duo Two Armadillos, with production pal Giles Smith (of secretsundaze fame), he’s working on the follow-up to last year’s ‘Patience’ 12”, which surfaced on Four:Twenty Recordings. Martin Dawson is a man on a mission. And for this mission he sees time as his accomplice with each precise tick of the clock working like a metronome that sparks his next idea for a tune, or an album, or a bit of sonic trickery to work into a DJ set. His first King Roc tune, ‘Feed On Me’, came out on Back Yard Recordings in 2004 and since then he’s been putting out a steady stream of technoinfluenced cuts through labels such as Kingsize, 1 Trax Recordings, iO Music, Bugged Out and Simple that have won him well-known fans including Laurent Garnier, Mr C, Agoria and Chloé. “Bored of simply putting out dance tunes”, Martin’s new album ‘Chapters’ — out 23rd March on Process Records — takes things further, stretching the perimeters of the standard 10-track

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dance music album and coming with its own tailor-made ‘concept’. “It’s hard to explain,” says Roc. “But the whole point of an album to me is a creative statement at a certain point in time. Music is a platform to be creative. What better platform than an album? That’s why I’ve put some maths in there, with ‘Phidias Gold’ sequenced to follow the timing of the golden ratio of intervals of 1.68 seconds. A dream about an enormous plant made of brick inspired the entire fourth EP ‘Dreamattic’. And ‘Flow’ is about those few times in life when you are totally ego-free and entirely in the moment.” But while Martin might go about his business “like a bull in a china shop”, ‘Chapters’ is a sophisticated, slick, emotive journey through sound. It combines techno and trip-hop beats with beautiful atmospherics, intricate, sometimes soaring, sometimes meandering melodies and vocals. The whistled melody on ‘The Growing’ is reminiscent of Frankie Knuckles’ ‘The Whistle Song’. ‘A Pocket Full Of Prose’ combines soaring strings and an orchestral piano melody pinned down by an artillery fire of sharp, tight techno beats. And first track ‘The Beginning’, with its arrestingly beautiful piano chords, has recently been remixed by Alex Kenji and Jericho Dub, and is due for release in April. “I like melodies a lot,” says Roc. “But if it’s not going to be a melancholic, heartfelt tune then it has to make me tap my feet, shake my arse.”

Unlocked Roc grew up in the small village of Lovedean, near Portsmouth. He describes his early childhood as “a bit dull”, but music came along and unlocked a world of excitement.

“I remember asking my mum for Michael Jackson’s ‘Bad’ album for Christmas when I was about ten,” says Roc. “I played it over and over again and I remember running around the house, with it blaring out, thinking how cool it was that the music was so good.” As the years rolled by Martin got into Nirvana, then metal bands such as Pantera and Sepulchura. And after dabbling as a guitarist in local bands, he heard The Prodigy for the first time in 1990. It changed everything. “They were using live drum sounds,” he says. “I’d never liked 808 or 909 drums so it wasn’t until The Prodigy and The Chemical Brothers came along that dance music made any sense to me.” Martin and his pal Nick Fryer made frequent trips to their local record store Fusion Records where they scanned the shelves for anything by Lionrock, Spooky, Fluke and Way Out West, as well as The Chems and The Prodigy. After a tipoff from mutual friend Tom Neville, they started travelling to London to go to illegal raves in Hackney and around the East End. And in the twilight zone after these frantic parties the three of them cooked up the idea for their own dance band. As teenage breakbeat trio Sentience, Nick, Martin and Tom reached heady heights in 1997 with the release of ‘Finer Scale’ on Media Records. Roc side-stepped college to concentrate on Sentience but not long after the

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release of ‘Finer Scale’ he realised something wasn’t right. “There were musical differences,” says Roc. “Then I got the fear. We weren’t earning enough money to live and I felt that it wasn’t working. You get some brilliant musicians who end up being accountants because it pays them more money. I felt like this was the kind of direction I was headed so I left the band.” During this “blip”, Roc decided to go to Westminster University in London to study product design. Before term started he spent all his student loan money on studio equipment, buying a computer, a sampler, a keyboard and effects unit, a compressor, a pair of monitors and some speakers. Nick and Tom had been responsible for most of the production work in Sentience so using his new kit Roc started making his own tracks, emulating his techno hero Carl Craig. “I only really got into techno in its modern-day form,” says Martin. “The original techno was too fast for me and I’ve always preferred music that’s 125bpms or less. Carl Craig has a real depth to his music. He puts melody in his tracks but in this really hypnotic way. It’s not hard or banging, it’s diverse.”

Eureka Moment While other students loafed around smoking spliff Roc kept his head down. He was on for a first, working really hard, when he had a “classic eureka moment” in his last year at uni.

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“I realised that if I worked in this focused, full-on way with my music then there was no reason I couldn’t do it as a full-time job,” says Roc. “That’s when I decided I was going to try and step up my DJing and production work as soon I graduated.” At first it wasn’t easy. He had to take a part-time job in London Record shop Phonica to pay the bills but during his stint there his career as King Roc took off. In 2007 things took another turn when he split with his long-term girlfriend, moved out from their flat in Clapham, which doubled up as his studio, and found himself homeless. With his studio packed up he reckoned he'd need to spend a few weeks sofasurfing while flat-hunting. But the weeks turned into three months and Martin still didn’t have a permanent home. But while in limbo he still managed to put the finishing touches to his album. “That’s when I realised I could do my job anywhere,” says Roc. “At that point I was spending a lot of time DJing in Brazil anyway so I sussed that instead of finding a place to live in London and spending loads of money on rent I may as well move to Berlin where rent is cheaper.” So he did. And that’s where he lives today. Now he’s already working on a new King Roc album and planning a full “techno style” live show for ‘Chapters’. His plan, he says, is to rework the album for a stage show, bringing in more live instrumentation and progressing his sound further. “You can see a really good band’s sound progressing,” he explains. “They go on a journey and that’s what I want to do. I don’t want to be a one-trick pony.”

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The best nights in the land — and beyond!


We find our sea-legs on a cruise ship for the MOB festival in Brazil p.094

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Chase & Status destroy Metropolis p.098


The amazing Miss Jones brings glam and glitter to London p.102


Global clubbing news and highlights from across the UK p.104

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MOB Festival, Brazil

Marc Vedo’s homecoming ACCESS




Ben Watt pics: JAMIE SIMONDS

Whatever floats your boat DJmag joins the bronzed and the beautiful onboard Brazil’s floating festival…


e want you to go to Brazil,” they said. “There’s this festival — it’s held on a cruise liner and we want you to cover it.” Tough decision. Stepping off a 15-hour flight from Heathrow, we step out into Sao Paulo’s bustling international airport and find Jessica — our host from the festival — who ushers us directly into a waiting car, which instantly gets choked up in a noisy traffic jam. “There are more cars in Sao Paulo than people,” Jessica smiles, noticing our nervous glances. “Everything takes a long time!” So DJmag takes advantage of our enforced time together to find out a bit more about the weekend stretching out ahead. This rather peculiar festival is called MOB, which stands for Music On Board. Now in its third year, it was originally part of the expansive Ministry of Sound empire, but has evolved into an entity in its own right with a cult following in South America. The event sells out months in advance and attracts a party-loving, dedicated and affluent crowd who enjoy waves of sound from a barrage of DJs over the duration.

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Held over three days and three nights, the party is onboard a 1000 ft cruise liner on the Friday and Sunday, the ship equipped with a sound and light arsenal fit for any global superclub. On Saturday we’ll be taken ashore to Florianópolis, an island off the Brazilian coast, to party the day away in the country’s largest outdoor club before returning to the ship at sunset for more floating rave action.

Beautiful People

Arriving at the port, we undergo a quick security check before finally setting eyes on the ship that will be our home for the weekend. And from the shore it cuts an imposing image. Nine floors house the cabins, the basic rooms on the lower decks and bigger suites towards the top. Every other floor has a bar or restaurant and the top deck features a swimming

pool, bars and, for this weekend only, a killer soundsystem and LED enshrined main stage. During our first stroll up on deck we bump into MOB’s liaison officer Ligia, who advises that local hero Magui is opening the festival on the sunset deck. A larger than life character, Magui warms up the crowd with vocal house and sun-soaked classics as the ship slips away from the

After recharging our batteries, we hook up with Tony McGuinness and Johnno Grant, from Above & Beyond, and Andy Moor in the hotel atrium and bundle into a waiting stretch-limo, along with some competition winners and a Brazilian glamour model, with all the aesthetic qualities of an Essex stag party — minus the cocksure enthusiasm. Once again, Sao Paulo’s congestion plays its part and the ‘short’ journey to the ship stretches like our luxury vehicle into a four-hour jaunt. Despite the delay, spirits stay high and the driver’s stellar selection of Euro-dance ‘classics’ keep everyone unified in disgust. “Is this what they think we play?” jokes Andy. “If so, we might be in trouble!” “This is why we have to call our music ‘progressive trance,’” agrees Johnno, “otherwise people will think this is what we make!”

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harbour into the open sea. With the deck filling up fast and the sun gliding down beneath the sea, Magui moves into more progressive territory as the decadent, young Brazilians begin to let loose. Beside us, Ligia is bouncing around enthusiastically, sipping a cocktail. “It is very expensive for Brazilians to come here,” she reveals, “so it is a real luxury party for beautiful people. It costs a lot of money so people make the most of every second they have onboard!”

We’ve always been slightly suspicious of promoters who say their clubs attract the “most beautiful people”. We tend to read between the lines and hear “the most superficial, vacuous, personality devoid people”. But maybe that’s just us. Certainly silicone and steroids are the order of the day here. All around are artificially enhanced, gyrating bodies, swelling pectorals and posturing aplenty. It takes a while to get used to the mass of muscle on prominent display.

While the party people here are predominantly Brazilian, the promoters are pushing to attract a wider European and North American crowd for next year’s event. The whole vibe feels very much like the Space terraces, in Ibiza. The music is sun-soaked, the crowd are passionate and the party ethic is cranked to eleven. Ducking through the ship’s various onboard bars, restaurants and casinos, we find an English style pub and grab a few

beers, before hitting the sunset bar, where we grab some more. Here we meet Berwick Street Records lynchpin Timo Garcia, who has bought his girlfriend along for the trip. “I’m not playing until the last night,” Timo yells over the bar’s heavy soundsystem, “so we’re going to have a little holiday first!” Having played last year, Timo is something of a favourite with the promoters. He’s already been booked for 2010’s event on the strength of his 2008 set. “I must have done something right,” he laughs. Stepping back onto the open-air deck, the poolside has transformed into a decadent floating palace of rave. A light rain falls down, illuminated by the lasers that penetrate the night sky, as the ship takes on a futuristic and surreal edge. Above & Beyond step out from the wall of LEDs, beginning their set with some huge trance power chords before enveloping the crowd in deeper, more seductive grooves. The melody exists but Above & Beyond’s trance 2.0 has a warmer, more sensual vibe that draws it closer to a reinvented progressive house. Whatever you want to call it, it’s doing the job.

Miami Vibes

Waking up on day two, Florianópolis takes shape out our cabin window. So after a leisurely breakfast on deck, we take a small water taxi to the island in the distance, where the plan is for a pre-scheduled bus to take us from the beachfront to a nearby open-air club — the biggest of its kind in Brazil — called

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MOB Festival, Brazil




P12. But stepping on dry land we discover that Brazil is a country where corruption still reigns. “In Brazil nothing is easy!” remarks Jacqui, another of our guides. “The Brazilian Mafia have threatened the bus drivers not to take any passengers,” she explains, following a heated debate with the unco-operative driver. Instead, they’ll provide their own bus service — at a cost! More bemused than aggrieved, we hand over a small fee and take a Mafiasponsored ride to the local beach club. There really is a first time for everything. P12 has clearly modelled itself on Miami’s Nikki Beach and two central pools are already full of bronzed revellers with cocktails and champagne in hands, people dancing poolside as the smiles beam as brightly as the sun. Contended, we flop down in the shade beside the decks and watch as Ibiza legend Jonathon Ulysses flies through a rocking blend of summer anthems. Ten years as Space resident in Ibiza is all the credentials you need to land gigs like this. And apart from a slightly suspect incident involving a violinist appearing from nowhere and free-styling over the breakdown of Lee Cabrera’s ‘Shake It’, Ulysses smashes the place to pieces. “I think he was a blagger,” Ulysses tells us later in reference to Vanessa Mai’s soulmate, “but people seemed to be enjoying it so I let him get on with it!” Setting sail again, we prepare for another night of mayhem with SOS’s Desyn Masiello and electro don Felix Da Housecat the ringmasters. But sadly, word reaches us that Felix has missed his flight. Fortunately Desyn — despite looking like he’s been woken from some kind of deep

dark sleep — agrees to take on Felix’s slot. And it turns out to be a blessing with the shipmates treated to a marathon set that starts deep and dark and builds into lush cascading harmonic breakdowns, deep warm basslines and sparkly techno majesty, which we drink in before sloping back to our cabin as the sun pierces over the crest of the deck.

In It Together

Over late breakfast on our last full day onboard we meet Jonathan Ulysses again. “Yesterday was great,” he enthuses. “There is something about the sunshine and the beautiful people that gives this event something else. There is a definite Ibiza vibe. “We’re all on this thing together — noone can get off, which creates this really friendly atmosphere. And there’s no VIP or special restaurants or bars so everyone hangs in the same place.” The terrace vibe continues all day long as DJs fire summer house around the pool and the beautiful people prove they’ve got the stamina to go the distance, but our sea legs are beginning to buckle so we nab a few hours of much-needed R&R. But just two hours later we’re back poolside, where Timo Garcia steps onto the decks with his big room electro-tech sound, smashing the daytime soundtrack aside with his upfront selection of hard-hitting weapons. “I want to keep it quite varied,” Timo shares. “There are a lot of different people out there and their tastes will be quite different.” The cheers as he leaves the decks suggest that he’s got it right on the money. With a 7am check out, the plan is to take things relatively easy tonight. However, this idea is going awry as we hang around

to see the three-way mash-up that is Brazil’s Ask2Quit, a trio made up of an analogue DJ, a digital DJ and VJ, all working together as an audio-visual collective. Obvious favourites with the Brazilian crowd, they jump about on stage hyping the dancefloor and dropping everything from hard-edged techno to uplifting vocal house and progressive trance. When Frenchman Jul Bricks appears on the decks the energy steps up another notch. So we delve deep into our final energy reserves, and get truly involved with the best set of the festival. Predominantly a house spinner, Bricks tears up the rulebook and thunders through a set of pounding techno that peaks with Dubfire’s seminal mix of Radio Slave’s ‘Grindhouse’. MOB promoter Juba finds us before we cabin crash for the last time, brimming

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with news of how MOB festival will expand next year. “This is our last year on this boat,” he reveals. “We sell out months in advance so the only way to grow the concept is with a bigger and better ship.” We let out a low whistle as Juba shows us pictures of the boat earmarked for MOB 2010, which is state of the art, luxurious and most of all, huge. “So far we have targeted a Brazilian crowd,” Juba continues, “but next year — with a bigger and better ship — we want to reach out to more Europeans and people from all over the world.” We ponder Juba’s passionate outlook. As a concept, his idea is sound. People who love the Space terrace, Bora Bora in the afternoons and Miami’s Nikki Beach will snap up MOB tickets, wallets allowing. And when they do, they’ll find a floating alternative, with no sound restrictions, very little regulation and a unique party experience. SIMON KELLY

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16/2/09 12:06:12


Metropolis, Mancheste r

Marc Vedo’s homecoming ACCESS




Ben Watt

Beyond the status quo As they infiltrate Radio 1 playlists and underground dubstep floors alike, we join Chase & Status at the North’s mightiest d&b rave — Metropolis


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“Someone told me Davina McCall said ours was her favourite album of the moment on GMTV recently,” he laughs, as we chat backstage at Leeds University’s Stylus club — where him and partner Saul ‘Chase’ Milton will play tonight for Metropolis. “That’s just mad because we never expected the album to cross as many boundaries as it has.” Chase & Status have found their own place on the airwaves in between the aforementioned Aussie rock junglists and gossip column favourites. Singles like ‘Pieces’ and ‘Against All Odds’ are all over Radio 1, whilst their ‘More Than Alot’ album looks set to be the biggest

crossover success for a British drum & bass outfit since Reprazent’s ‘New Forms’ way back in 1997. “The plan was to write an album that was obviously drum & bass dominated but also showcase some other influences we’re feeling,” Will reveals. “It was never intended to be ‘radio’friendly because we never thought tunes we released on Ram Records would ever get on the radio, but we did want it to be ‘listener’-friendly so a lot of the songs have a three-minute ‘poppy’ structure rather than being eight-minute DJ tracks.” You could say that Will and his production partner Saul ‘Chase’ Milton were the new face of drum & bass, were it not for the fact that they prefer to conceal their own features behind some more famous and photogenic acts. For what’s really helped lift Chase & Status out of the underground and into the spotlight are their collaborations, with Plan B singing an acoustic lament that gets torn apart by a serrated beat on ‘Pieces’, whilst Kano drops rudeboy rhymes over funk horns on ‘Against All Odds’. Both give the Chase & Status sound an image and attitude Will readily admits they’d lack on their own. “We’re geeky producers who don’t like to leave the studio so to have faces that people can put to the music is fantastic,” he says. “Plus, the fact that they were from different scenes was brilliant because it meant that their fanbase opened their eyes to us and vice versa.”

In fact, calling ‘More Than Alot’ just ‘a drum & bass album’ doesn’t really do justice to its scope. Sure, the breakbeats might be tight and clipped and there’s the odd gnarly moment such as ‘Smash TV’, but the sort of darkside tear-outs Chase & Status originally released on labels like Renegade Hardware have been jettisoned in favour of garage-tinged tracks like ‘Take U There’ or the straight-up hip-hop of ‘Against All Odds’. But the unmistakeable undertow of the album is provided by the coiled basslines of dubstep — the younger brother of drum & bass. “Dubstep has been incredibly important because it’s testament to how exciting and cutting-edge UK music really is,” Will confirms. “It’s a worldwide phenomenon now and it’s also brought back some of the rawness drum & bass used to have with the whole dubplate culture. “Plus, there’s obviously a lot of similarities to drum & bass with the big basslines so the two work hand-in-hand really well.”


here was a time, as Will ‘Status’ Kennard remembers, when hearing drum & bass required you to spend all your money and time “scouring little underground record shops”. Not any more, though. For these days you only need to switch on daytime radio to get a blast of Pendulum and you might even have heard the odd breakbeat emanating from your flatmate’s bedroom as she played the last Girls Aloud album. Hell, if Will is to be believed, you can’t even watch breakfast TV now without someone bigging up the latest rinsing riddims.

And if ‘More Than A Lot’ captures this cross-breeding of styles on wax then the mighty Metropolis, which Chase & Status are headlining tonight, is the club to see it actually happening in the flesh. For the evidence of a new dawn in drum & bass is everywhere you look from the killer line-up — which also features Scratch Perverts, Benga and N-Type alongside the drum & bass old guard like Kenny Ken and Lemon D — to the crowd themselves, most

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“Even though drum & bass sometimes takes a dip right now it’s going from strength-to-strength,” Metropolis promoter Mark Newton believes. “The new producers like Chase & Status are pulling influences from everywhere, which is not only shaking things up but also means that drum & bass doesn’t have the stigma it once did. “Metropolis started out as a small drum & bass brand in Manchester in 2002 but now we’ve branched out into dubstep, hip-hop and electro at events all over the world.”

of whom are so young they would have still been in nappies when Fabio and Grooverider first started speeding up the breaks at Rage. To be honest, some of the waistline wriggles a few people are busting as Benga’s basslines writhe out of the Valve Soundsystem — another sign of blurring boundaries as this is the first time the dubstepper has played through the d&b scene’s most famous and formidable speakers — make them look like they’re still wearing nappies today. But even if not everyone here has grasped how to dance to it yet, there seems to be no-one in the whole capacity-crammed main room that isn’t absolutely loving it.

Indeed, whilst the three other rooms of Leeds University Student Union are offering enough frenetic jungle to keep the purists happy, in the main arena of Stylus you’re just as likely to hear the latest Tempa release or even House Of Pain as you are anything on Metalheadz. One particularly big track is Chase & Status’s own dubstep anthem ‘Saxon’, which is dropped by both N-Type and Scratch Perverts before the headliners take the stage. Following some choice cuts from the album and vocalist Takura’s live performance of ‘Streetlife’, Chase & Status spin Rage Against The Machine’s ‘Killing In The Name’ as their penultimate tune before ‘Pieces’ is introduced as “the national anthem”. But the highlight is undoubtedly Kano’s live in the flesh appearance for ‘Against All Odds’, hyping up the crowd with a surgical precision that bodes well for the full live show to which Chase & Status are currently putting the final touches. “Having Kano and the vocalists definitely sets us apart from just your average DJ set,” Will says. “They all help to keep the

Chase & Status

energy of the music in the show and when we do a full live show we want it to be really cool and animated. We know that there’s going to be a lot of expectations so we want to get it absolutely right before we hit a few festivals in the summer.

“There’s already talk of the second album, and we’ve just remixed Estelle and The Prodigy. We’re very much of the mind that everything has to be bigger and better than the last thing we did.” They’ve got ‘More Than A Lot’ on their plates for now. PAUL CLARKE


“He’s an absolute genius and we’re massive fan of all his work. It would be amazing just being in the same room as him, let alone working together.”

Kanye West

“He’s the biggest and most exciting of all American producers. We really respect the way he sets different trends and is really in touch with European culture as well.”


“We’d probably rather work with The Edge than Bono just to get all those amazing guitar effects and delays he uses. But I think anything we did with any of U2 would be pretty impressive.”

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099 16/2/09 23:22:08


Circus, Liverpool

Marc Vedo’s homecoming ACCESS






Circus freak out!

Fatboy pandemonium and Garnier marathons at Yousef’s Circus


t’s 9.50pm outside Nation, the famous Liverpudlian club where Cream made its name in the ‘90s. Now a faded monument of the superclub era, it might have seen better days but a steady stream of taxis snake around the cul-de-sac that houses the venue — each offloading teams of eager ravers. We’re here to check out Yousef’s Circus. Back in 2002, Yousef launched Circus to give Liverpool the underground house night it needed in those bleak post-Cream days. Now firmly etched on the city’s clubbing consciousness, Circus has arguably surpassed the legacy of the iconic Cream — albeit with less fanfare, more credibility. Unparalleled line-ups, a good vibes atmosphere and a musical

remit that has since run from Detroit legends Carl Craig and Moodyman to names like Dubfire and Loco Dice. Tonight the line-up is more befitting of a small summer festival than a Northern club night with techno maverick Laurent Garnier, big beat superstar Norman Cook, German techno funkers Tiefschwarz and a host of major league dance music goliaths. No wonder the place is roadblocked. At the head of the line DJmag meets Yousef greeting the early arrivals, shaking hands and creating the type of family atmosphere that Circus is famed for. “Tonight is completely sold out,” reveals the one-time local Cream resident. “It really takes the pressure off. Once the tickets are all sold we can just get on with

doing what we do best — making sure everyone has a good time!”

people going crazy everywhere you look. We have to be doing something right!”

Good times are on show as we delve into the Annexe and find Laurent Garnier warming up the Circus faithful with deep house grooves and Motor City techno. The youthful crowd (yes, we feel a little old) are cheering every mix from the French master and he responds in kind — darting around the booth, eyes squinted, shaking his head, fully immersed in the moment. A Garnier epic is the sort of thing that keeps you rooted to one floor all night, but in the interest of objectivity DJmag stays mobile and finds the latest jewel in Maidstone’s crown — Tom Green — wowing the Courtyard with wonky techno, twisted funk and shardes of Border Community-styled electronica.

With that, rising Japanese star Shinichi Osawa attacks the EFX filter sending a devastating frequency sweep across the room before dropping in a behemoth bassline that rattles the foundations of the famous venue. Flown in especially for tonight’s gig, Osawa is not disappointing the main room masses as he spins beforeCook. Fatboy Slim inevitably splits opinion. Born crowd-pleaser or novelty DJ relic? Well, there’s no signs of rust tonight. Flying through big-room electro, wonky 4/4 beats and hyperactive breaks, Norm keeps the crowd delerious by peppering it all with cheeky vocal samples from his own expansive repertoire. Throwing air-horns into the crowd he plays a game of call and response with a sweat-soaked fan hanging from the speaker beside him. Pure pandemonium — and all the fun of the Circus indeed. SIMON KELLY

On the move again we bump into the Southern Fried gang, who are hosting tonight’s main room. Rightfully delighted with the overwhelming turnout, Southern Fried A&R Nathan Thrusting is bouncing about backstage with Circus co-promoter Rich McGinnis — both donning ‘winner’ medals. Nathan’s is attributed to the best (or biggest) hair in the building. Rich can’t remember where his came from but Norman ‘Fatboy Slim’ Cook is trying to lay his hands on a prize of his own. “I hear there is a DJ competition later,” he grins. “So I might enter that — don’t really fancy my chances though. I’m a bit of a rookie!” The spirits are high, the jokes fly and all involved know that they have pulled out something special tonight. “I read that last Monday was officially the most miserable day of the year,” smiles Nathan. “And here we are — four days later — hosting a complete sell-out with

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LEG IT! Not content with running Liverpool’s most successful night since Cream, promoter and resident Yousef is in training for April’s London marathon. Cutting back on the booze and the DJing, he’s packing over 40 miles a week in training and will be running in aid of CALM (Campaign Against Living Miserably). Circus have long supported the charity and now you can too by sponsoring Yousef at justgiving. com/runyousef

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The Roundhouse, Lond on


Marc Vedo’s homecoming





Saving Grace Glam and glitter reign down as Grace Jones lights up London’s Roundhouse...


t’s 11pm, she’s been singing and dancing for over an hour and, for her encore Grace Jones is back on stage in six-inch heels and a gold cat mask hula hooping as she belts out an unflinchingly brilliant rendition of ‘Slave To The Rhythm’. The crowd can’t believe it. It’s hot, some people have taken their tops off and the ticker tape that fell from the ceiling during the finale is stuck in people’s hair, on their clothes and all over the stage and dancefloor. And, even though this is a live gig, ‘dancefloor’ is definitely the appropriate word because being in the audience for this leg of Ms Jones’s ‘Hurricane’ tour is like being in a club. From the get-go everyone is dancing, people are grinning like loons and hugging. And as Grace sings, with that earthy, knee-weakening contralto voice of hers, she keeps up the gyrating hip movements that keep her day-glo pink hula-hoop rotating. When the former Warhol muse first swapped the catwalk for the recording studio back in the 1970s, she became an

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instant success. Tunes such as ‘I Need A Man’ and ‘La Vie En Rose’ defined disco and she became one of the era’s first divas in the process. In the early 1980s she helped usher in new wave with tunes such as ‘Nightclubbing’ and ‘Feel Up’. Tonight, to this very glamorous, well-groomed crowd of older fans and newly recruited fashionista types, she plays some of those timeless hits. House producers Luke Solomon and Kenny Hawkes are at the front dancing their socks off. For ‘My Jamaican Guy’ Grace comes out on stage wearing a two-foot felt hat shaped like an anthill. During ‘Ma Vie En Rose’ she’s dressed in a white top hat and black sequin tailcoat, every song prompting an outfit change and between each tune, as the stage is plunged into darkness, Jones sweeps out the back to change all the while chatting to the audience on the mic, delivering hilarious one-liners.

guitar, bass, keys and her son Pablo on percussion. Old tunes sit alongside fresher-than-fresh songs, such as ‘Well Well Well’ and ‘The Devil In My Life’ from her new album ‘Hurricane’, out on Wall of Sound. The beautifully groovy ‘Sunset Sunrise’, which she co-wrote with Pablo, gets the crowd bopping away, arms-in-the-air and for oldie ‘Love Is The Drug’ Grace’s glittery bowler hat is lit up by green lasers that shine from the stage and pierce the crowd. As the first few bars of ‘Pull Up To The Bumper’ pump in, the place explodes. Grace pole dances as she sings, ticker tape falling while bouncers pull some lucky fans up on stage. Lights flash, the tiny squares of pink paper rain down and the crowd surges forward as more people try

Unlike too many superstar divas, Grace actually sings live. To one side of the stage are two beret clad backing singers and behind Grace a full band with drums,

to clamber up to be with Grace. It’s discofied, glittery fun anarchy as the Roundhouse is transported back in time to New York’s Studio 54 in the 1980s. And in the middle of it all is the beautiful, inspirational, amazing Grace Jones. A muscular man strips as he takes to the pole to dance and Grace joins him. When it really is all over, Grace steps back out onto the empty stage and thanks us all for being “so amazing”. But this isn’t just PR hyperbole from the woman who in the 1980s didn’t think twice about punching TV presenter Russell Harty in the face live on air because she thought he was ignoring her. These are sincere words from the lady who ruled New York’s disco scene, defined 1980s new wave zeitgeist and now, over 20 years later, has delivered a comeback album and a supporting tour that has blown us all away. CLAIRE HUGHES



Released in 1978 it not only contained the brilliant title track but side A was a continuously mixed medley sedged by the mighty Tom Moulton.


Out in 1981, it contained gems such as ‘Walking In The Rain’, ‘Feel Up’, ‘Pull Up To The Bumper’ and the brilliant title track.

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Sebastian Neuss (Manager)

Lagerstrasse 30a 20357 Hamburg / Germany T +49 (0)40 / 519 07 19 -2 / -3 F +49 (0)40 / 41 00 13 96 Untitled-1 1

(12:00h - 18:00h)

Tom Steinert (International Bookings)

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CENTRAL LONDON WAREHOUSE Saturday 7/3 MISSING The End already? Pining after

those famous marathons sets where Layo & Bushwacka! and Laurent Garnier would submit themselves entirely to the most clued-up club crowd in the capital? Well, Shake It! is here to provide a much-needed tonic to your yearnings. Run by Layo, Bushwacka! and long-term End manager Liam O’Hare, Shake It! is the latest incarnation of Layo & Bushwacka’s famous AllNightLong sessions and is situated in a two-room warehouse in central London. No warm-ups, just Layo & Bushwacka! playing all night in one room and the mercurial Frenchman Laurent Garnier spinning all night in the other! With Garnier’s new album due to land in May and Layo & Bushwacka! also busy in the studio, expect nothing less than fresh underground music in another fresh underground environment for London.

10pm - 6am £tbc HEADS UP: This is set to be the first of a

Shaking up the capital

New post-End concept from all-night lynchpins 1. WE FEAR SILENCE LAUNCH PARTY


IT may be too early to call it a revolution but it already feels like London clubbing is fighting back against the Doomsday prophets. And leading the charge into the brave new era is a new venture from ex-End duo Ryan Ashmore and Ajay Jayaram — The Arches. Set just a couple of minutes from London Bridge station, the venue is set under four railway arches. As well as adopting many of The End’s previous nights, such as Border Community, Chew The Fat! and Buzzin Fly, the venue will bring in new innovative promotions. Already confirmed are A Bunch of Cuts, which will shine a much needed focus on the deeper side of d&b with the likes of Calibre, Marcus Intalex

and dBridge all playing. With Eat Your Own Ears and Warp records also confirmed for the opening month, exciting times are afoot Tonight’s launch of their Friday night We Are Silence banner is all about seminal deep house and tech label Buzzin’ Fly. Label owner Ben Watt will command the booth all night long, while twisted tech magician and Dirtbird don Tom Green holds fort next door. Also watch out for Paris’s Mademoiselle Caro, Chris Woodward and more guests to be announced. The revolution might not be televised but — if We Fear Silence have anything to do with it — it will be heard.

10pm - 6am £15/£12 NUS

HEADS UP: Watch out for Paul Arnold’s Chew The Fat! who roll through The Arches on Friday 27th March, with Hervé, Foamo, Loefah and Kotchy.

Local Knowledge LONDON

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“Having just come down from the high of The End’s closing, the world suddenly looked a little bleak but then I remembered that Shake It! begins in March with Laurent, myself and Bushwacka! plus loads of familiar faces from The End’s team running the ship! “The warehouse is amazing and is ready for a massive set of new parties. These will be unique events — I can’t wait!”

● Feeling the pinch? Don’t like big crowds? Well, MINISTRY OF SOUND have now introduced a £6 after 4am system that will keep you trample free and that little bit heavier of pocket! FABRIC have run a similar deal for some time — £5 after 5am — so being late has never been so fashionable. Or

series of events run by Layo & co so keep a beady eye on this concept!


MATTER, PENINSULA SQ, SE10 Friday 6/3 WE think matter will truly come into its own when filled with sweaty junglists. Ram popped their cherry at the venue last month and tonight it’s the turn of Hospitality. And just like Ram, they have curated a line-up to excite even the most lethargic bass freak. Room one hosts DJ Marky and Hospital lynchpin High Contrast, ably assisted by London Elektricity, Nu:Tone and Logistics. As if that wasn’t enough, they have also secured Full Cycle duo Krust & Die, while a posse of dubstep masters like Benga and N-Type host room two. Junglists are you reeeeeaaddddy?

10pm - 6am £13/£10 HEADS UP: So confident are Hospitality of

pulling a London crowd that they are running their regular roadblocked Hospitality Brighton party on the same night.

cost-effective! FFI ministryofsound. ● Dalston has been developing as a bit of an underground party haven of late. One of our favourite Dalston debauchery dens is the RUSSIAN BAR on Kingsland Road. With an ever-improving roster of

nights, this month they have Buzzin’ Fly’s CHRIS WOODWARD and Fabric ressie TERRY FRANCIS spinning on Thursday 5th March for NATURE OR NURTURE. It’s 10pm – 5am and just £4. The night after Tsuba artists and Steve Lawler favourites BEARWEASEL play for GENIUS

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CELEBRATING 10 years at the top for a label that has been consistently superb. Steve Bug will be joined by label mates Martin Landsky and D’Julz, while Highland techno masters Slam join Terry Francis in room two. Elsewhere, Fabric mainstay Craig Richards looks after business upstairs.

11pm - 8am £16/£12 conc HEADS UP: Keep an eye out for Dave Clarke, Billy Nasty and Ricardo Villalobos on 28th March, and make sure to pull a sicky one Monday after doing Wet Yourself — now every Sunday!



AS a label, 54 Music is split into two brands

— Light and Dark — and for their London launch night they have crafted a line-up that represents both sides of the coin. So their rave mash-up in the heart of East London features Audiojack in the Dark corner and Inland Knights stepping into the Light. Simple.

10pm - 8am £10 adv HEADS UP: Bar 54 isn’t just about the night-time. Get down there early and fill up on authentic Spanish tapas.


MINISTRY OF SOUND, GAUNT ST, SE1 Friday 20/4 GET your progressive hat out ready for this

one. Although usually firing from a trancier cannon, tonight The Gallery welcomes Satoshie Tomiie, Nick Warren and Remy & Klinkenberg to the box. Expect the deepest aquatic progressive house from the prog masters, while 16Bit Lolitas look after business in the Bar.

10.30pm - 6am £15/£12 adv & NUS HEADS UP: House heads are spoilt for

choice in March as both Erick Morillo and Roger Sanchez bring their nights to Ministry on 14th and 21st respectively.

● Also joining the Dalston party is new venue SATCHMOS on Stoke Newington Road. Fridays and Saturdays at the venue are now getting down to underground

WE love a good Sunday session here at DJmag and, luckily for us, London has them in plentiful supply. Hardy favourite, Egg provides a Sunday morning house, minimal and techno session with a house party vibe and the obvious Sunday morning anarchistic edge. The perfect home for those who don’t want to go home.



4am – late £tbc

“I last played The Gallery back in October and had a great time. Since moving to Ministry I think the night has really come back into its own. “I’m going to be playing lots of new stuff from our forthcoming Way Out West album and a couple of new signings to my Hope Recordings label. People can expect deep, melodic, forward-thinking dance music.”

techno and sprinklings of disco too. It’s all promoted by wily Ibiza promoter Scott Martin of Filthy Gorgeous fame. ● Party Proactive and Closer promoter PAUL JACK has launched a new bar in Shepherd’s Bush called THE ANGEL & ASKEW. He’s HEADS UP: If you like your antics to take place in the afterhours then Jaded at Farringdon’s new Ghost club is well worth a visit!

9pm - 5am £15 adv HEADS UP: Grab your tickets from


CARGO, RIVINGTON ST, EC2A Tuesday 31/3 HARD, heavy and sexy as hell, Yo Majesty!

barge into Cargo tonight for a booty busting live show and a hard-spitting onslaught of their sexually liberated, spiritually charged lyrics. Not to be ignored, pay the girl-on-girl duo some close attention tonight.

8pm – 1am £8 HEADS UP: Lots of hot live action at Cargo this month but our tip has to be Red Snapper, who play on Saturday 14th March.


HIDDEN, TINWORTH ST, SE11 Friday 20/3 TECHNO warriors Closer return to Vauxhall

tonight for a relentless attack of eclectic techno riddims. Expect all the usual excesses of a night out in Vauxhall as UK techno institution Surgeon makes his Closer debut alongside resident Steve Strawberry.

midnight - 8am £10 adv HEADS UP: Speedy J, Rolando and Dave Angel have all rocked Closer in the past.

fitting it with a spanking new soundsystem and DJ booth. It opens Saturday 7th March with a special set from DAVE ANGEL. Meanwhile, plans are afoot for PARTY PROACTIVE’S 5th birthday at Vauxhall’s AREA, on Saturday 2nd May.

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WHO said London is running out of parties? Month by month, new spaces are appearing and this stunning East London loft space is one of them. Taking inspiration from the Krautrock/ Kosmiche sound, Throwback invite space rock pioneers Cluster to play live. Experimental orchestra Chrome Hoof give an improvised live performance, whilst Border Community’s James Holden DJs tripped out electronics.!

BAR 54, COMMERCIAL ST, EC1 Friday 6/3

too. It’s also 10pm – 5am with tickets at just £5. FFI


● Brixton venue THE FRIDGE is back in business! It’s had a £150k refit and can be used for club nights or live events. FFI fridge. ● Finally, time for an early heads-up on our next DJMAG & FRIENDS party at THE STAR OF

BETHNAL GREEN, on Thursday 23rd April. Last time Serge Santiago and Skream rocked some awesome disco selections, this time we’ve got JAMES ZABIELA & DAN REID getting all eclectic on us and a disco and house set from d&b visionaries COMMIX. Best of all, it’s totally free and runs ‘til 2am.

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INFECTIOUS Breaks is an alliance

between three Portsmouth breakbeat promoters — Dusted, Out-Break and Error. In just one year they have had Rogue Element, Plaza De Funk and 30Hz. For tonight’s first birthday they invite Lot 49’s mighty Elite Force to join residents Lee & Mark Martin, Ignition & Promo and The Cubists.

8pm – 1am £7 HEADS UP: Next month is equally as untamed with The Beat Assassins barging in on Friday 10th April.



The eyes have it

BREAKNECK have the balls to book the

Gifted book VJ specialists 1. GIFTED

mighty Pendulum for their first South Coast DJ set in over a year and sling them alongside Blame, dubstep don Hatcha and his MC Crazy D. Local talent will reign in room two.


9pm – 3am £10

NOT so long ago 4YourEye were voted

No.5 in our VJ chart so we’re delighted to see the Austrian duo on the bill at Gifted — a club that has brought champion foresight and many forward-thinking artists to sleepy Reading. “After seeing how they transformed the venue last year, we knew we’d have to them back — they add so much to the night’s experience,” says promoter Barry Eaton. “4YourEye are an amazing VJ duo and they offer something very different to the normal programming and are a real scoop for Gifted, Mango and Reading. “It proves that not all cutting-edge ideas are left to the big cities,” adds Bary. And we concur. Congrats are also in order for Gifted going the extra distance with a diverse line-up that doesn’t simply draw on big names, with extra back-up and tenacious techno turns from Headspace, Adam James, Steve Mahoney, Rick Mai and Ms Red.

9pm – 5am £8/£6 HEADS UP: In the Mango Garden, WePlayCDs will be slamming the indie remixes, bootlegs and lost classics. HEADS UP: There is actually a third room in action tonight as SUMO stir in party hip-hop, house, rock and rave.


“We had a taste of Gifted’s fresh sounds when some of the Gifted DJs played with us in Austria and can’t wait to showcase some of our new material at their night. “Here is a promoter who understands why live visuals and projection design is so important.”

Local Knowledge SOUTH & EAST

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STEADILY taking their particular brand of electro grindcore around the lands, Fake Blood are frying tonight! Equally as enthralling is the addition of Boy 8-Bit, securing a steaming night that is likely to be more fun than a game of soggy biscuit. 11pm – 4am £10 HEADS UP: Deviate host Digital on Thursday 27th March, with Exel and Sandman, Moodie, Seanie T and Lazy Boy.


THREE nights, five arenas and over 80 artists throw thier weight at this marathon coastal session of d&b, hardcore and old skool. A headline set from Fabio and Grooverider is just the tip of the hero worshipping iceberg. Andy C, DJ Die and hardcore hero Hixxy are just a few that comprise the rest of the weekend’s line-up. It’ll be taking no prisoners so come ready to rave. £95 – £125 HEADS UP: On the Saturday night, dubstep and breaks fans get their own room with Hatcha & Crazy D, CTRL Z & Screwface, Stereo:Type and Chef.

● Brighton after-hours club HARDER VS TWIST soldier on to WATER MARGIN, on Saturday 7th March, from 3.30am – 8am. Hard beats come from STEVE MAYNARD, PAUL BATTEN, TOM BASQUIL, DJ DRUMMER B2B SALERNO and BUZZ-FX. FFI

● Heads up on the EASTBOURNE FESTIVAL at THE WINTER GARDEN, on Saturday 25th April. ANDY C, CHASE & STATUS live, PLAN B and MC RAGE all play, whilst MASS present CALVERTON, KIERAN BRINDLEY and CARL HANAGHAM. FFI

● CARL COX is bringing his annual UK mini-tour to the South Coast. The techno giant is booked to play on Friday 17th April, at Bournemouth’s OPERA HOUSE. FFI

16/2/09 20:31:05



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LIKE hooking up with a distant ex, there

WHAT with the relaunch of their internet radio station and parties at the South By Southwest festival in Texas, you could forgive MyHouse-YourHouse if they forgot their hometown this month. But they’re not too busy to keep up their regular doses of deep house featuring Alex Traska, Mass Transit’s Alex Rajkovic, Ben Parkinson from Boe Records and some surprise special guests.

were some fears that the spark would have died when Atomic Jam returned to their spiritual home at the Q Club last November. But it looked to be the start of an affair which continues this month with all-time Jam favourite Dave Clarke, Adam Beyer, James Ruskin and Regis banging out the techno. Two other rooms rock to drum & bass and electro.

9pm – 6am £17.50 HEADS UP: The Cream Classics night, which normally takes place in the Q Club on the first Saturday of the month, moves across town to Space 2 this time.

Coalville trance Mecca turns 14



AFTER what restaurateurs call a “soft


BEING a teenager in some backwater

town isn’t often that much fun. Unless you’re Passion that is, the club that has attracted the brightest lights in dance to Coalville for 14 years. Beginning life as a handbag house night back in the mid-’90s, Passion’s early guests were names Todd Terry and acid house icon Danny Rampling. But Passion’s star truly ascended in the late-’90s trance explosion when it became the Gatecrasher of the Midlands with star guests like like Paul van Dyk, Tiësto and Armin van Buuren. And the stars are truly aligned for their birthday. Headliner Ferry Corsten is supported by Gareth Emery, John O’Callaghan and veteran resident JFK amongst others.

9pm – 5am £16 HEADS UP: The Emporium will be pitting their two




“The secret to Passion is people power. “We feel like a shining light in the middle of this depressed former mining town — some DJs have even turned back because they didn’t believe this was the right place! “Trends and DJs come and go but the clubbers here will always be out for a good time.”




Teenage passion


opening” with a few low-key parties last year, new Leicester club Superfly — which replaces the old Original Four — are now taking things up a level. Shivoo are holding their parties there but the pick of the bunch this month looks like drum & bass shindig Filthy Beats starring Hospital Records’ Danny Byrd.

10pm – 4am £5/£free b4 11pm HEADS UP: There’s more beats a-breaking at Mind The Gap, which has Aquasky on Friday March 20th.


10pm – 4am £5 HEADS UP: Warm up the night before at MHYH’s regular Friday free parties at Saltwater.



AS any banker staring gloomily at their

balance sheets will tell you, there’s no such thing as a safe investment these days. But the Belgian brothers Dewale are still a fairly sound bet for a rammed dancefloor. After doing the business at New Year, here as 2Many DJs they’ve been invited back to Factory Club for one of the famous pool parties, which also features a plethora of local support.

10pm – 5am £13.50 adv HEADS UP: Brum’s most bass-heavy night Bigger Than Barry are throwing their fattest party to date at the Factory Club complex, on Saturday 21st March.

big nights against each once more with a Passion vs Storm showdown in the near future.

Local Knowledge MIDLANDS

● Imagine ‘8 Mile’ with a marker pen and you’re not too far away from SECRET WARS, the night which features live graffiti battles to a soundtrack of hip-hop and dubstep. The semi-final at the RAINBOW WAREHOUSE, on Saturday 7th March, has artists NEWSO and SAM BEVLAK

uncapping their weapons with beats provided by DJs SLOBODAN and AUTOMATON. FFI secretwars. com ● THE OLD VICTORIA pub in Birmingham city centre is looking a bit smarter after their recent refurbishment, not least because

they’re beginning to put the upstairs room to good use with some interesting nights like nu-disco and tech-house bash INSIDE. It launches on Saturday March 28th with the promise of a secret big name headliner. FFI

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CLUB CONCRETE, LOWTHER ST, CARLISLE Saturday 21/3 CARLISLE’S clubbing community have finally got something to cheer about and — be damn sure — for the past 12 months they have needed it. After a year or so in the wilderness, their beloved Uber have kissed and made up with their old venue Club Concrete, meaning that the Northern city finally has a rave to go to and a monthly one at that. Tonight old fave Yousef is recruited to look back over the glory years as he celebrates 10 years of playing for the Uber crew. He’ll be digging deep and seeking out the tracks that he used to spin for the promoters when they were but starting out. In the back room is another Circus resident — Stel Alexander. The stellar Uber residents Ki Creighton and Jay Wykes complete the bill. Uber has long been one of our favourites nights in the North so we’re almost as excited as the Carlisle crew about this one.

10pm – 4am £10/£8

In the Area




Marathon celebrations ahoy! 1. THE 1st BIRTHDAY MONTH

AREA 51, WHITWORTH ST, MANCHESTER Saturday 14/3 ONE-DAY birthday celebrations? Pah.

That’s such old hat. Why have one day when you can party for the whole month? Area 51 has organically risen from nothing to something over the last 12 months. Before then, the venue was known as the Emporia, but has since undergone a massive regeneration and re-fit, distorting it from its original look. A kicking Funktion One, a cosy clubbing environment and an early morning licence have made it a favourite for Manchester’s marathon clubbers. The first of the month’s birthday parties is on Saturday 7th March, with Panorama Bar Berlin resident Jesse Rose headlining alongside a surprise guest.

Seven days later, Get Physical’s ultra cool M.A.N.D.Y are on duty and that’s our tip. Always innovating and creating haunting soundscapes as they go, M.A.N.D.Y are a top act to catch live. Heidi and Kaluki from Get Physical also have their say. If you miss either of those, then Fridays see KissDaFunk continue their residency with Oliver Lang, Jason Herd and Daley Padley set to be joined by some hot house and electro property throughout the month. With its Twilo-esque long dark tunnel of a main room, a big smoking terrace and the option of table service, Area 51 is the place to be. Make sure you pop in for one of the month’s sessions.

10pm – 9am £ varies HEADS UP: The likes of Hot Chip, Mr. C, Layo

& Bushwacka and Sandy Rivera are all set to appear in the coming months at Area 51. Sounds good to us.

Local Knowledge NORTH

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“Manchester has great energy, the crowd are always off the hook in that city. “I don’t really plan my sets, I usually wait and see what the crowd is like on the night. Sometimes I play deeper, sometimes more jackin’, it depends on the people. Or how many drinks I’ve had! “If people want a taster of my sound they should check out my show on Radio 1, which is on the fourth Thursday of every month.”

● A couple of tasty gigs for you. First up, you can catch the Mancunian pop sensations THE TING TINGS at the LEEDS O2 ACADEMY, on 1st March. Read the rhetoric at thetingtings. Then cheeky-tongued pop starlet and press mongerer LILY ALLEN skips her way through HEADS UP: Derrick Carter, Luke Solomon, Danny Rampling and Lee Mortimer are all lined up to play Uber in the next few months — let the good times roll.


STUDIO, HARDMAN ST, LIVERPOOL Saturday 21/3 LIVERPOOL based techno party K’Fuffle move into a new home at Studio with a set from Mistress De Funk. Her style is black funk-fuelled tech and house and her skills are as hot as the Ibizan sun — she’s been making noise across the north for a while and now the ‘Pool takes its turn to feel the funk. Also on hand will be K’fuffle residents Will Hollyoaks, Daz Kewley and Rory Hayes. A more intimate alternative to the likes of Circus, it’s another reminder of the bright underground scene that is currently burning in the ‘Pool.

10pm – 4am £6 HEADS UP: Studio is gathering a natty little selection of nights for itself with mUmU also booking the likes of Dyed Soundorom and Hector.

a selection of her old and new tracks at the same venue, on Tuesday 24th March. Both gigs are £20. ● On a clubbier tip, JAMES ZABIELA plays LEEDS O2 ACADEMY, on Friday 6th March, as part of his new ‘Masters Series’ mix

album tour (check it out if you haven’t already — it’s boss). It kicks off at ten and will set you back only an Ayrton. has more or check O2academyleeds. ● Friday 6th March sees Leeds night POLAROID back at WIRE

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NINE years ago a few disillusioned lads started something different in Liverpool — a night devoid of meatheads, bar DJs and shite music. Everyone form Carl Craig to Marshall Jefferson has played, so you’ll understand their right to celebrate tonight. Join Erol Alkan, Pendulum, excellent Italo-minimal man Marco Carola and electro upstart Fake Blood for top birthday bizzle.

FOR No Reason are renowned not only for


10pm – 6am £16 HEADS UP: Modeselektor, Benga, Kode 9,

Chase & Status and many more also get in on the act.


THE MINT CLUB, HARRISON ST, LEEDS Friday 27/3 GERMAN Sascha Dive has been making music for around four years now, but only really rose to the surface last year. Bookings at some of Europe’s coolest spots made him one-to-watch and his hot, house rooted tracks have appeared on Body Language and secretsundaze compilations. Catch him tonight at Mono_Cult.

11pm – 5am £8 HEADS UP: Since its £500,000 refurb last

year, the Mint Club is reclaiming its place as one of the best small clubs in the North.


REVOLUTION, FISHERGATE, PRESTON Thursday 5/3 ANOTHER event in Preston to peak its head

up and make us take note that things are really coming on in this part of the land. Headlining tonight is rising Ketoloco chief Chris Halliday, bringing his DC10 influenced record collection with him. Fraser Todd, Danny Johnson, David Tomlinson and Andy Fullard also spin.

9.30pm – 4am £6/£5 HEADS UP: Note the bargain pricing and long opening hours. Those, combined with underground talent, make this a must-do for clubbers in the North-West.

after visiting Belgium’s answer to Fabric, Fuse. And it’s another Leeds debut with DISCO BLOODBATH leaving their East London bunker to lay down some ‘ecstasy disco’. FFI ● We drew your attention to Manchester’s great DEAF




“I’ve played for Uber for 10 years; this will be mostly a testimonial gig where I’ll be playing tracks I’ve broken there since I’ve been involved with them. “Also expect recent cuts from Tim Green, Luciano, Guy Gerber, Loco Dice, Reboot and more, and I’ll be dropping loads of tracks from my new album, which is now all done and out in early April in time for my transition to Carl Cox’s management team.”

INSTITUTE last month. Get down there on Tuesday 3rd March where CIRQUE is worth a look. There’s an extravaganza of music, lights, performance and burlesque across three floors. Think jazz, swing, funk, dubstep, techno, d&b — all mixed up in. 9pm kick off and it’s £5.

THIS is a first — but we’re rather surprised it’s taken this long, in truth. The Tuesday Club is holding its first headline dubstep night, despite having pushed the genre for years. Jump-up and riot style dubsteppers Caspa & Rusko take the lead. Roni Size knocks out some solid deebee just in case the change gets too much. And Sub Focus, Dillinja, Lemon D, Noisia and more also play.

9pm – 4.30am £15adv

their quality music, but also for the prevalence of bird cages, lampshades and dismembered mannequin legs that randomly appear in the midst of the dancefloor throughout the night. No danger of them taking themselves too seriously, then? Clive Henry dumps the heavy, minimal and deep house beats tonight.

9pm – 4am £10/£8 HEADS UP: Star resident Clark Kent has a

flurry of releases coming out this month, including his latest track on Moov Recs.


PLUG, MATILDA ST, SHEFFIELD Saturday 21/3 TALENTED, hard grafting label boss and Swede John Dahlbäck drops into Sheffield to roll out some of his contemporary electro-house killers. This guy deservedly has a great rep and he’s only 24. LJ Freeman Hallam, Floorfillers and more also feature.

10.30pm – late £ varies HEADS UP: Dahlbäck records minimal tracks using his Hug alias and as Hugg & Pepp with his cousin and fellow producer Jesper Dahlbäck. HEADS UP: MC action comes from Full Cycle’s Dynamite, Rod Azlan and Tonn Piper.


FIBBERS, STONEBOW HOUSE, YORK Friday 20/3 A MOBO and Brit Award winner as well as a master collaborator with the likes of Iggy Pop, Primal Scream and William Orbit, Finley Quaye is truly a boss and he is back in action. Don’t miss him tonight.

7.30pm £12 HEADS UP: Quaye is currently working on a new album with A Guy Called Gerald and The Stereo MCs. Keep your ears pinned back.

● SANKEY’S have really pulled their fingers out of late. Playing this month on the 6th are NIC FANCIULLI, no nonsense minimalist ADAM BEYER and deep house sensation MILTON JACKSON. Then, on Saturday 21st it’s electrifier JOHN DÄHLBACK with peerless Danish dub and

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techno dude TRENTEMÖLLER spinning the night before. Sheesh! FFI has all the details.

look to break from the normal circuit. Marcus Arrowsmith and Vess are your hosts.

● Saturday 28th March sees TRIED AND TESTED continue to knock out solid tech-house and techno at the JABEZ CLUB ,on Portsmouth Street, in Manchester. Well worth a

● Liverpool dance institution CREAM’s Easter Special takes place on Sunday 12th April. It’ll be the first of three Cream events at Nation this year.

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THERE are some things in life that are worth waiting for. The No.37 bus, an African American president, some fluffy snow and an appearance from Rob Da Bank at your club — tonight we celebrate the arrival of the latter. Luv*Jam have been getting worked up about this since last year, bless them. 10pm – 4am £8/£7 HEADS UP: Also doing the do are residents Coley, Daniel and Cristoph, who all contribute to this night of eclectic fun and folly.



Bloc rocker

Bloc Weekend smashes it




IT’S pretty much a given that this Bloc

Weekend is going to be one of their wildest yet. That’s not only because of its enormously robust line-up of hefty headliners and classy acts but because of its move to a clean and friendly resort. Quite literally, it’s going to be like all the rave kiddies are let loose in the sweetshop. Indeed, it’s a monster line-up that’ll bring tears to your eyes. Setting the bassbins to overload, German mentalist Otto Von Schirach leaps on stage with Modeselektor, whilst Aphex Twin provides one of his rare and entirely inspiring performances. Garnish these giants with the likes of Rusko, Beardyman, Carl Craig, Skream, Benga, 4 Hero, Metro Area and Lee ‘Scratch’ Perry and you’ve got the perfect weekend for underground music heads.

10pm – 6am £125 HEADS UP: The multi fancy dress theme is a respectable Miami Vice, Disco or Sunday Best. Take your pick or mash up all three!




YOU’LL need maximum stamina for this

MODESELEKTOR “This is our first Bloc appearance but we interact with our audience a lot so we expect it to go off. We also like to change our set as often as possible so there won’t be much repeated content for those who have already seen us in the UK. “We have also just finished an album with Apparat under the project name Moderat. It’s called ‘Dito’ and will be released on BPitch Control in May.”

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10pm – 4am £7 HEADS UP: Blowpop are yet another Westerly club taking the leap over to fancy dress land for some Snowbombing action in Austria.

8pm – 6am £125 HEADS UP: Tayo’s legendary Tracksuit Party should set lighten things up at bit on Saturday.



PUT a nappy on for Sinden, Fake Blood, Benga, Ratpack, Youngsta, Dub Boy and Nicky Blackmarket. Rave filth past, present and future!

10pm – 8am £12 HEADS UP: Shit The Bed promoters The Blast are also getting involved with Snowbombing. Expect daft costumes, nutty notions and some blinding DJs.

Local Knowledge WEST & WALES


three day d&b led assault. Alix Perez, Benga, Beardyman, Wiley, High Contrast, Ed Rush, DJ Yoda, London Elektricity and Trojan Soundsystem all take the lead. With Roni Size, Andy C, Scratch Perverts, Zinc and Appleblim also just a glimpse at what’s in store at this first-ever Detonate Weekender.

LIVING up to their name, Evil Nine lurch over to Bristol fresh from playing Austria’s Snowside festival. Joining the gnarly funk breaksters will be residents Stereo 8, Steve Redux and Clark Kunt, who will all use their magic dust to get the dancefloor jumping.

● JOSH WINK provides one of your five-a day when his ‘When A Banana Was Just A Banana’ album tour slips into Cardiff’s COOL HOUSE, on Saturday 7th March. It takes place at the GLO BAR from 10pm – 4am. Tickets are £7/£5. FFI

● Bath breaks fiends IMPACT OF THE DEEP celebrate their 4th birthday on Friday 3rd April. It all goes off at the MOLES CLUB, as AQUASKY, INSURGENT, ITCHY FINGERS and RAREDJ boom out a cone-crushing soundtrack. Tickets £7/£6/£5. FFI

● There’s nowt wrong with a bit of forward planning as trance titan FERRY CORSTEN plays GATECRASHER, at Bristol’s SYNDICATE, on Sunday 12th April. See you down the front! FFI

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THE Ministry powerhouse steams into

town tonight for the launch of their latest residency. Rising house star and all-round dancefloor slayer Daley Padely is their special guest and he is fresh and buzzing from his tour of Australia too.

10pm – 3am £10/£7/£5 HEADS UP: Sundays at Mono have DJ Midge demolishing classic house and digital disco.



Wake up!

Coma shakes up Belfast’s underground



YOU know us. We like to show our love, especially to newcomers like Coma, who host Skye once a month. “After two very successful nights with top local DJs and our residents Danny Simpson and Saaman playing hot tunes, we hope for our night to get stronger and stronger,” says promoter David McAllister. Mind you, some sponsorship from footwear store Size is also a step (groan) in the right direction. It cool and canny to see a Friday nighter embracing local talent and tonight Miniminds are their chosen ones. This forward-thinking techno duo, Gary Dickenson and Stephen Garrett, are one of Northern Ireland’s driving forces and already recognised by the likes of Carl Cox, James Zabiela and Mason, so take this chance to check ‘em out.

9.30pm – 2pm £5 HEADS UP: Miniminds release their third

EP ‘Overdose/Organised Kaos’ through Fling Recordings later this month. minimindmusic

IF you’re a dedicated house head and you WHAT THE DJs SAY...


“Coma looks like a really positive thing for Belfast’s scene and we’ll be bringing a forwardthinking techno sound with minimal influences. “Our set will be a decks and effects set with a lot of our own material and fresh new techno. “The dance music scene in Belfast is really strong right now with Shine and Stiff Kitten bringing great artists to Belfast and a lot of small independent club nights adding their own flavour.”

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ONCE again, Yello have managed to slip

some love potion in our tea! But in their defence it’s hard not to rave about Jo Mills and Milton Jackson on the same line-up. Arrive safe in the knowledge that you can have nearly as good a time as those that went to the WMC. Almost!

12am – 6am £10/£5 HEADS UP: Graeme Park celebrates 25 years in the business here on Easter Saturday, 11th April.

11pm – 3am €15 HEADS UP: On Friday 17th April the invited one is minimal maestro Gregor Tresher.



WE’RE actually a little bit scared of this. A Monday night? Now, that’s serious. Actually, it’s the day before St Patrick’s Day, so it’s kind of understandable. Might need to dust off the silver crucifix and scoff down some extra garlic though as Clive Henry lurks into town with a display of distressed tech-house and crumpled minimal. Be afraid, be very afraid. 10pm – 3am £8 HEADS UP: Completing the line-up tonight are Iain Dixon, Cookie and Cricky Lyttle.

Local Knowledge IRELAND


want to take your game to the next level, it would seem rude not to start a night, promote and play at it. Why not indeed? Fionn and Feno are Filthy Friction. It’s their party and they can play if they want to! And they also decide who joins them. Tonight it’s Lützenkirchen playing Great Stuff — do you see what we did there? He’s a label mate with the high class German imprint. But then, you knew that already, didn’t you?!


● There’s some more Belfast Warehouse action with STUBBEN, on Friday 20th March, as local hero JAY MC spins lashings of deep tech-house and techno. You can also catch him every Saturday night on Feile FM (103.2). FFI

● CARL COX returns to the Emerald Isle on Easter Monday, 13th April, at Belfast’s longrunning SHINE. There’s another chance to catch Coxy the following month when he plays at Dublin’s TRIPOD, on Friday 1st May. FFI

● Port Rush’s LUSH! have recently done up their enduring KELLYS home and will blow out 13 birthday candles there on Saturday 7th March, when JOHN DIGWEED plays a five-hour set. Meanwhile, MARKUS SCHULZ joins the fold on Saturday 14th March. FFI

13/2/09 10:13:22

2CD / Download

A Twisted Journey Into The Darker Side Of House Kid Cudi / Laidback Luke Rudenko / Chris Lake / ATFC Mobin Master / Wez Clarke Kurd Maverick / Vandalism and more...

Out Now


16/2/09 12/2/09 16:50:00 3/2/09 11:46:24 14:07:56

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ALTHOUGH relatively unheard of in

Xxxx Scotland, the South African duo of Playdoe should be on your radar. Made up of producer SiBot and MC Spoek Mathambo, they crank out bubbalicious analogue to spur your arse into subconscious bopping. If your hip-hop ain’t dance enough or your dance ain’t hip-hop enough, Playdoe will provide hours of fun.

11pm – 3am £4/£3/£1 GSA students

The master returns Carl Craig at Snafu


A successful pupil of Detroit techno’s second generation, Carl Craig is one of the most legendary and prolific producers to emerge from the Motor City. From the unwitting role he had in creating the d&b template with his 1992 cut ‘Bug In The Bass Bin’ as Innerzone Orchestra, to the haunting techno masterpieces, such as ‘At Les’, Craig’s career has been one defined by constant movement and innovation. As an astute A&R, his own label Planet E has been pushing the boundaries of techno limits since the mid-’90s, releasing cuts from legends like Inner City’s Kevin Saunderson, Recloose and Detroit enigma Moodymann. The chance to catch Craig on these shores is rare so tonight’s collaboration between Snafu crowd-puller Mixtape and the ascendant Let It Bleed should be etched in the diaries of Aberdeen’s techno fraternity. HEADS UP: Playdoe will also be performing on Friday 6th March, at Aberdeen’s Snafu, with Dan Le Sac.



WHY play for just the last hour when you

can play three? Follow Ben Sims’ logic as he joins the factory line at Creative Industries to crank out the latest rhythm mechanics in his funky techno range! Also in the Ben Sims line are the nine labels he’s had a hand in creating, including Theory Recordings, Hardgroove, Native, Symbolism and Killa Bite. Another winner in the growing list of artists to appear at Creative Industries.

11pm – 3am £10 HEADS UP: One of the UK’s biggest techno exports, you can also catch Ben Sims if you make the mission down for Bloc Weekend in Minehead, held between 13th and 15th March.




“We went to Aberdeen last year and played on a beach. If that’s anything to go by, the party is gonna be crazy at Mixed Bizness. “I love playing in Scotland, people are so fucking funny and the whisky flows like water. “Not too sure if they get the whole afroethnic vibe, but they definitely get the botic-techno!

11pm – 3am £15 HEADS UP: If you miss tonight, hop on a train and catch Carl spin at Glasgow’s long-running Subculture the following night.

Local Knowledge SCOTLAND

● HELL EVENTS move from the depths of Glasgow’s Classic Grand to the spacious ARCHES for their new venture – SUPERNOVA. Taking place on Friday 6th March, old HELL favourite MR C wipes away any lingering tears remaining from the closure of London’s End to treat crowds to a solid techno platter. He

THE first Kapital event of the year sees a

much friendlier strain of Super Flu arriving in Edinburgh. The two-piece live act from Germany will spread experimental minimal house on a Minilogue and Akufen tip, having already piqued interest with their releases on Bodzin’s Herzblut Recordings. Get down there.

11pm – 3am £10/£8 adv HEADS UP: Kapital resident and promoter Barry O’Connell tells us that there will be five events at The Caves this year including “by far our best line-up for a year yet!”



AHEAD of the release of their anticipated debut album, the Brookes Brothers mark their debut performance on Scottish soil at Xplicit. All the whisperings amongst the drum & bass fraternity is that the LP — due for release on Adam F’s Breakbeat Kaos later this year — is going to make an impact. Catch them live and direct tonight. 11pm – 3am £8 adv

will be joined by STEVE LAWLER. Shit hot, it runs from 10pm – 3am. FFI ● MIXTAPE & EDIT SELECT keep getting props for their sessions at SNAFU and their effort on Friday 27th March ensures more as LUKE SLATER joins them.

● Edinburgh’s COALITION is causing a ruckus with their grimetinged, bass-bin kickin’ assaults at Edinburgh’s SNEAKY PETE’S. On Friday 27th March they have NYC’s DROP THE LIME who will bring the trouble and bass.

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2. SNOWBOMBING MAYRHOFEN, AUSTRIA Sunday 29/3 – Friday 3/4

WE’RE not done with snow yet! When it comes to utter lunacy and deprived tomfoolery, Snowbombing is right up there with the best of them! One of the spanking joys of the club scene is that a party can happen pretty much anywhere in the world and come March and April we do so love to descend on the snowy resorts of Austria. This being their 10th birthday, it’s bound to be their best yet thanks to a line-up that takes in Dizzee Rascal, Fatboy Slim, Grandmaster Flash, Fake Blood, Justin Martin, Skream, Justin Robertson and Layo & Bushwacka!, to mention just a few. This is the very bomb indeed! As ever, the line-up is diverse and hectic with underground promoters and artsy organisations given the chance to add their particular blend of experience and hi-jinx to the proceedings. East London hipsters Urban Nerd open up with dubstep star Oneman, sick new graff crew ATG and the promise of a massive snowball fight! 4pm – 8am £329


The white stuff


Head for the slopes and party!


mash-up crew you get twenty quid off your booking fee… shhhhh!


one,” grins Eddy. “I’m so into it that I’ve decided to do a different set in each room — even the terrace. Bring it the f**k on!” Intimacy will be one of the key factors to the success of this newcomer. It’s a seven-day party for just 1000 party fiends and the aim is to give each and every Snowsider an incredible experience that they will never forget. And that’s a very likely story, especially when you consider that The Qemists, Metronomy, Kissy Sell Out, Vitalic, Evil Nine, Shy Child and The Infadels are all recruited to get us rocking.

“Snowside is going to be BIG! We’re returning from our gigs in Japan at the beginning of March and shipping straight out to Snowside to spend a week boarding before we play. Fortunately, we’re doing a three-man DJ set, so we have two spare people in case one of us gets injured on the slopes! “If we survive Japan we will be going for broke in Austria!”

WHEN you see the word ‘festival’ don’t you just get all over-excited and ahead of yourself? And when the word ‘snow’ comes into it too, then we’re reaching breaking point in anticipation of icy hedonism and crisp debauchery, which come wrapped in truly angelic surroundings. Making their debut on the scene, Snowside is the bouncing baby of the £289 infamous Secret Garden Party and Eddy Temple-Morris’s The Remix — a generous HEADS UP: Tickets are on sale now for this collective, happy to share the love. summer’s Secret Garden Party, which takes place between “Take the brilliant music of Thursday 23rd and Sunday 26th July. Enchanting is the Snowbombing and combine it with the word for this lovely bash. For more information log onto jaw dropping wow factor of Tignesfest, throw in Xfm’s The Remix rocking dance music programming and Secret Garden Party’s charm,” says Eddy TM of this new creation. “We’ve got a drum & bass room,” he ● Australian heartthrobs CUT continues. “A live bands room and Global COPY have got the right idea. an electro-indie-dance-filth room, Knowledge After rinsing their homegrown each with some of the best artists festival scene they’re embarking in their respective genres. There’s on a US tour that rather tidily even an outside terrace where DJs completes at the WMC. It’s a from bands will have après ski slots. massive trip and our money’s on “I don’t think I’ve ever looked their gig at New York’s Terminal forward to a gig as much as this 5, on Saturday 21st March. If 118 HEADS UP: If you book through East London’s


FROM one extreme to another. The sunny festival season in Australia reaches a crescendo with Future Music, which launches off boldly for its first-ever flight. Hitching up skirts and taking the show on the road, FM knocks at five party towns including Sydney, Perth, Brisbane, Melbourne and today’s touchdown in Adelaide. Massive headliners N*E*R*D join Basement Jaxx, CSS, Steve Angello, Oakey, Grandmaster Flash and Richie Hawtin. A garden of unearthly delights indeed. 12am – 10pm $75

futuremusicfeè HEADS UP: The swarthy Angello then recharges his batteries for his appearance at the Ultra Music Festival, in Miami, on Friday 27th March.

you get the chance make sure to bag yourselves one of their cool T-shirts, available on the tour and also at ● Yikes! TRANCE ENERGY is on the horizon. It all goes off on Saturday 7th March, at Utrecht’s JAARBEURS, in Holland, from

10pm. PAUL VAN DYK, ARMIN VAN BUUREN and MARCEL WOODS headline. Prepare to dance as if your life depended on it. FFI ● News up that the second INTERNATIONAL MUSIC SUMMIT will be taking place from

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9. HARD 13

BERLIN’S club scene just went and got a tiny bit bigger and a little bit more exciting thanks to the birth of Dice Club. Nestled into an abandoned electricity station and blending an austere industrialism with some futuristic sheen, Dice tonight plays host to special guest Luke Solomon. He’ll be joined by Aril Brikha.

WHAT a lovely prequel to the Miami WMC! And how beautiful it is to party outdoors. Respect to Mexico’s Moots massive for lining up Dubfire, BookaShade, Shlomi Aber, Felix Da Housecat, Tocadisco and Style of Eye.

OUR respect goes out to Diplo for simply



midnight - late €10 HEADS UP:

Friday 20th March is a Je T’Aime Records party with Alex Dee, Varoslav and Tolga Fidan live.


NOT to be confused with a red

woolly friendship bracelet-wearing, Madonna-hugging religion, Kaballah Fest is something else entirely. Spread over two days, James Zabiela, Tiefschwarz, Dusty Kid, Adam K, Gugha and Perfect Stranger spin the first instalment.

12am – 10pm Price tbc HEADS UP: On Saturday 21st March there’s more of the same at Marquesa, in Sao Paulo, with the addition of the super-buff Lützenkirchen.

4pm – late $850

WHAT THE DJs SAY... HEADS UP: Style of Eye plays the Dirtybird and


Mothership party at Double Grand Waterclub, in Miami, on Friday 27th March.

LUKE SOLOMON “I’m genuinely fascinated by Dice Club. For me, Berlin has always been about Panorama Bar — which I love — but it’s always good to see healthy competition. It keeps promoters on their toes. “Dice looks like a great addition and will really open things up. “We have just finished a new Freaks EP and I will be most definitely road-testing that.”



ORGANZA aim to stretch the perceived

clubbing boundaries with an invitation to meet über sensual German imprint Ostgut Ton. They’ve forged a line-up of label favourites, including minimal master Ben Klock and a live show from fellow Berlin act, Shed. The scene will be one of shiny splendour, we think.

11pm – late ¥4000 HEADS UP:

Shed and the Klockster reappear at Grand Café, in Oasaka, on Saturday 21st March.

SHRINE EXPO CENTER, 700 W 32ND STREET, LOS ANGELES, USA Friday 13/3 doing what he wants to do, when he wants to do it. It’s just a shame he doesn’t do it more often, that’s all. Follow the legend as he joins Erol Alkan, Boy 8-Bit, LA Riots and Boys Noize for some electronic mayhem and noisy carnage.

8pm – 4am $40 HEADS UP: Alexander Ridha,aka Boys Noize, takes over New York’s Webster Hall, on Friday 20th March, for a Boysnoize Records bash.



THE ‘Sound of the 9th Season World Tour’ continues on its merry way, busting out star-spangled costumes and glam rock get-ups likely to frighten your pets and unnerve your grandma. Mission master Sven Väth leads the way.

10pm – 7am €30 HEADS UP: Previous to this, on Saturday 7th March, there’s an equally tempting Cadenza night at Amsterdam’s Westerliefde with Luciano.



BLIMEY, is it hot in here or what? Maybe it’s just the thought of Matthew Dear and Guido Schneider holding fort at this Poker Flat and Tuning Spork party that’s got us in a right old spin. With Poker Flat celebrating their 10th anniversary this month — Happy Birthday you guys! — and fellow German label Tuning Spork coming along for the ride, the smart money is surely on Chicago tonight. 10pm – late $10 HEADS UP: Mind you, Saturday 21st March is just as deadly with Busy P headlining. Don’t even get us started about him!

Wednesday 27th to Friday 29th May at IBIZA GRAN HOTEL. It’s synchronised perfectly with the launch of the season too. Hooray! ● Two dates for your diary at Berlin’s PANORAMA BAR. First up, BART SKILLS will be throwing down intimate techno on Friday 13th March. You might also like

to pop over there on Saturday 7th March for a LUKE SLATER appearance. FFI

BIRTHDAY PARTY, somewhere in Malibu, California. It’s an invitation-only party and sounds like an absolute hoot.

● It’s also worth mentioning a gig that Nicole Richie’s ex-lover DJ AM has lined up on Friday 6th March — even though there’s not a hope in hell of you getting a ticket! He’s playing BARBIE’S 50TH

● DJ LUCCA is already half-way through her epic ‘Reformation Album Tour’. Saturday 21st March at CLUB STEREO, Klagenfurt, Austria, looks like a hottie, but visit for the full schedule. 119

● Ever wondered what Ibiza is like offseason? Well, it’s beautiful, lush, green and fresh spirited. Which is precisely why LOCO DICE is dipping back there, on Tuesday 3rd March, to play the beach bar BLUE MARLIN. If you’re going to go the distance you may as well check him out at ANGELS AND KINGS, in Barcelona, on Thursday 5th March as well.

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MUSIC Roc to the rhythm!

King Roc’s new album is a multi-layered electronic odyssey…



Nick Warren reveals his current smashers in the run up to the Miami WMC. p.125

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The most knowledgeable reviews team pick through the latest releases. p.126

JORIS VOORN The Dutchman’s new double CD for Balance takes DJing to another level… p.154


Download all the latest Killer Download releases via p.157

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Kutz ‘Travellin’/Static’

Freak ‘n’ Chic

Mark our words: the four distinct cuts on the ‘Lax EP’ will detonate parties from Miami to Marrakech, such are their infectious rhythms and classic groove manoeuvres. The Chicago-inflected crisp claps, vocal cut-ups and deep bass roll of ‘Don’t Be Forced’ could slide as easily into a Sneak or a Marc Antona set. ‘California’ is a heavier, uptempo funker, with creepy Twilight Zone-dark synths juxtaposed

Soul Jazz

with a warm West Coast house vibe, and ‘Son of Sun’ snatches slap bass hits, off-key stabs and political spoken samples and arranges them into an irresistible concoction. The more minimal ‘Calling’ is a bonus on the digital release, rounding off an essential package.

Martyn/2562 ‘Yet/Kontrol’

Croydonite Kutz has been has been bubbling on the dubstep underground for some time now. ‘Travelling’ is a 4/4 thrust of warping bass subs and needling synths — thundering along with a funky, offbeat Soca rhythm, this killer will fit easily into techno or house sets in need of a little low-end nastiness. ‘Static’ is a slow and low sonic massacre, a slinking, distorted

bass barrage of dark potency. Both are next-level steppers marking an exciting new player on the scene — the future sound of Croydon!

Steve Angello & Laidback Luke feat Robin S ‘Show Me Love’



Electronic garage futurists Martijn Deykers (Martyn) and Dave Huismans (2562) team up to deliver this mind-mangling 12”. At the cuttingedge of the dubstep scene, the influences of techno and d&b are just as pronounced in both their productions. Consider ‘Kontrol’: sampling Dan Bell’s techno classic ‘Control’ and bending it into a brooding, synth-strewn, slow building dubscape, 2562 wears

his electronic influences on his sleeve. But winner is Martyn’s ‘Yet’. An uptempo bump ‘n’ shuffle groove with lush pinging techno keys and reverbed chords, the track sits between classic UK garage, two-step and Carl Craig nodding tech.

Take one of the darker, smoked-out rave moments from the unstoppable Swedish House Mafia/Laidback Luke camp, get Hardwell to fill its eerie breakdown with the unmistakable keys of Robin S’s piano house anthem and watch the bootleg send thousands of hands skywards. Finally seeing full and legal release, ‘Show Me Love’’s promo fever has gone right off the dial.

We’re all over the monstrous speed garage revival remix from New York’s bass avenger Drop The Lime, whilst Blame’s funky d&b lite relick ticks the right boxes and Geeneus gets busy on a rich Afro-inflected riddim. Huge.

VITAL LABEL DISSIDENT Who’s behind it? Acid house veteran and London DJ/producer Andy Blake. In just 18 months his label has released

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over 40 of the now cult collected Dissident EPs — each pressed as limited one-sided runs of just 200 vinyl. What does it sound like? Freestyle electronic grooves. Whilst touching on modern ana-

logue Italo, Dissident is far from the disco revival label that some have lazily tagged it. Instead, releases have ranged from the nasty straight-up acid house of Invincible Scum to sensual Chicago sleaze-jams like The Niallist’s recent track ‘The Hots’.

16/2/09 23:07:54


Miss Kitten & The Hacker ‘PPPO’


Nobody’s Bizznizz

Logistics’ ‘Jungle Music’ is like a timewarp back to the smokehazed delirium of London’s seminal AWOL club in its ’94 heyday — horns blowing and lighters glowing. Mean, moody and no messing around, think of retro jump-up jungle at its most devastatingly simple — minimalist breakbeat scuttles, the helium strained goblin vocals of that classic ‘Think’ break and a long, dark, pummelling bass tunnel that

rips through the subs with ribrattling precision. On the flip, the cool and quirky ‘Toytown’ brings things back to the future with twisted toy pianos and rising waves of warped bass funk. But it’s the A-side that will do the most damage — a masterpiece.

Miss Kitten and The Hacker reignite their twisted production tryst on this bleepy darkroom rave beast. Miss Herve rejoices in her darkside as we hear her echo warped distresses of ‘People. Pleasure. Power. Objects.’ intone ominous visions across The Hacker’s trippy electro backdrop — all panning bleeps, dark crashing bass waves and those dry ice emissions recently favoured by Dubfire.

Isolée ‘Nightingale/October’

Lifelike feat Yota ‘Sunset’



Techno fiend Rajko Mueller, aka Isolée, really sounds like no-one else out there. Famed for the classic Afrotech single ‘Beau Mot Plage’, here he lands on Solomun’s excellent Diynamic, the perfect home for this stunning pair of leftfield club batterers. ‘Nightingale’ is filled with strange FX and surging melodic rushes of sonic power, a sea of electric jellyfish glowing in a midnight sea illuminating the

Who releases on it? Ali Renault, who also happens to be one half of Italo sensations Heartbreak, UK techno veteran Mark Broom and Berlin space disco producer Spacelex. Andy himself also releases as one half of S.C.S. but the focus is on

darker, bigger beasts beyond. Big clicking percussion and pinging, disorienting sounds lead the way, before irresistible bass tugs you down. ‘October’ contains lush rising chords, dubby clicks and a fat kick drum. You need this.

showcasing new untried talent that is pushing the boundaries. Who’s playing it? Anyone that can get their hands on them. Dissident’s high profile hat tippers range from Mr Scruff and the Optimo boys to Prins

This is one gem that should definitely float to the front of your playlist. Awash with synths so dreamy you could almost imagine them in an Armin set, this lush French house groover comes blessed with the sailing vocals of Swedish singer Yota as the consistent Lifelike crafts a journey of hands-in-the-air bliss for those of us not too old/trendy to get involved. This slick vocal anthem puts

Thomas and Andrew Wetherall. A certain François K recently picked up a whole load on a record shopping session. What’s next? “No idea,” according to Andy, who claims the “whole point of

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Made for lost moments in warehouses. On the remix, the experienced hands of Function somehow manage to meld the original components into a tribal pulsed techno juggernaught more thundering and trippedout than the original.

Alan Braxe’s Vulture straight back on the radar, whilst the flipside’s Moroder influenced ‘Seqeuencer’ is a technicolour cosmic instrumental that lights up as brightly as a Jean Michelle-Jarre concert. Twenty-four carat bliss.

the label is to do whatever we feel at that moment”. Spontaneous one-sided discs of electronic experimentation will continue to roll from some of the most talented undiscovered producers around.

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REVIEWS IN THE BAG! Way Out West Future Perfect CDR

“I’m going to be cheeky and mention one of our own tracks. It’s from the album which we’ve almost finished. A very big, weird riff-driven track, very Way Out Westsounding. It’s fairly low-slung, not too mental but then it gets a mad reaction every time I play it out. “I think it’s hard to pigeonhole things now, the whole progressive thing has become a lot more tech-house, and this track is more techy. “We’ve spent a fortune on analogue synths in the studio in the past, and this album is very synth-based. It’s tech with a slice of disco, almost like The Pet Shop Boys making underground dance music.”

Hideo Kobayashi Know Nothing Rising Thunder Records

“I got sent his album and it’s some of the best stuff that I’ve heard for years. It’s very techno, very uplifting, reminds me a lot of Funk D’Void. Another feel-good techno track, and I think it’s going to be huge.”

Guy Gerber Timing Cocoon

“I think this is going to be the track of Miami. I played it out for the first time at the weekend in Greece and it tore the place to bits. It’s got a great melody line, a feature of Guy’s records that he’s so well known for. “You’ll see a thread in all my choices, which is a good melody, and this has a great synth line. What’s so exciting about dance music at the moment is that records like this are played by everyone from Richie Hawtin and Sven Väth to me and Sasha. And that’s fantastic because for a few years music got so pigeonholed that only prog DJs would play things like this. It’s good that the boundaries have opened up again.”

Petar Dundov Sparkling Stars Music Man

“There’s so music coming out that it’s easy to miss things, DJs will play things for one or two weeks and then forget about it. This came out at the end of December. Music Man is a great German label, which has been around since I started DJing, and this track is one of the biggest tunes I’ve heard in years. “Again, it’s very melodic, and it’s very pumping and deep — fantastic techno, basically. It’s the sort of record that will still sound great in six months and I’ll still play it in 10 years. A timeless piece of music.”

In the bag.... NICK WARREN Synonymous with the progressive house tag since rising to notoriety with his DJing and production in the early ‘90s, in truth the musical tastes of Bristol-born Nick Warren have always been a little more eclectic. Whether unleashing euphonic, breakbeat-laced club epics with Jody Wisternoff as Way Out West, or fabricating DJ set odysseys through the deepest corners of techno, deep house and breaks, Warren’s inclusive vision of music comes with only one caveat: let it be melodic. Having mixed eight compilations in Global Underground’s mix series, the last of which, ‘GU 035: Lima’ was released late last year, Warren is keeping the production fire burning too, with Way Out West’s eagerly-awaited fourth album set for release later in 2009. Way Out West Soundsystem play live at DJmag’s Miami WMC pool party at The Shelborne, on Wednesday 25th March, and Nich also plays alongside Dave Seaman and others at the hotel’s Shine club, on Friday 27th March. Meantime, here’s some of his current smashers… DJ471.in_the_bag.indd 125

Thomas Sagstad Grapefruits and Strawberries Hope Recordings

“Probably the worst name for a record! We’ve signed it to our label Hope Recordings — Thomas has just done an EP for us. “This is very bleepy, very Sasha-esque, a lovely melody again. It’s full of intricate, clever ideas, and reminds me a bit of James Holden. An amazing piece of music, it really does stand out from the rest of the EP.”

Stephen Hellm Taste (Robert Babicz Remix) CDR

“Robert Babicz is one of my favourite producers, he did a great remix of our Way Out West track ‘Spaceman’. He really seems to turn in amazing syncopated patterns and ideas. His production is the best out there at the moment, and this track is the latest from his amazing tune factory.”

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house REVIEWS QUICKIES Crash Remixes Pt 1 Freerange

Harry Choo Choo Romero Cumbia

Many might feel ‘Cycles’ to be Milt’s finest work; certainly there’s a feeling here that Wahoo are gilding the lily, but Dixon and George Levin replace the euphoric ebullience of the original with a slow burning grinder. Elsewhere, Lovebirds paint prettier pictures with ‘Crash’.   




It’s a source of some satisfaction that ‘Heater’ hasn’t prompted a slew of rip-off tracks. But while there can be little question that ‘Cumbia’, named after the traditional Colombian dance, is inspired by the surprise hit of 2007, Choo Choo’s Latin-driven accordion jam is somewhat less corny than its popular predecessor. Harry himself, Jerry Ropero and Jorge Jamarillo all give good variations on the theme but it’s Jose Nunez who delivers the definitive DJ’s choice, edging out the rest with his precise drums and compelling groove.

Jochen Pash feat Chelonis R Jones Mathematics Caballero

Are vocals back? It’s starting to feel like it. DJs that once played purely instrumentals have been spicing up their sets with a capellas and the trend is moving into productions. Electro tracks with added vocals tend to have a commercial slant but ‘Mathematics’ stays on the Dirty South side of credible and the vocal is more of a garnish than a main meal. There’s little to choose between the mixes; it’s more a question of whether you prefer bumpy tech (Original mixes), retro rave keys (Kid Massive) or current electro house (Belocca).

Sunlight Square Amuyada

Sunlight Square

Quality Latin house tends to be hard to find these days, but this bunch of jazzy musos have pulled out a real peach of a fiesta tune here. Joy Malcolm, of Incognito fame, adds some hurried vocals to a blisteringly paced production that’s heavy on the Latin jazz in the ‘Original Mix’, a little funkier in Mustafa’s ‘Sol Do Brasil Mix’ and nicely balanced in Louisubsole’s clubbier rub.

Roland Clark pres Urban Soul Goodbye Love King St

Seems like Alix Alvarez has trodden water somewhat since showing his early potential in the first half of the decade.

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Copyright feat Imaani

Deeper (Baggi Begovic Mixes) Defected

PHil Cheeseman 10 Trevelyan Gdns, London, NW10 3JY

Milton Jackson

a brand new vocal and without the original bassline. Chunky, funky and at the commercial end of his range.

Chris Lake feat Nastala If You Knew Milk & Sugar

Lake’s latest is another slickly produced, commercially-inclined female vocal excursion featuring a big piano hook. ATFC tones down the sugary sweetness and roughs it up with bigger beats.

Jaidene Veda Sunday

Begovic’s mixes don’t stray that far from the Copyright originals, but they do smooth out the beats and introduce a handy set of head-nodding keys that work well with the vocal. But he’s uncovered the odd gem or two along the way and this brace of mixes on Clark’s vintage Urban Soul project are up there with his better moments. Things begin politely enough with Roland’s mellow vocals getting the pretty keys and strings treatment, but the real action kicks in on the dub, a classic piece of New York bump and groove that harks back to Jovonn in his pomp. The sort of groove you feel in your chest.

Doman & Gooding feat Dru & Lincoln Runnin’ Positiva

As one of those chart-topping dance tunes that almost everyone knows, Armand’s ‘You Don’t Know Me’, or more precisely the disco loop that forms its unmistakable hook, is rinsed on a regular basis. But these two respected DJs commit a crime against common decency with ‘Runnin’’. Exhibit A is a vocal of gossamer-light substance and the more serious exhibit B is a rap that would make even ’90s Eurodance pap merchants like Culture Beat baulk. And no amount of Mark Knight & Funkagenda mixes are going to make enough mitigation.

Roy Davis Jnr feat Erin Martin I Have A Vision Scion

Roy Davis has a history of coming up with unusual tracks — ‘Gabrielle’ was nothing if not straight from leftfield — and ‘I Have A Vision’ continues the tradition in fine style. Martin’s curiously child-like vocals sit oddly but successfully with Davis’s jerky tech-jazz produc-

tion, while for the remixes Todd Edwards delivers his time-honoured style and DFA’s The Juan Maclean embarks on a trippy disco excursion that morphs into acid. But it’s Fred Falke who raises the bar with one of his electronic ‘80s pop inspired moments, a mix that makes up in quirky charm what it misses in dancefloor impact.

ATFC Feat Rae Give Me Luv Defected


Nick Holder produces this pretty, idiosyncratic vocal and from the preposterous preponderance of mixes from the likes of Halo and Kemal, Conan Liquid and Booker T, it’s The Layabouts who nail the definitive version.

The in-form ATFC revamps the Alcatraz biggie with

Michael Woods feat Inaya Day Natural High Diffused

Woods’ Out Of Office identity is decidedly at the commercial end of electro-house and Ms. Day is no stranger to overtly pop productions, so it follows that ‘Natural High’ is hardly likely to feature as an underground heads’ essential tune. But these two are no fools; Day delivers a punchy vocal that does the job (though the hook isn’t a strong one) while Woods’ canny production underpins the verses with tough keys and opens to a sweet piano riff for the choruses.

Soul Avengerz Someday Soda

The Avengerz continue their hybrid style of traditional vocal house and vintage rave with a dash of current electro and diva attitude. ‘Someday’ is a no-nonsense exercise of covering the basics, employing a simple electronic bassline for the main parts, a spoken word and sung female vocal and a big arms-in-the-air piano breakdown for the interlude. The ‘Blue & Deep Mix’ adopts for a more heads-down groove minus the piano, while Dark Knights roll out the tougher electronic flavours.

David Penn urbana

01. Sandy Rivera  ‘I Can´t Stop (David Penn Remix)’  Defected

I had the chance to remix a Defected classic and chose this because I love the groove.

02. Felix Baumgartner & Juan Kidd  ‘Now You’re Gone (Original)  Defected

This track captures you the first time with its melody and the great voice of Lisa Millett.

03. Rober Gaez & Ruben Alvarez  ‘The Rhythm Of Life (David Penn Remix)’ Urbana Recordings

This guy’s gonna be huge. I loved the original and added my interpretation.

04. Back To Fundamentals by Miamik, Llorca  ‘Insatiable (David Penn Vocal Mix)’  SSOH The original had a ’90s feeling so I could only do something really different.

05. Nick Terranova  ‘How It Feels (Prok & Fitch Dub Mix)’ Ultra This duo grow with each record they release.

06. David Tort  ‘Lost In Acid (Ausfahrt Mix)’  Blanco y Negro

David Tort is one of my favourite producers right now, and from my country, Spain.

07. Black Science Orchestra  ‘Save Us (Mark Knight Remix)’  Defected Mark Knight rockin’ again.

08. Chris Lake  ‘If You Knew (ATFC dub mix)’  Nervous I really like Chris Lake and I really like ATFC so this is perfect.

09. Levan  ‘Keep Me Sweet (Ruben Alvarez Dub Mix)’ Diamond House Records Ruben Alvarez gets better and better.

10. Shlomi Aber  ‘Namgo (Original Mix)’  Be As One

‘Namgo’ is really useful in my sets. I can use many acapellas on it with great results. 10/2/09 17:56:19

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electro-house/acid REVIEWS Kris Menace Compuphonic



The first two minutes of this Soulwax/Tiga/Erol fave is a small loop that appears to get higher and higher in tone with every note. It must be some aural illusion, but by the time the big bassline drops your body is so tense you can only let it out. A couple of minutes later the noise is back, with added distortion and you’re ready to go mentally insane, or go mental on the dancefloor. This will divide opinion but we love it.

Roy Davis Jr.

I Have A Vision (The Juan MacLean Mix) Scion/AV

It’s not often we tell you to skip past the Fred Falke mix (although he’s not flawless when his output is as heavy as it is at the moment), but DFA’s underrated The Juan MacLean knock this out the park. Deep and throbbing with loads of elements meshed together, this is very different from ‘Happy House’ or their debut LP, but every bit as good.

Filthy Dukes

This Rhythm (Remixes) Fiction

It looks like it might be Filthy Dukes’ year, with this the first single from the Kill ‘Em All pair’s debut. Their own mix is the first stop off on this hefty package — all walking synth bassline, techno noises and Bowie vocal from Late Of The Pier’s Sam Durst. Fred Falke goes for the euphoria, while Emperor Machine provides a glitchy live feel.

Pr Morriarti

Mystic Smile (Remixes) Highway

Robert Babicz doesn’t get enough mention in this section of the reviews, but his stripped-back electronic tech would find a place in most electro-house DJs’ sets. Here he tops his clinical groove with emotional pianos that will be hummed on the walk of shame home, they’re so catchy. Raymond Obouvie’s

2009 Placebo-esque vocal version and Tigerskin’s moody dub are also worth a look.

Rex The Dog Bubblicious Hundehaus

Rex goes back to his JX days for a piece of synth trance that employs a rave diva vocal you’re either gonna love or hate so much that it makes the track unbearable. Felix Da Housecat goes bass ‘n’ bit-crusher, Jesper Dahlbäck and Zoo Brazil get techy and Congo Rock add a Crookers-style bassline. If you like the vocal add another three stars, but for the rest of us, where’s the instrumental?


The Emerald Life Musik Krause

It’s hard to imagine that a South African based in Portugal with a fetish for sampling ’70s porn would be responsible for a groundbreaking house record, but the X-rated dialogue, siren riffs and heavy electronic rhythms on Alan Abrahams’ ‘OK Then’ breaks nearly all the rules. Flipside, ‘The Shallow’ strays from the script too, as a spooky organ sequence accompanies new Romantic-style vocals to a deep, dark place.

Ramadanman Humber EP Apple Pips

Whatever about the techno/dubstep crossover, the latest Apple Pips

showcases a lesser documented crosspollination — that of house and dubstep getting it on. The original version is a two-step influenced groove laced with sweet melodies, which provides ample fodder for remixer Sven Weisemann. The Mojuba producer uses straight kicks instead of breaks, but the same dubby sound is audible, and married with the sweet melodies makes for a sensuous underground house track.

QUICKIES Will Saul & Mike Monday Zippo

The Prodigy

Omen (Hervé Mix) Take Me To The Hospital

Buzzin’ Fly

European tech electro. Simple, melancholic and gently relentless.

Scott Grooves Coco Brown Clone

Original sounds like a remix an LA blogger made of their mate’s band but Hervé adds buckets of effects to distract.


Nite Flyte Society

‘Coco Brown’ is a mini-epic, its tribal beats revealing a dark string passage, moaning female vocals and a purring acid undercurrent. Unfortunately, the deep house of ‘La Riddum’ is too pedestrian.

‘2am Demo’ is a lush, tranced-out house groove and the ‘Coma’ version of ‘Hite Flyte’ takes Hiem’s bass and disco sampling original to a bleepy alternative. Kiki’s clicky remix sounds out of place though.

JAMes Kendall PO Box 3313, Brighton, BN2 1BH Richard Brophy PO Box 8174, Dublin 1, Ireland



Triage EP


Irish-Italian producer Lerosa has put his own stamp on the house sound of Detroit. Seductive jazzy riffs unfold over ‘Triage’, while the teased-out groove of ‘Slow Down’ is fuelled by sexy vocal snippets and an out-there Moog. However, Leo really impresses with the resonating bass and warm chords of ‘Buddy System’ and the gloriously languid jacking rhythm of ‘Pumping Curls’. Raw and soulful, ‘Triage’ is a cut above the rest.

Radio Slave

RJ/Ego Trippin’ Running Back

‘RJ’ is a rolling techno track dominated by all-encompassing chords, epic stabs and juddering, steely percussion. It might be repetitive and basic, but its raw, uncomplicated sound is refreshing. ‘Ego Trippin’ is inspired by the same period, but Edwards sets a rave techno riff to a Todd Terry-style tribal house loop — making for a neat, nostalgic package.

Prok & Fitch Floorplay 01. Cevin Fisher  ‘Freaks Come Out (Prok & Fitch Remix)’  Subversive We think we’ve done it justice.

02. Daley Padley & Fribbs  ‘Open Minds (Daley Padley Dub)’  Phonetic Due to an early copy from Daley this has been our secret weapon for ages.

03. Prok & Fitch  ‘El Beasto’  Floorplay Maetrik

Sex With ‘Enigma’ Bass Slized 04.  Hardwell

Get ready for a hands-in-the-air moment.

Just can’t stop playing this record — bounce, then bounce some more! Mothership Funkerman keeping the funkin alive.the Wicked groove. “Somewhere 06. Golden Girls  ‘Kinetic (Prok Arizona desert, the& Fitch vs Kid Massive)’ Floorplay The strongest mix in the package and suitable for all floors. spaceship from Close 07.  Underflow  ‘Underflow’  Sneakerz Picked this up at ADE and haven’t put it down since. Encounters periodi08. Cunnie Williams  ‘Saturday (Fedde Le Grand Dub)’  Peppermint Jam Rockin’ remix from Fedde to keep sexy the floor moving. cally lands and

05. F-Man  ‘Batsen’  Flamingo

09. Prok & Fitch vs Daley Padley  ‘New Wave’  Stealth We still look forward to playing this out every gig. Never fails.

10. Belocca & Soneec  ‘Call Girl’  Floorplay Solid, grooving and next up on our label.

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Tyler Michaud

YOGI HAUGHTON Twisted Wheel Barn, Kirkhill, Legerwood, Earlston, Berwickshire, TD4 6AT TIM STARK PO Box 272, Oxford 0X3 8FJ

Danny Stott

Roy Davis Jnr

Lost My Dog




Lost Language

I Have A Vision

Four deliciously deep instrumental mixes splitting with soulful attitude, shimmering pads and supercool head noddin’ beats.

Todd Edwards is back! His dub is the only mix worth of a mention here, dumping the dreary, pop punkish Erin Martin vocals.

Andre Crom


Jazz Thang/Gettin’ Funky

Shah Music

Awash with sonorous pads and keys, this is the very definition of melodic progressive majesty.

Three quirky cuts with oodles of jackin’ bounce and energy. Loads of nice ideas amidst tech-house basslines, gritty beats and splashy keys.

Kevin Bryant

Who You Wanna Be? Launch Entertainment

To say that this cut is merely a great track wouldn’t do it justice and I’m not even past the first mix! But it is an Ananda Project rub and have you ever heard a wack Ananda Project/Chris Brann mix? Whooshing keys, slippery sax and truly haunting vocals lap against the rolling conga and shaker-led percussion for one of those super-chilled house tracks we associate with this moniker of Brann’s.

PHIL HOOTON BROOKLYN KNIGHTZ 01. Incognito & DJ Meme  ‘Step Aside’  CDR

This is awesome! Proper old skool song with The O Jays sample in there.

Grant Green/Orquesta De La Luz Let The Music Take Your Mind/ Carnaval Mukatsuku Records

02. Phil Hooton vs Paul Robeson  ‘The Keys to Jerico’  Rapture Trax CDR What can I say, but party on down with this awesome vocal!

07.. Gerideau  ‘Take A Stand (GHP Mix)’  CDR

As a collector of jazz the name Grant Green simply means quality, a guitarist of supreme talent who recorded for the legendary Blue Note. Here Japan’s Muro dissects, tears, rips and pulls the parts of this cut apart and sticks ‘em all back together with a tube of funk. Kyoto Jazz Massive get to grips with the previously unreleased version of the Latin stonker ‘Carnaval’. Nuff said, yeah?

08. Jovonn  ’First Night To Love’  CDR

Love House Movement

09. Dark Horse feat Brockett Parsons  ‘The Phunk Farmers’  CDR

Nu Deep Music

03. Steal Vybe  ‘Selene’  PhutureSole Recordings CDR  

Strong sexy vocal that just takes you where you wanna be.

04. Foremost poets  ‘Master Blaster’  CDR

Stevie Wonder classic. Terry Hunter test-drove this at Southport Weekender.

05. The realm feat Tony Momrelle  ‘Time’  Papa CDR This too gets right under your skin.

06. Phlash & Friends  ‘Elevate’  CDR

Props goin’ out to yet another Phlash & Friends classic.

Mixes by GHP, Craig Loftis and Mike Dunn.

Code red. Fantastic raw house groove.

Missing You/In Love

Dark Horse Bruce Jefferson delivers a slick slice of deep house.

10. Flora Cruz  ‘Let The Sunshine In (Jerome Sydenham Mix)’  Ibadan A great, classic house sound on this one.




An inspired pick-up for Lost Language. The original of ‘Amber’, an underground number notable in 2000, still somehow flew under too many radars at the time. The original’s bright, melodic main-line carries the same appeal nine years later and just maybe this is its time to shine. Great new interpretations come from Lightning & Alandanat, and with the diverse original, Silk and Oliver Lieb mixes restored to the release, this has got ‘Money Shot’ written all over it. Its time is now.

Pacific Moon



LHM are a collective of musicians, DJs and vocalists from Baltimore,

Washington and Philly who all share a common passion for soulful house. The tracklisting is all screwed up: I’m listening to a mix listed as an ‘Instrumental Mix’ that’s packed with vocals! But I can assure you that this does not detract from the numerous mixes that DJs on the more soulful side will want to spin. Melodic, well-executed deep mixes and vocals make this a great purchase.

EmBliss Solstice

Electronic Elements

Prog-trance? Trance progressive? ‘Solstice’ is perched so fixedly on the fence it’s damn near impossible to define! Swapping a sound or effect from one genre routinely in turn with one from the other, the track seems determined to confound. One bubbling light-spilling trance effect is quickly replaced by a more darkly toned dichotomy. Let’s just say that if you were a fan of the marvelous DJH’s ‘Road To March’ last year then this will, in all likelihood, be for you.

Daniel Mahuad Winter Solstice White

The solstice… quite a theme this month! Daniel Mahuad’s winter take is bleepier, more distorted and pointed, but no less fine. It’s more overtly progressive too with long, intoxicatingly held notes lining up next to some

great, well-judged phasing and panning to create a cracking end-to-end listen. Add to that some decidedly minimalist supplementary effects from the resident studio’s ‘bleep’ soundpack and you’ve scored yourself a winner!


Lost In Time

Berwick Street Records

Some fine early orchestral snaps are interlaced with quick-fire, out-there effects and underpinned by a reasonably groovesome tech-ish backing. Marcella’s remix adds more cut-ups and effects to the vocal sounds, but leaves the general vibe untouched. The ‘Fury Edit’, meanwhile, brings in deep bass and acid lines that are brilliantly absorbed into the production. Very nice track, cool mixes.

Sergio Fenandez Rules Remixed EP Baroque Digital

Those lulled into a cozy sense of melodic-prog warmth by Baroque’s recent output are in for a wake-up call. Adrin and Akien’s mix of ‘Nightcrawler’ is as startling as it sounds. Without a smooth sound to its decidedly industrial composition, it clanks, hisses and bleeps its way through stark, dystopian prog. There’s a sense of urgency in the running basslines, agitated minor synth-line and tempo of flipside track ‘Lost in Rio’.



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Infinite Horizon Afterglow

The ‘Original Mix’ of ‘Infinite Horizon’ surges forward with a myriad of blissedout sub-melodica sounds, planted with surgical precision into the break. Maarten Hercules goes the totally opposite route with a chippy little sub-riff which drives the minimal production well. Keeping many of the original’s attributes, Cold Blue does a fine job on his re-spray.

Fred Baker pres Enterprise The Requiem Tetsuo

Fred’s original mix is reliant on that thin, once popular synth preset that enjoyed a run of favour back in 2005. In 2009 though, it’s “thanks, but no thanks!” Better by leagues is Talla 2XLC’s remix that gives the track a more rounded euphoric resonance. Completing things is Petibonum’s mix, which, while not mindblowing, does hit some lovely melodic passages and makes this release well worth checking out.

Sean Tyas Melbourne Discover

City titles… the tell-all mark of where a DJ’s had a particularly good night!

Will Atkinson

As the title track from Alex’s new album this should, by rights, be an event release. And despite its unassuming intro it transpires to be precisely that. As the searing and faintly lamenting violin melodies enter the frame in the third minute the track begins to show its quality, and by the time it reaches the hypnotising break its intertwining riffs are frankly enrapturing. Envelope-pushing, Andy Duguid adds an against-the-odds angular bleepy tech-trance note to ‘Purple Audio’’s melodic beauty and still manages to smash it! We like.

Enough is Enough CGI

A pacey, visceral, tough trancer, with snare rolls, hyperactive synth sequences and that old staple, the sonar ping.

Leon Bolier & Galen Behr Acapulco Spinnin’

Skittering, jittery and pretty imaginative tech

trancer. Lots of thumping drums and intersecting melodies.

Breakfast & Schossow

They Came For Us Moody Moon

A surprise to Breakfast fans perhaps, but less so to Marcus Schossow’s camp, I’d imagine. Their first joint (ad)venture is a cliff dive into the murkiest pools of techno.

So ‘Melbourne’ is Sean’s, but sadly the track may not quite equal the experience itself. The synth sounds (and notes) are a touch too proverbial and the M1 pianos lack that critical sparkle. David Newsum’s similarly toned mix is also lacklustre, but Lee Haslam intersperses some inspired and extended harder sequences amongst the euphoria to score a top rocker.

against the backing track. In fact, it’s hard to see what’s left for the remixer to do! And that proves to be much the case as Mark Versluis, Reconceal and Actuate all provide only fractional tweaks to the original’s very fine form.

Van Riel & Huinink

The sleek original is one of the best tracks from Corsten’s new album, and this remix buffet is equally enticing. Bobina uses an upscaled Moroder-like bassline to power his version, while squeezing every ounce of juice out of the vocals. M.I.K.E shores up his ‘Push Mix’ with that instantly recognisable synth blend, but it’s Super8 & Tab that take first place, with a gorgeously chilly melodic mid-section followed by a creatively twisted electronic climax.

05. LILUCA  ‘Clear Senses (Urban Breathe Remix)’  Anjunadeep

Angel Ace

06. SignalRunners  ‘Meet Me In Montauk (Original Mix)’  Anjunabeats

Sun Rise Black Hole

Sied van Riel and Geert Huinink reteam to follow up last year’s ‘Minimal Symphony’. ‘Sun Rise’, with its housed-up beats, balmy effects, authentico Spanish guitar and relaxed tempo, makes for an extremely beguiling listen. Topher Jones’s remix is more overtly trancey in both build and climax, but it lacks the real ‘oomph’ in the mid or lower ranges, making it neither a main floor combustor in style or content.

Ferry Corsten Made of Love Flashover

776 Miles

Losing Daylight Inov8 Recordings

Romania’s Suncatcher has been keeping his studio lights burning bright of late. With a tough, driving, club-ready production on the ‘Original Mix’, the sumptuous melodics of ‘Losing Daylight’ are pitched and modulated to perfection

Super8 & Tab ANJUNABEATS 01. Ferry Corsten  ‘Made of Love (Super8 & Tab Remix)’   Flashover We liked the original and it was a big honour for us to be asked to do a remix.

02. Sebastian Sand  ‘Creeps (Ronski Speed Remix)’  Euphonic

One of the best remixes Ronski Speed has ever done — just massive at our gigs!

03. Super8 & Tab feat Alyna  ‘Delusion’  Anjunabeats

Our latest release. On the flip side you can find Ronski Speed mixes.

04. Oceania  ‘Always (Stoneface & Terminal Remix)’ CDR Stoneface & Terminal are always in our trance charts!

The very finest for our early sets. Loving the rolling bassline and the atmospheres. 

After ‘These Shoulders’ they’ve done it again, and this time it’s instrumental heaven.



Tim Stark PO Box 272, Oxford, OX3 8FJ

Purple Audio




Alex M.O.R.P.H


07. Armin van Buuren  ‘Unforgivable feat Jaren (First State Mix)’ 

Angel Ace’s track may owe a great debt to the Balearic trance number ‘Seven Cities’ but it’s the highest grade feelgood trance music you will lay your hands on this winter. Extremely well produced, imaginatively arranged and hummable ad infinitum, as homage of sorts, it’s a damn fine one. Brings light to the dark winter nights.

Armada You could listen to this over and over again. First State turn it into gold.

08. Riva  ‘Stringer (Bart Claessen ’08 tek DUBleg)’ CDR

Sometimes an old classic with a new remix can be even better than the original.

09. Rank1 ‘L.E.D. There Be Light’  Hi Contrast

These guys never seem to fail — yet another quality tune from Rank1!

10. Mat Zo  ‘Lucky Strike’  CDR

He’s back with more trancey styles. The bassline, breakdown, build up and the melody are all gorgeous. This keeps the floor moving!

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REVIEWS PSY-TRANCE QUICKIES Quickies Perfect Stranger John ‘00’ FLeming, PO Box 4032, Worthing, W. Sussex, BN13 3WE (

Stardust EP

Iboga (Denmark)

Big reactions from the likes of Nick Warren and Dave Spoon through to Armin van Buuren. This is minimal/progressive delivered with a perfect twist.

Anton Chernikov pres Crystal Verge Nightmare EP JOOF (UK)

This Russian producer is growing up quickly, his

Xerox & Illumination sound easily fitting into the realms of the Iboga/ Iono music camp. This latest EP showcases his darker side, and if this is a taster for his future work, then I’m his biggest fan!


Timewise Zero Dacru (Belgium)

Typical psy, so nothing new here. They’ve worked to the standard template but I’m not knocking this very well-produced album, as it will rock any party!

Xerox & Illumination RMX

Hommega (Israel)


01. SIRIUS ISNESS  ‘Zero One’  Materia

Very useful for an extremely psychedelic morning.

02. BIONIX VS MAD MAXX  ‘The Old Times’  Ministry of Sound

Reflects the nostalgia of the good old psy hits that have rocked our socks in the past.

03. MASSIVE  ‘Why They Look Like Us’  Nutek

A psychedelic monster, this is the absolute dancefloor destroyer.

04. XSI  ‘Alchemik Machine (Mad Maxx Remix)’  Phantasm My absolute all-time favourite from XSI, a true gem of trance.

05. PEACEMAKER  ‘Killer Weekend’  Phantasm

Phantasm’s new addition, these Isra-Aliens are true masters at what they do!

06. MAD MAXX VS XSI ‘Creeping’ Nutek

Touching and to the point, ‘Creeping’ is a story track with lots of things happening.

07. SIRIUS ISNESS ‘Retro Life System (Biogenesis Remix)  ’Nutek

It’s ‘Retro Life System’ again. A Sirius Isness hit brought back to life by the Bio boys.

08. VOYAGER  ‘Feelings’  CDR

Thomas from Altom has a new project and it rocks! Some incredible melodies to make anyone cry.

09. XSI VS MAD MAXX  ‘Bass Monkeys’  Phantasm Another one with XSI, this one is from their new album.

10. TRANSWAVE  ‘Land Of Freedom (2009 Remix)’  3DVision

Not a new track, but more of a necessity for anyone who hasn’t heard it.

A remix album of all XI’s favourite goodies that have been released over the years. I’ve always been a fan of their techy approach to the full-on scene, so it’s been interesting hearing these elements used by the remixers here. It’s brought the best out of artists like Chakra, Krunch and Black & White. Such classics as ‘Welcome To Paradise’ sound awesome brought bang up-to-date. A damn good album.


The Divine Comedy Yabi Records (Japan)

Crikey, there’s something evil currently in the French water system. Phatmatix from Paris has gone to the dark side with his latest album. Lots of twisted, scary moments going on here, each track is full of unexpected twists and turns, which can be a good thing if you’re looking to screw everyone’s heads up on the dancefloor! If you’ve never explored this side of trance you’ll

either love or hate it, but it’s worth checking.

Various Artists 1001 Flights

Air Snare Records (India/France)

A brand new release from this forwardthinking label, which I feel proud to be supporting here on the pages of DJmag. Nine progressive gems all put together by DVJ Kaa, and he’s chosen very well by having D-Nox & Beckers remix Nop’s ‘Cubic Loop’ and RPO & David Weed on the tracklist. Aha, now you get the vibe of this singles compilation! Kaa’s very own ‘The Arabic Dream’ has to be the cream of the crop, a very nice surprise at the end.


The Secrets Of Meditation Yellow Sunshine Explosion

Picture my hard day of listening to loads of full-on albums to review, many at full blast. At the end of my day I made a well-deserved cup of tea, sat down to listen to ‘The Secrets Of Meditation’ album… then bang! This punches a hard

lead-line, clonking kick and punching bassline at 145 BPM. I nearly spilt my tea all over me! They say save the best for last. This album is awesome! Punching, but laden with gorgeous melodies. Damn, now I’m back in the mood for dancing again — where’s my Red Bull?

Various Artists Carrots & Sticks Iono (Germany)


No messing around SHOT! this month, this album is our Money Shot with no questions asked! There’s been a definite lack of progressive music with balls recently — well, no more my friends, as Iono have saved the day. Pretty much all nine of these babies fit that bridge between deep opening warm up prog to full-on psy. No thrills or spills, just heads down and twist-my-brain dark moments with a dusting of melodies. Brilliant! Welldeserved top marks here.

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HARD DANCE REVIEWS The Verdict Traffic




Bass Pump AWsum

The second AWsum EP comes courtesy of label head honcho Andy Whitby alongside Klubfiller, and the duo deliver three high-octane tracks for the harder generation. ‘Bass Pump’ is a real throwback to the days of sample-fuelled, bouncy hard house, with a rubberised bassline and familiar “Bass keeps pumping” vocal samples ensuring a restless ride. Elsewhere, ‘Like This’ lays down a harder kick, throbbing bass and in-yer-face synths, while ‘Dance With Us’ completes the EP in twisted fashion as druggy vocals and a hyperactive lead riff cause chaos on the dancefloor. Guaranteed to get the party started.

Ben Stevens Pwomp It Up Fireball

Scott Attrill Big Bass Riot

Scott Attrill, aka Vinylgroover, delivers a tough two tracker with ‘Big Bass’ doing pretty much as it states on the label as a rampaging, bass heavy techno groove is sent off the scale by turbo-charged analogue synth stabs and big dirty sub bass swells. Equally hard hitting is ‘Get To

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Kiss It Better

Former Tidy DJ competition finalist April Keeman makes her production debut on Impact here, and with Nick Sentience behind the studio controls it’s little surprise that she turns out two fine, fast and furious hard trance bombs.

A menacing, basslinedriven tech-trance groove in its original form with remixes ranging from the cooler percussive sounds of Dave Walker through to the pounding beats and breakneck pace of Mac + Taylor.

DJ Tom-X & Warmduscher

Joe-E & Vandall



Trancewarez Digital


more towards the European sound than you might expect. Big arpeggiated synth riffs attempt to carry the track home but somehow fail to gel with the lengthy diva vocal samples. If this potent mix of ingredients fails to detonate dancefloors, then thankfully the ‘James Lawson Remix’ ignites the imagination thanks to a reworked lead riff and more limited use of the vocals that really do ‘Let The Music Take Control’.

It’ that drops more of a cut-up groove, a smattering of hard style drops and production trips in the arrangement, plus some rather in “Vogue” vocal snippets that will send punters Mad-onn-a dancefloor.

Phil York & Dark by Design Vibrations

Tranzlation 17

Phil York teams up with Gaz West under his Dark By Design moniker once again for the Tranzlation label, and the pair seem to be bringing out the best in each other. The normally savage DbD beats are given some catchy, warbling synth hooks that are more in keeping with Phil’s style. The result is a beast of a track with plenty of bite, but with the added beauty of floor-friendly appeal to lure in casual passers-by.


Slave 7

The mysteriously-named Flymo has been a bit quiet since he scored an underground hit with ‘Necrophilia’ a couple of years back, but here he returns with another bizarre track title that appears to have drawn its inspiration from the rather odd “Kansas City shuffle” vocal sample that features throughout. One thing that is ‘the norm’ is the hard house groove and Hoover-style riffs that sound a little lightweight in the arrangement, but are beefed up to devastating proportions in the infinitely more feisty ‘Dave Owens Remix’. Let The Music Take Control Carbon

Carl Nicholson & Jody 6 waste little time in laying down a storming hard trance arrangement on the latest Carbon Recordings release that leans a little

Trademark cool Vandall tech-trance rhythms collide head-on with ravetastic riffs and catchy, cutup vocal hooks to give this a very ‘Back To ’89’ vibe.

Hard House Music Vol. 1


Carl Nicholson & Jody 6

Hard trance of the stomping Germanic variety, and if military style marching beats are up your street, you can also add some marching powder, or more precisely, references of, as robotic-sounding vocals talk about “Cocaine.” Horribly predictable.


Cashew Nut Shuffle While the ‘Pwomp It Up’ title shows a little more imagination than the clichéd “Pump it up” vocal samples used here, thankfully Ben Stevens pushes the envelope more in his synth programming as he carefully crafts a layered audio assault that ranges from dark Hoover swells to uplifting staccato riffs during this infectious hard house number. Also on offer is ‘The Vous’, which serves up some more experimental riffs but without quite the same dancefloor impact as the A-side.

Mallorca Lee

Impact Digital

One Of Us

News of a fresh BK EP is guaranteed to get tongues wagging in hard dance circles, and thankfully the results justify the hype for those into their cutting-edge sounds. ‘The Verdict’ lays down irresistible tech-edged beats before dropping into an atmospheric breakdown of lush pads and eerie stabs, where the timing of the lead riff is shifted around in a typically minimal/electro kind of way to first flip listeners out and then fully delves back into the groove. Also worth checking is ‘Tuff Love’, which delivers a hard and heavy tech-trance rhythm and infectious bleepy riff.

Andy Whitby & Klubfiller


SIMON EVE PO Box 305, Hayes, Middlesex UB4 9SZ


Deprivation launch a concept similar to Tidy’s monthly ‘Music Library’ release, containing several new productions on one massive EP. Jimmy Dean showcases the sounds of the Deprived Of Funk sub label, with four groovy hard house numbers, pick of the bunch being ‘Can’t Believe It’. However, it’s Dom Sweeten who really steals the show here, operating under his Base Graffiti guise to serve up a savage slab of ghetto hard house in ‘Homeboy’; a hard house tribute to the old skool classic ‘Confusion’ by A Homeboy, A Hippie & A Funki Dredd.

Andy Farley Cubed 01. Andy Farley vs Base Graffiti  ‘Word!/Booby Gravy’  Cubed Fresh, funky, hard and groovy!


02. Houserockers/UK Gold  ‘KFC’/‘ Old Skool Tidy


03. Nik Denton  ‘Kamishake/Synthesized’  Toolbox

The latest instalment in the ‘Tidy Music Library’ series is a very mixed bag. The Nu Raverz make their bow with some cut-up, groove-based hard house that’s in a similar mould to the Untidy Dubs sounds of old, while Amber D steps up the pace with two new tracks, the pick of which is ‘Cerca Trova’ featuring Stace on vocals and a roof-raising hard trance lead. Tidy also revisit the classic Equinox cut ‘Immure’, with the Ilogik remix beating the Stimulant DJs’ offering hands down, capturing brilliantly the soaring melodies and reach-for-the-lasers vibe of the original.

04. Andy Farley vs Technikal ‘Tantrum’  Masif

Tidy Music Library 7

Paul Janes back at the top where he belongs!

Huge, huge, huge! Nik’s on fire at the moment.

From Alf’s forthcoming ‘Klubbed Together’ album.

05. Andy Farley vs Paul Maddox  ‘Anomaly’  Cubed Third release on my label. Nice and uplifting.

06. Andy Farley vs Frank Farrell ‘Under The Thumb’ Cubed Great tune we did together with a superb Nik Denton remix.

07. Defective Audio & Butcher Boy  ‘Dirty Dog’  Carbon Dirty indeed! Full-on, but still has the funk.

08. Dr Tre & Disturbed  ‘Bolt Thrower’  Fireball Full-on energy from the New Zealand guys.

09. Base Graffiti  ‘The Station Blows Up’  Deprivation Chunky hard house at its best.

10. Dave Owens  ‘Freezer Burn’  Turtle Dog Monster NRG tune, full-on from start to finish. 6/2/09 17:43:30

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REVIEWS electro/disco-punk

Higamos Hogamos Major Blitzkrieg DC Recordings

Den Haan

Release The Beast Optimo

Paul Blackford Electro Shock Bass Gun

‘Electro Shock’ goes for the jugular. The original version is a pacy electro funk track populated by noisy, bleepy sounds. DJ Godfather’s take turns up the bass frequencies and uses a straighter kickdrum sound, but it’s just as dance floor focused, while Radioactive Man brings a splurging bass to the party. Smashback’s take is more abstract, but here too the overriding sensibility is dark and nocturnal.

Toro y Moi

Left Alone At Night The Savant Guard

The second release on NYC’s Savant Guard label points to a bright future, as Toro Y Moi’s ‘Left Alone At Night’ gets a slew of top remixes. Dave Allison is on house duty, Drop The Lime adds a bass re-rub and Pink Skull chucks in a package-topping mix for good measure.


Sample Clearance/Path To Hell Daphne

Like the first Daphne, Millie’s efforts inhabit the grey area where techno, dubstep and electro elements intermingle. ‘Sample Clearance’ and ‘Path To Hell’ are swathed in atmospheric dub techno textures and the latter track even breaks into a convincing 4/4 shuffle, but the dominant element is the bass. Whether it’s the plunging, tearing subs on the title track or the resonating low end on ‘Hell’, Millie knows that if you have a strong bass, everything else falls into place.



Most new school Italo producers are content to trot out lazily constructed pastiches of past glories, but not Glasgow duo Den Haan. While the spaced-out groove of ‘Metamorphosis’ bears more than a passing resemblance to Patrick Cowley, the title track sees a decidedly butch vocalist hitching a ride on a classic melody sequence to provide a gravely (but deadpan) narrative about “releasing the beast”. Forget Italo, this is macho disco.

same kind of aggressive, electro techno that the French producer has been churning out for years. Thankfully, Fixmer doesn’t dwell on this style for too long: ‘Shark’ is peppered with horror synths and led by a jacking arrangement. A predatory sounding take on Chicago techno dominates on ‘I Don’t Care’ and ‘The Prophet’ is an insane 303 workout. It makes for one of Fixmer’s most accomplished releases.

Sebastian Tellier Kilometre

Record Makers/Lucky Numbers

The theatrical, chain smoking singer songwriter delivers perhaps his finest release to date. A touch too close to Supertramp and 10CC (both beloved by our Gallic cousins) for Anglo tastes, it’s salvaged for UK clubbers by spot-on remixes. A-Trak spins the original’s keyboard stabs into a floor polishing, lush disco-infused hip-house arrangement, while rising Belgian stars Aeroplane dig deeper, bubbling the keyboards and diverting the vocals into a sensual cosmic groove.

Roy Davis Jnr. I Have A Vision

Terence Fixmer

Scion Audio Visual

White Noise

The latest release on this car companyfunded record label sees Roy Davis Jnr. deliver sublime Chicago grooves. Previous releases in the series have

Energy Destiny

The title track on Fixmer’s debut for Dave Clarke’s new label delivers the

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West London’s finest purveyors of psychedelic dancefloor goodness break into 2009 with their fresh new signings Higamos Hogamos. Created by Fort Lauderdale’s Steve Webster and Toby Jenkins, Higamos Hogamos’ ‘Major Blitzkrieg’ is a sonic boom of analogue synths and dance rock posturing. First on remix duty is Mickey Moonlight, who provides a shimmering retake, while Depth Charge plunges the track into deep and dangerous buzz-saw analogue bassline territory.

QUICKIES Mount Kimbie Maybes Hot Flush

The title track and ‘Taps’ make reference to blues guitar, film soundtracks and melodic ambience. Even when Kimbie muster up enough steam for the dancefloor on ‘William’ the dubby breakbeats reinforce their mellow reputation.

Kris Menace Scaler


‘Scaler’ continues Menace’s spate of on-form productions. Taking its name from climbing keyboard scales, ‘Scaler’ spins neatly through rising melodies and knuckled-down beats.

The Rogue Element






Continuing his escape from the breaks fold, The Rogue Element follows his ‘Hive’ single with another slab of dirty bass-filled 4/4 punishment. ‘Escalation’, as it names implies, retains the breaks drop and build formulae. Clicking in on electro snare and high hat arrangements, The Rogue Element spins the surging bassline hook until it splinters the dancefloor. All of which can only help build the anticipation around his forthcoming LP.

‘Superhigh’ is proper disco music. Containing seductive, chilling strings,

RICHARD BROPHY PO Box 8174,Dublin 1, Ireland Ben Osborne

boasted on-the-button hipness in choice of both the original artist track and diverse top draw remixers. But this package threatens to outdo them all. The sumptuous original is backed up by a superb nine-minute acid disco re-rub from the currently on-form The Juan Maclean. Add timely mixes from garage legend Todd Edwards and Fred Falke and this becomes unmissable.

rich horns and a fat funk bass, it also features a genuinely sexy vocalist. By comparison, the remixes sound decidedly asexual and androgynous.

Kenneth Bager vs Pocketknife Fragment One Polydor

Danish production pioneer Bager hooks up New Yorker Pocket Knife for this superb, swaggering, squelch-driven, offbeat groove. We’re destined to hear much more from both sides of this partnership.


Tunnel EP Ninja

Shuttle’s debut EP on Ninja reveals a producer with rough-edged enthusiasm for everything from house to grime. Standout track is ‘Rotten Guts’, which comes in hip-house vocal and instrumental versions.

Filthy Dukes This Rhythm Fiction

First released some six months ago, Fiction have wisely decided to give the Samuel Dust fronted ‘This Rhythm’ another run for their money. Even more wisely they’ve roped in superb remixes from Fred Falke, Toddla T and The Emperor Machine. If the original is guilty of over-egging its ’80s influences, the remixes shift the balance into noughties cool, with The Emperor Machine turning in an outstanding, long-playing wig-out.

Warren Daly Epokhe EP

Invisible Agent

Daly has released tracks before on his Invisible Agent label, but ‘Epokhe’ is his most accomplished record so far. Combining grungy, cavernous bass with sensuous melodies and sweet chords, ‘Ocean’ sets the tone for the rest of the EP. ‘Praha’ and ‘Unnamed Souls’ are jaw-droppingly beautiful arrangements, the glistening melodies accompanied by languid breaks. Not even Ebauche’s denser version of ‘Praha’ can detract from the sublime mood.

PAUL BLACKFORD BASS GUN 01. EDMX  ‘Bass Freak’  Breakin’ Records

Without this record my sound would be very different.

02. Hyper On Experience  ‘Lords of the Null-Lines’  Moving Shadow Impossible to listen to without nodding your head or doing some mad dance.

03. Hijack  ‘The Badman Is Robbin’’  Rhyme $yndicate Records Part of the late ’80s hip-hop that I loved when I was growing up.

04. Aux 88  ‘Electro/Techno’  Direct Beat

The first real modern electro track that I bought and it still kicks arse as much today as it did back in 1996.

05. DJ Krome & Mr Time  ‘The Slammer’  Suburban Base Records If the dancefloor is thinning out, put this track on!

06. T wo Lone Swordsmen  ‘Brootle’  Warp

‘Tiny Reminders’ is the best album these guys made. ‘Brootle’ stands out as its dirty bassline gets stuck in your head.

07. Shut Up & Dance  ‘Lamborghini’  Shut Up and Dance

Get a TR 909, a few ragga samples and nick the main hook from ‘Sweet Dreams’ and you’ve got yourself a hit!

08. UR  ‘The Final Frontier’  Underground Resistance

One of those tunes that makes the hair on the back of your neck stand on end.

09. Rum & Black  ‘Wicked’  Shut Up and Dance

Actually pretty minimal with just a few mad scratch samples and sirens, which is probably why it works so well.

10. Silver Bullet  ‘20 Seconds To Comply’  Tam Tam Records You can’t go wrong with a few Robocop samples. 6/2/09 17:44:55


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Jens Zimmerman

Time 2 Express

Snork Enterprises

Sustaining The Chain

Glimpse Drifting Planet E



Christopher Spero has become an extremely in-demand producer and remixer over the last few years with his releases on his own Glimpse imprint and now this strong release on Planet E. As one would expect from a Planet E release, it’s heavy on drama and atmosphere with some Detroit stabby synths, a long drop that really builds the tension and a drawnout epic feel. On the flip, it’s none other than Carl Craig that steps up for the remix. His contribution is more immediate and aimed at the dancefloor jugular. Slamming beats and hats raise the energy levels but the original works best. GS



Mahogani Music

A new Moodymann release is always hotly anticipated and the lead track ‘Freeki Mutha Fcker’ is superb. Sleazy, sexy and very funky, the track has a funk bassline, minimal (in the true sense) drums and his lordship on spoken word vocals. This isn’t going to get heard in many clubs but that really doesn’t matter. ‘Heaven’ is another heavy, funk-infused jam, so simple but with bags of character. ‘Hello Tomorrow’ is the most uptempo of the tracks with its Chicago bumpin’ groove, while ‘Det.riot’ is the most edgy offering with a dark stabbing bassline and rough handclaps. Excellent. GS

Delano Smith Sunrise EP Third Ear

Really into what Third Ear put out with their groovy sound always much more interesting than many more traditional deep house labels. ‘Something For Myself’ is a warm, smooth track with a simple bassline, nice loose percussion with shakers and toms and a cool spoken word. This is perfect for early on warm-ups and very late nights. ‘Trans’ takes the energy levels up with its slightly more pumping techno feel, yet still retains the depth. ‘Synergy’ goes down a more groovy, deep musical route with its sweet keys and tribal-infused beats. GS

Audio Werner Easygoing Hartchef

This is the first release in a while by Berlin-based artist Audio Werner who

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A collaboration between Peter Van Hoesen and Yves de Mey, ‘Chain’ is all about the resonating, expansive bass — but Van Hoesen’s version is more rewarding, as it uses a more cinematic, atmospheric approach. RB

Forget the talk about DJ tools, this unrelenting, jacking percussive groove, which only lets in the occasional bleep and panning effect, is a record no selfrespecting techno spinner can be without. RB

Various Artists

Lee Holman

Nice & Nasty


The Parallel Remixes

has already released on labels such as Perlon. ‘Easygoing’ is just that but with just enough poke to keep the dancefloor burnin’. A massive stabbing synth is present throughout with lots of jumping high hats and a low-slung subby bass. It’s instantly recognisable as one of his tracks with its jazzy, scatty feel. The unnamed flipside (at least on this promo) is a lovely elongated percussive track with some great atmospherics and winding, dreamy pads interweaving amongst the great rhythm structure. GS

Kapuchon & Benny Rodrigues Unexpected EP Beyond


Audio 08

Mysterious producer The Parallel turns Mick Chillage’s ‘Subharmony’ into a gloriously melancholic, acid-tinged electro track, while his version of Rob Glennon’s ‘Ratio’ is more dancefloor-based but focuses on soaring, emotive chords and strings. RB


Richard Brophy PO Box 8174, Dublin 1, Ireland Giles Smith 73 Clissold Crescent, London , N16 9AR


Holman spans a range of styles, from the minimal ‘Transistor’ to the uptempo dancefloor techno of ‘Resistor’ and the bleepy, mysterious title track — but a focus on deep musical sounds is the common bond. RB

Miles Dial

While the quality of releases on Smallville may have eclipsed its mother label Dial in the past year, ‘Miles’ proves that the Hamburg imprint should not be written off. ‘Miles’ is a perfect example of what Lawrence excels at: taking a sensuous melody, he gently and gradually layers and builds it, achieving a hypnotic effect. ‘Icicled Dance’ is more dance-floor friendly, underpinned by tougher claps, as warm chords reach a subtle climax. RB

Trackleton Jump

This US production duo try to cover many bases on their Beyond debut. ‘And Again’ is inspired by the classic sounds of Detroit, with sleek chords riding a warm, fat bassline, while ‘Unexpected’ sees them flirt with European minimalism, albeit with some floaty pads amid the clicky rhythms. The standout, however, is their interpretation of Chicago techno, with the slamming concrete beats and soaring acid lines of ‘Potato Tomato’ really impressing. RB

Mike Dehnert Freiraum Fachwerk

Mike Dehnert’s hard-edged take on techno is inspired by the Tresor label’s broad and wide heritage. ‘One O Eight’ is a dubby, building track aimed specifically at club floors that’s reminiscent of vintage Sender Berlin, albeit with modern skipping beats and rattling percussion. ‘IV’ and ‘Leerlauf’ go for a harder route, led by billowing chords, chainsaw percussion and grainy acid, while the howling analogue riffs of ‘Black Smoke’ sound like Blake Baxter getting it on to a Cristian Vogel noise experiment. RB


Kudos to Yore for signing Trackleton, but it’s hard to believe the accomplished ‘Jump’ is his first release. ‘Traditional Folk Song’ is powered by a resonating Chicago bassline and ‘Let’s Do It’ is a spaced-out deep house affair, but neither compare to ‘While My Sequencer Gently Weeps’. Featuring a detuned synth line that sounds like Bodycode or Repeat Orchestra and interstellar acid bleeps and blips supported by a lopsided rhythm, it inhabits its own world. RB

Ben Klock Before One Ostgut

This taster for Klock’s debut album is less purist than his ‘Klockwork’ series. Although the title track meanders for too long in the Berghain zone, ‘Init Two’ is a wall of atmospheric textures and Klock’s cheesewire percussion and rolling beats find a mellow home amid the warm chords of ‘Subzero’. That’s not to suggest Klock has gone soft — check the jagged percussion and chilling horror riffs on ‘Napoleon Hill’ — but this sees him take a broader view. RB

DEETRON MUSIC MAN 01. Detroit Experiment  ‘Think Twice (Henrik Schwarz remix)’  Juno Henrik uses the hook from the original solo and loops it to eternity. Massive!

02. Jagged  ‘Langenthal’  Morris Audio

Be prepared for the Bernsters’ new release — an infectious offbeat groove that won’t let you stand still.

03. Pitto  ‘Feelin’’  Rejected

Long live the filter! We don’t need a reason…

04. Raoul K  ‘Bardot’  Still Music

Watch out for Raoul’s album. If you liked ‘Le Cercle Peul’, you’ll be blown away.

05. The Emperor Machine  ‘Non-functioning Apeman’  D.C. Crazy Moog action and superb beats take each and every floor by storm.

06. Christopher Benjamin  ‘Drop Down - Pass Out’  Flux Recordings A true arpeggio fiesta with clever breakdowns. This should be a big one!

07. Bostro Pesopeo  ‘Communquis’  Permanent Vacation

After building up slowly around a choir hook the track just drops down to a full stop only to take off again even more relentlessly.

08. 2000 and One  ‘Wan Poku Moro’  100% Pure It’s all about the bassline!

09. Theo Parrish  ‘Chemistry’  Sound Signature

A synth line that only the man himself can come up with and beautiful vocals make this a real soul techno anthem.

10. International Pony  ‘A Bubble In The Bottle (Pepe Braddock Remix)’  Columbia Dirty house music with the usual touch of Braddock madness. 6/2/09 17:37:34


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Drum & Bass REVIEWS

Crystal Clear vs Cabbie

Street Hawk/Cold Blooded Ganja

Like a freight truck running on all cylinders, pumping 6000 revs in sixth gear. Comic book style speech in the intro about a cop given a super bike to fight crime sets the scene, and you know you’ll be out of breath by the end of it. One blood pumping pitch raise later your suspicions are confirmed, as you jump around to a rapidly buzzing Hazard style chainsaw bass bouncing about the place. Thermometer buster.





DAT Music Pt. 2 Soul:R

A masterful set of abstract journeys. The mysterious ‘Monarch’ is the standout here, where Zero T & Mosus use a long, drawling electro churn sound to drive the track, similar to that in Doc Scott’s ‘Shadow Boxing’. Also reminds me of classic Jonny L product as the two-step drums and overpowering stench of bass take you down. Commix’ ‘Life We Live’ is also a gem, while S.P.Y’s ‘Monochrome’ has another long dark bass groove built to engulf you. Pure mid-tone pleasure.


Because Of You (feat Selah)/ Bring Me Down 720 Degrees

Apparently an elite set of Radio 1 DJs in the know are loving this and praying daily that it hits big. Typical, elementally uplifting Blame product excelling in his mixture this time around. Joyous chords ring like the calling peal of church bells in the countryside, soaring, addictive vocals courtesy of Selah raise your soul, expand your lungs and increase your blood pressure, while a suitably chattery break and fluttering bass do the rest. Bouncy sunshine.

A serene musical meditation with a high roller factor, sprayed with a pepper sauce of Amen drums and punctuated by relaxing sound effect loops. With a full rolling Amen break, 808 bass booms and introspective, gentle harmonic hums, ‘Jahman’ is reminiscent of that early Good Looking classic ‘The Dolphin Tune’ by Photek. Indeed, Tayla made an appearance himself in those pioneering early days of Bukem’s label empire so there’s your connection.

Mampi Swift

One Finger/Angels Charge


Xample/Xample & Lomax Ram

A smooth headed glass of dancefloor Guinness. Cleverly hidden behind the supreme cleanliness and mix-down whack of this composition are drums


Red Light

Morning Rain/Structured Light

One for all the wannabe cyborgs. Drifting enveloped chords wash before you until the blend cuts into raw futuristic neuro keys and Saunderson stabs.

A refreshing, invigorating mood with a backbone of stormy power. Ambient splendour.


Self Destruct (Cabbie Remix)/Call In Sick

Backdoor/Rubber Room

Med School

Sappo/Iron Hands Advisory


A slow burner, Obnoxious key squirms and ‘Quest’ style deep sub thrum bass. Deep troll roll.

Cartoon violence. Warps, guttural buzzes and thrusting breaks. Cheeky jump-up.

Liquid V

Drumsound & Bassline Smith

See the name, see the label and know the beats behind will have flavour! It’s the driving but amiable see-saw bass that gets the reaction here. Punctuated with Original Concept-inspired “Can you feel it?” calls in between the bars

Kaos Therapy/Mayday

Jahman/You Must Stand Still

and old skool hip-hop style vox, the two-tone left/right bass has your body mimicking its dual sound, moving to the left and right fervently! Sparks fires.

Contra/Keep Their Heads Ringing

Optiv/The Sect

Furney & Tayla

Mampi Swift has an almost instantly recognisable sound where he uses well spaced-out drums and stomping basses that have their mood lightened by futuristically light-hearted vox and fills. ‘One Finger’ says it all, an obnoxiously loud and facetious bass ‘boom’ at the start of each two bars makes you want to leap in the air then march to attention at the break. Kills a loud speaker system.

Can You Feel It/Live Another Day

QUICKIES ALEX C PO Box 7502, London, N22 6QN

whipped up into a ‘Helicopter’ style, as breaks get mashed and phased in the intro. Virally catchy Xample style chants then enter as ‘Contra’ develops into a supersonic, comfortable roller. Will get ‘em bumping at the start of a set.

Black Sun Empire

Firing Squad (SKC Remix)/Red Velvet VIP Mix (w State Of Mind) BSE

BLAME 720 DEGREES 01. Culture Shock  ‘Kronix’  Ram

Loving this right now, a heavyweight pulsating bass monster!

02. Blame feat Selah  ‘Because Of You’  720 Degrees I love Selah’s vocals on this, it was a real pleasure to produce.

03. L.A.O.S  ‘We All (Blame Remix)’  Spearhead A sharp knife-edge of neuro-funk in a forthright, insistently brash futuristic structure. Clearly influenced by Ed Rush & Optical, the wormhole synthesiser squirms here careen around and attach themselves to the solid matt black break as a succession of futuristic snippets play in the background. Creates images of space battles or unimaginable flight speeds in deep space. However, in terms of shock appeal it doesn’t match the mastery of Noisia, for example. The formula here is a little too ‘by the book’ for some.

The orchestral original was great, so remixing it was a pleasure.

04. Commix  ‘Rack-It’  Hospital

Now this is what I call fresh sounding!

05. Blame  ‘Bring Me Down’  720 Degrees

The flip to ‘Because Of You’, inspired by the big electro house anthems.

06. System  ‘Near Miss’  Digital Soundboy

Pure drum & bass pressure... heavyweight for the dancefloor.

07. Shy FX & T Power  ‘Feelings’  (Nu Tone Remix)’ One for the ladies!

08. Logistics  ‘Cosmonaught’  Hospital

For me, this is the vintage Hospital sound... love it.

09. TC & Sub Focus  ‘Borrowed Time VIP’  DSR Can’t stop playing this... massive electro flavours.

10. Nookie  ‘Nu Beginning’  White

This takes me back to the 1996 Speed club days.

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BREAKBEAT REVIEWS QUICKIES CARL LOBEN, Unit 2C, 16-16A Baldwin Gardens, London EC1N 7RJ.

Lily Allen

Fear (Dub Pistols Remix) EMI

The Dub Pistols take time out from finishing their album for a choice revamp. Nice raspy wobbly b-line and just a few snippets of Lily’s chorus carry it to the extended anthemic breakdown.

Ill Audio Circles Ill Audio

Another exciting new live

Deekline & Wizard Against The Grain

act to break onto the scene in recent times, Ill Audio’s ‘Circles’ is peppered with Middle Eastern wailing and a natty dubwise sensibility. Keep an eye out — they’re gonna make waves this year.

Mr No Hands Chuggy

No Handed Music for this chugger, with a wobbly b-line, stuttery male vocal sample and neat virtual BMX tricks. Of course, the No Handed one has done another ace vid for it.

The NAPT boys have been going from strength to strength of late, and it’s great the way they often show their soulful side as well as banging out big room behemoths. These guys haven’t just broken into the premier league of late, they’re challenging for the title — like Aston Villa or someone (just not Arsenal). ‘Loose Control’ (sic) sees Ashley and Tomek team up with soul singer Kish Mauve for a lovely slice of heartfelt breakbeat soul. Great for early doors, it’s backed up with a dub that’s spiced up with bass filth and neat staccato stabs. Love the way it slows to a halt in the middle — bookmark these guys today.

Vocal and dub big room bass filth.

Re-living the heydays of early ’90s New York with this bashment-tinged club stepper.


‘Untitled’ Mofo CDR

Oi oi anthem to upset the polite breakbeat old school.


‘Angels (NAPT

Remix)’ Against The Grain

Tuff club workout — one of our faves.

06. FAR TOO LOUD ‘All Is Machine (Specimen A Remix)’ Funkatech Futurist sci-fi-tinged breakbeat re-rub of Far Too Loud’s monster.

Low slung N-Funk hipsterism.


‘Whoop (NAPT Remix)’ Destination

‘Funky Heroes (Plaza De Funk Remix)’ Breakin’

Everyone’s favourite Italian import with a fun-filled stepper.


‘Put ‘Em Up’ Mofo CDR

Crowd-slaying naughty four to the floor action.

10. NAPT

‘N-Funk Part 3’ Funkatech CDR

How To Test (Remixes) Howlin’

Bass rudery for all the player haters.


Myagi feat The Root Sellers

Top Canadian producer Myagi enlists a couple of heavyweight hitters to take on one of the standout tracks from his ‘3 Years Of Sunrise’ album. Cut La Roc drops some acid for his rework, speeding up Myagi’s own vocals on his rolling lysergic reinterpretation. This is true acid big beat Chemical Brothers-style mentalism with a cheeky Kraftwerk snippet thrown into the mix for good measure. Nick Thayer, meanwhile, gets busy on da funk, with nice Bootsy synth jamming and horns recalling the West mince-step sound of yore.

Big bass erupts over big room power breaks.



The Groove Diggerz have got their debut album ‘Money For Good Times’ in the can and ready to go and here’s the first single from it. Recruiting the great Lindy Layton, who did the vocals on Beats International’s chart-topper way back when, this went off big-time when road-tested at BeatCheck in Milton Keynes recently. Perfectly judged so that it’s just accessible enough to get everybody up and dancing while still featuring enough freaky noises and growly bass for the headz, this should deservedly spread the Diggerz name even more. There’s an instrumental for the vocal-phobes, and a radio edit for the stations. Feelgood fun.



Breakin Even

Loose Control

01. NAPT VS KISH MAUVE ‘Lose Control’ Funkatech Records SHINE ‘Wind Your Waist (NAPT Remix)’ CDR

Just Be Good To Me

A sweet soulful urban nugget from the D&W album that again has ‘daytime radio play’ written all over it — and not just Choice either. On his ‘Club Mix’, Krafty Kuts warps the vocal and slams in a warping bass underneath, interjecting old hardcore stabs before easing into near tear-out territory. It being Krafty, though, there’s a sunnier, more melodious ‘Summer Mix’ to toy with as well. TRG’s dubstep steppa is pretty acidy, and AC Slater’s stuttering noisenik electro revamp mines a stop/start furrow extremely tastily. Gonna be massive.

NAPT vs Kish Mauve


03. NAPT

Groove Diggerz feat Lindy Layton

Back Up (Love For The Music)

Far Too Loud

Music For Machines Part 1 Funkatech

Far Too Loud come with another smartly produced track that hints towards darkside sci-fi futurism. Built around a scything bassy psy-tinged synth that suggests a relentless android onslaught, the track’s soon filled with intricate cut-up beats and a growly robotic voice. Their darkest track to date, it could be played in a techno, trance, psy or breaks set. Specimen A keeps the nagging synthline, adopting more of a Teutonic jump-up edge in his pummelling rework.

Quest & Odissi

Wannabe/THX 2020 Botchit/Cyberfunk

I’m loving Odissi’s vocals on ‘Wannabe’. “Wanna be rock stars, gadding ‘bout gigs and bars,” she begins, before name-checking an “A-list ass-lick.” “Sick of being your industry whore… sick of feeling your tongue across my ass, only lick it when you’re getting

something back.” It’s tempting to liken it to Miss Kittin’s sardonic electroclash offerings, but really Odissi’s odes are far more cutting — and of course Quest engineers some top-notch beats and bass. ‘THX 2020’, meanwhile, is a sci-fi steppa littered with film samples and a great growly bassline to get off on.

Koma & Bones Morpheus TCR

To mark the 15th birthday of Rennie Pilgrem’s pioneering label TCR, a few of the choice artists have revisited landmark back cat tracks. Koma & Bones update their ‘Morpheus’ behemoth, and instead of instilling it with the neo-rave fury of recent productions they play it relatively straight. But there’s still plenty of filth involved for da headz. A scything bassline undertow underpins the mournful female “I’m all alone” vocal, and the beats are old/nu skool slamming. With an old hardcore synth powering it to the close, this is another K&B triumph.

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Having hit the ground running with their Damien Marley-inspired track ‘It Was Written’, these up-and-coming producers favour seriously heavyweight vibes. ‘Dr Sin’ has a deathly bassline that swings through the track like an out of control robotic monster. Not surprising then that their sound has a cinematic quality — a dramatic, epic style, most prevalent on the first cut. ‘The End’, whilst it is less attacking, has a bassline that still holds enormous power.

Joker/2000F & J Kamata Digidesign/You Don’t Know What Love Is Hyperdub

Tomorrow/Concrete Keys Lewis Recordings

Coming across like a deep thinking sort of chap, it is no wonder then that this Hastings native produces music with a definite intelligent edge. ‘Tomorrow’ is a little slice of beauty — a simple but slightly mystical groove weaving Rhodes keys with plaintive vocal samples. Likewise, ‘Concrete Keys’ is almost butterfly-like in its delicacy with a keen use of atmosphere. Electronica, trip-hop and dubstep rolled into one emotional, ephemeral sound — Kerogen makes a charming debut.


Beatz Be With Me Ex-clusive Recordings

Bionic is certainly one way of describing the humungous bassline sounds emanating from this release. Maddeningly catchy with an old skool rave feel to the sweet vocals matched with horn-ridden 4/4 beats, the ‘Dubwise’ remixes are the highlight here. Arranging the vocals into hooky phrases and weaving in a variety of ear-catching, foot-stomping FX, beats and basslines, the mixes fairly thunder along. Jason Stills also provides some extra b-line bite too with his Niche/bassline rubs.

Hindzy D

Bass Speaks Louder Than Words (Sampler) White

A taster from Hindzy’s new longplayer, the title of which pretty much gives you a fair idea of how this is all about

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the basslines. From the menacing, snaking pulse of ‘Dusky’ to the buzzier ‘Knockout’, the b-lines do indeed do much of the talking. Dub reggae, electro and drum & bass collaborate through Hindzy’s trademark minimal style — with musical elements woven atmospherically into the intriguingly abstract and oblique rhythms. Look out for the full album this month.


Walk On By (Remix) DPR

Remember Steve Gurley’s classic track of this name? Well, Dubchild refreshes it and comes up with a rub that will blow your brains out. Twirling, eerie electro keys establish an atmospheric intro before those sassy vocals drop in. Then, coming on like Darqwan and indeed Mr Gurley himself, an almighty bass drop ensues, pummelling out a gut-wrenching b-line that’ll detonate the floors. With Dubchild’s ‘Childsplay’ series also red hot, this is another musthave from DPR.


Chemistry (Agent X ’09 Remix) Positiva

Bouncing boldly into the month of March, Agent X’s remix for this vocal is sure to be a big hit on the bassline floors. The song’s chorus is the main hook, by way of clever FX and synth builds. They do a great job of building up the energy then dropping into a new section, keeping things lively. The basslines — a rubbery, musical line and a deeper stab underneath — ensure this will make everyone go mental.

toned bassline fun, chopping the vocals into snappy hooks. Pure bassline devilishness with an r&b vocal that’s sure to get the gals bopping.

Morocco (Bedouin Bedtime Mix) Blipswitch Digital

Kenneth Scott’s first mix on this four-track EP is a metallic 4/4 meets grimy dubstep groove with a squelching bassline and sneaky time signature mash-ups. Funky too.

Delinquent feat Kat I Got U (VIP Mix feat Tinie Tempah & Donae’o) Spoilt Rotten

Slamming ‘VIP Mix’ of their big single, Donae’o in particular adds the icing on the cake. Lively and oh so entertaining, this is even better than the original!

Alien Entertainment feat Black Canvas Full Speed EP Wellness Tunes

Aiming to “put the fun back into synthesisers,” Kode 9’s label is certainly doing this with the latest double-tracker. Kicking off with Joker’s Jan Hammer-esque ‘Digidesign’, this riff-heavy ’80s-soaked groove could have come from a Miami Vice soundtrack. 2000F & J Kamata’s offering will have you grinning in ironic recognition of its Herbie Hancock vocoder extravagances and sleazy electro funk stylings. Both tracks happen to be very infectious indeed. See, dubstep can be fun!


J Rogers & Rozanksi

Deekline & Wizard

This hook-up with vocalists Rider Shafique and Mister Melody blurs a few musical boundaries. Grazes at the edge of dubstep.

Back Up (Love For The Music) (TRG Remix) Against The Grain

PHILIPPA REED Flat 1, 138 Peperharow Rd, Godalming, Surrey, GU7 2PW


Dr Sin/The End


Another stonking tune from this duo, breaking the boundaries for hook-filled floor fillers, and TRG hypes up the breaks and slams down a feisty bassline for this vocal dubstep driller.

Warner Newman

Unbreakable (Witty Boy Remix) Audio Music Star

Sharp, smart and bumpy, Witty Boy creates hollow-


Sweat/Dante Hot Flush Two

Londoner Untold is hotting up the dubstep scene with releases on Hessle Audio, his own label Hemlock, and now for the sixth offering from HFT. Clearly he has locked down his own sophisticated and deep style that’s also floor-friendly. Both cuts here have a real funky feel. With its liquid ‘talking’ bassline ‘Sweat’ works along a cool jazzy shuffle-beat that’ll have you bopping and nodding, whilst ‘Dante’ (and its tick-tock beat) delves a little deeper.


‘I Want You’ 12 Foot Beats

This track has a great feel to it with some wicked vocals throughout.

Brown & Cole feat Jay-L All For You

Ayklogic / 2Tuf4U


Messrs Brown SHOT! (Karl Tuff Enuff) and Cole (MJ) make a welcome return with this mighty package. Their original is as you would expect — a bright, uptempo and soulful vocal full of sunny 4/4 vibes. Other highlights from this release include One Dark Martian’s funky cut and paste ‘Dub Mix’, the crunchy ‘Solution Dub’ and ‘Qualified’s Bassline Mix’ — plenty of solid floor fillers here. Oh, and ‘Our Destiny’ is a very welcome extra bonus. Why sirs, you are really spoiling us!


‘New York City Girl’ UVM Records

This is what I call proper garage and there needs to be more made like this.


‘Love Me’ D.E.A

Great all-time favourite, this old skool track brings back some memories for me.

04. DJ Q

‘Somebody’ White

DJ Q has updated this ’90s track and brought it into the new bassline era.


‘Sunglasses At Night’ Boy Better Know

One of my favourite tracks out of the BBK camp, a cross between electro and hip-hop.


‘Time After Time’ CDR

A track that always works for me, in the clubs and on radio.


WILEY ‘Wearing My Rolex’ Asylum

Great dance track meets the UKG swagger. Will be played for some years to come.


‘Flave’ Confetti

Wicked vocal and wicked old style 4/4, this is just one of their classics.

09. DEM 2

‘Desire’ Locked On

A classic you can’t forget. The two-step mix is great for mixing and chopping.


‘100% Of Love’ Lush Music

A feelgood track — be sure to hear the remixes for summer 2009. 6/2/09 17:44:14

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REVIEWS HIP-HOP NEIL KULKARNI, 81 Crosbie Road, Coventry, CV5 8FX




Big Dada



Tunnel EP Sweet 16

Going for that minimal creeping dealer vibe The Clipse probably thought they’d perfected — the drops into silence and whistling, coupled with the speaker-breaking bassheavy hit of the undertow make this absolutely unmissable. Search it out now.

Now — is this hip-hop? No singing, just talking over beats. But so club-friendly as to appeal to an entirely non hip-hop audience. Damn addictive, like Princess Superstar. Whatever it is, just snort it up people and enjoy all it’s got to give. You’ll love it.

Eslam Jawood

Lonely People

Pivot Widdit

B.O.B Atlantic

Ringz & Partners

Absolutely loving the Arabic strings and guitar on this — like some vintage Algerian Rai-funk thieved, polished to a glimmering point and launched at the chest with potent force. The album’s got Damon Albarn on it so that’s that fucked but stick with the singles and you might avoid the ruinous wanker.

You can imagine the Beatles song this rips its hook from. You can guess exactly how fucking annoying it gets. You can surmise exactly the kind of props this shit will get from hip-hop experts like Edith pissing Bowman and Scott ‘Wanksnap’ Mills. I say start regularly mailing your faeces to all concerned now. Forewarned is forearmed.

Ninja Tune

The remixer you may know as Etan drops a strangely calm yet menacing slice of retro-electro on ‘Tunnel’, like Derrick May or Cybotron infected with dancehall. On the flip it’s ‘Rotten Guts’ that commands your attention though, great rolling breaks and spurting bass pushing Cadence Weapon’s great vocal to the forefront of a club-friendly banger like you’ve never heard before. Ambitious, precious, diggit.

Blaq Poet

Ain’t Nuttin’ Changed Year Round Records

Premo on autopilot, which makes it still fatter, bassier and more satisfying than anything else you’ll hear this month. ‘Ain’t Nuttin’ Changed’ hinges on a nice sheen to the chorus vocals, which sit with the gritty blast of the beats and guitar perfectly. On the flip, ‘Don’t Give A F*cc’ could be outta the dungeonesque vaults of Jeru off-cuts and ‘Too Strong’ is like a Muggs production circa ‘Temples Of Boom’. Loving all of them, and you should too.

Vast Aire

Speech Debelle


Big Dada

Jak D

Cold Heat

Ground Original


Stately, near-gothic brilliance from the UK’s hottest new underground crew.


‘Guessing Game’ Fat Beats

One of the highlights from one of the unsung hip-hop albums of 2008, ‘The Preface’.


‘Edward Nigma’ Kriminal Records

Standout track from a hard-hitting talent, currently knocking out genius from Glasgow.

04. ROYCE DA 5’9”

‘It’s Da New’ Best Rapper Alive Great snarling vocals from Royce cap this bomb.


‘Capital City’ Stand Alone

London captured in three minutes. Fantastic.


‘Dynamite’ Dented Verb T and Foreign Beggars help out on this gritty, murky monster.


JOE BUDDEN ‘Who Killed Hip-Hop?’

Amalgam Digital JB takes time off from his on-running Saigon diss war to ask some heavy questions over Marvin’s ‘Inner City Blues’ groove.

08. T.I.

‘Live Your Life’ Atlantic

The man can do no wrong at the moment.


‘I’m So Special’ White The ‘Unfinished Business’ riddim in full effect.


‘The Boss’ Def Jam The Miami bad boy busts it again.

Of course the shattering poignancy and power of last year’s ‘Searchin’’ was unrepeatable but it’sgood to hear Debelle stretching out emotionally and musically on this, the second single from the hotly-awaited ‘Speech Therapy’ LP. The curlicues of clarinet and Rhodes that plume around the solid yet sparse funk of ‘The Key’ still give enough intrigue to make Debelle’s customarily mind-blowing verbals all the more potent, precious, perfect. The artist Lily Allen could only fucking dream of being. Star of the year already.

lush-crush of YS’s sound finding more measured, but no less enjoyable expression on the queasy neon of ‘Peace I’m Out The Door’ and the loping, slamming, ‘What’s Next’ on the flip. Tres keeping the standards up. Nice.

Chase & Status feat Kano

‘Why You Wanna Go And Do That’ is ostensibly the lead-off track here — Sean Price, Large Pro and Craig G is a castlist to die for but something doesn’t quite come off, a slightly forced sugariness to the loops that sits uneasily with the heavyweight beats. Far better is the wonderfully raw vintage of the Beatminerz’ ‘Put Yourself In My Place’ and Marco Polo’s ‘Listen Up’, killer Bs featuring OC that are worth the price of entry on their tod. Pump that bass.

Y Society

At Your Own Pace Tres

Against All Odds Ram Records

Owwwch — fucking fantastic to hear Kano rip it over such bristling, bustling Amen/Apache breaks rather than the middling mulch he’s been blessing recently. This has the thrown together, mental, super-speedy collage feel of a golden-age Prince Paul/Marley Marl production — and on the dancefloor test that is my study I can vouch for its insistence on you getting on your fucking feet and cutting a rug. Instant floorfiller. Go get.

Ron Browz

Produced by Damu The Fudgemunk says the label and I’m wondering if he’s related to Jeru the Damaja or Shamu the Killer Whale. Either way, ‘At Your Own Pace’ is densely packed loungecore strings crushed against a breakneck Ultramags-style beatmatrix, the

Jumpin’ Out The Window Universal Motown

Autotune really is pissing a lot of people off at the moment, suggesting both that its days as a dominant device are waning but also that there’s plenty of DJ471.hip_hop.indd 147


The Key

De Supafriendz Dabrye returns the favour VA threw down on the ‘Two Three’ album by pulling a few verses from the ‘Look Mom . . . No Hands’ album and setting them alongside a totally new backing — hypnotic, psychedelic, futuristic, downered funk that recalls some kind of grisly collaboration between Billy Cobham and Can, Dabrye never letting the ripples of drone-synth bubble out of control but building things until headwreckage ensues to anyone caught in the blast. Fantastic.


last-gasp overdoing it to be relished whilst it gets passed down from the big names and ‘artists’ to the abusers and chancers. ’Jumpin’ Out The Window’ almost subverts the software’s original intention by rendering Browz’s vocal a wonderfully off-kilter quality that has little to do with melody or correctness. A great, strange hit for 2009 that in two months will become unendurable but right now is just the right side of weird to be wonderful.


Scene Stealers Dented

Love the uncomplicatedness of this — the way the beat seems almost shorn of hi-hat detail down to this thump that seems to actually emanate from the inside of your skull, the way the strings and keys are sucked into the phase until everything seems to be rotating around your brainpad, Skrein’s verbals the only thing reminding you that you’re listening to something that comes from outside of your own body. On the flip, ‘Last Dayz’ is the strangest music Plan B’s been anywhere near for too long and not an acoustic guitar in sight. Likin’ it a lot.

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REVIEWS Leftfield


Rescue Me EP Breakin Bread

Set up on what can only be described as a heavy-ass slice of library breakage, Swindon’s Para continues his quest to bring the beats to the masses. With a touch of the re-edits about it, ‘Rescue Me’ takes said break and adds Slo-Mo’s Caitlin for vocal icing on a track that is so British it should be wearing a bearskin and kicking tourists arses outside Buckingham Palace.



Antony And The Johnsons Epilepsy Is Dancing Rough Trade

Given the fickle nature of the British press and in part the record buying public, you have to wonder whether Antony And The Johnsons will still be able to unite otherwise diametrically opposed publications like The Wire and The Sun when they are five or six albums down the line or when some of the fever has subsided. Only time will tell. Until such point we remain thankful for such a wonderfully unique, beautiful and creative talent.

Costra Nostra/Speak To Me Clarissa Stoned Circus

Stoned Circus have been knocking out some real treats of late and this little Holy Grail style double-header is no exception. The track most folks head for is the Red Devils’ ‘Costra Nostra’ — a wah-funk nugget with breaks and beats galore. For us though it has to be Alan Trajan’s spaced-out, psych-funk masterpiece ‘Speak To Me Clarissa’.

Grant Green/Orquesta De La Luiz Funky Instrumentals Vol. 4 Mukatsuku

Enlisting the help of two Jap-jazz legends, Mukatsuku once again head

Various Artists



Need No Water

Dark Was The Night

Plan 7bis EP

David Byrne adds his weight to the Dirty Projectors on this lift from the forthcoming compilation that features multiple alt. folk heavyweights.

Cinematic breaks and beats in the key of DJ Shadow, Bonobo and Four Tet. DJ support from the likes of Glen Porter and DJ Food.

The Long Lost

Coming Clean


The 39 Steps Bad Sneakers

Ninja Tune

Laura and Alfred Daedelus join forces for this acoustic, Brazilian-influenced offering. Mixes from Tuung, Fink and Computer Jay.

Inspired by both Alfred Hitchcock and Portishead, this four-track sampler may not blaze a unique trail, but it certainly bodes well for the forthcoming album.

Depth Charge Mecha Squirrel

eastwards for the latest instalment of their funky ‘Instrumentals’ series. Making a beeline for the dancefloor, King Of Diggin’ affiliate DJ Muro wastes no time in tucking into Grant Green’s jazz/funk rarity ‘Let The Music Take Your Mind’. As do Kyoto Jazz Massive on the reverse, with their Latin-fuelled rework of Orquesta De La Luiz’s ‘Carnaval’.

Casio Kids

DC Recordings

Fot I Hose/ Verdens Storste Land Moshi Moshi

Red Devils/Alan Trajan


it’s downtempo expert Kelpe who opens the track into a cavernous parade of space echo and industrial effects to best compliment the dub nuances of the original. With extra mixes from Debruit and Frenchman Fulgeance, this is a sturdy EP with absolutely no filler.

Hailing from the same town as Röyksopp, Datarock and Erlend Øye, there has to be some weird shit afoot in Norway’s Bergen. Mind you, who are we to question anything when it’s responsible for producing wonderfully quirky, analogue business like this? Of the two tracks on this EP, it’s ‘Fot I Hose’ that ticks the most boxes — driving, squelching, dirty, punk funk par excellence. Love it!


Birds Of Prey Versions EP Tirk

The much-lauded ‘Birds Of Prey’ succumbs to the remix package, and sensitively handled it is too. Stones Throw man James Pants adds his trademark synth boogie sonic, although

Given the legacy of J Saul Kane, it’s probably only right that his latest DC foray should be centred on a scythewielding mechanical squirrel in a cape, wrap-around shades and a fedora hat. What will surprise however is a smoothing of the edges in this outing, where percussive punk funk collides with b-boy sensibilities and the tougher rhythms are used more sparingly. ‘Shy’ completes the EP, putting the Washington in DC with a six-minute boogie epic.

TOOB PROCESS RECORDINGS 01. T V On The Radio  ‘Golden Age’  4AD My tune of ’08. TOTR go disco. Magical.

Grace Jones

02. Red Snapper  ‘Clam (Kelpe Mix)’  Lo Recordings

Wall Of Sound

03. Drums Of Death  ‘Dodfuckupanescorttune’  Civil Music

Okay, so we know it’s been out a while, but when mixes this good slip through the net you sometimes just have to back-peddle for a minute, take stock and put them under the spotlight they so dearly deserved. So, if you missed out on Aeroplane’s remix the first time round, prepare yourself for a lovely slice of acidic, disco-cosmiche, complete with arpeggiated synth lines and, of course, the irrepressible Studio 54 enfant terrible Grace Jones. Pure class this signals Jones’ return to form, as well as confirming Aeroplane’s status as one of the artists to watch in ‘09 .

04. Le Sarge En Board  ‘Visible Fault (Toob’s Lines and Wrinkles Mix)’ 

Williams Blood Remixes

Lush, lush, lush.

Voodoo dude does a damn fine job of f*@king up an Escort tune!

RGC Not sure when it’s coming out, but get a preview on our MySpace.

05. Vincent Markowski  ‘Dirty Capsules’  DC Recordings More electronic punk-funk goodness from the DC peoples.

06. Toob  ‘Dervish Angel (Woo’s Mix)’  Process Big baggy remix of our nu single.

07. Name & Relucto  ‘Long Black Curly Teeth’  Hum + Haw Dark and twisty from Alex Smoke and Jim Hutchinson’s new label.

08. Moyza & Wijay  ‘Leaving The Dream’  Entrada Steppy acid electro thing. Wonk on.

09. Rebotini  ‘The Spirit Of The Boogie’  Process

Nice and raw from Black Strobe chap. Darker than your average disco.

10. Truffle Club  ‘Gone Blue’  Clone

Retro Italo done well. Available through the new ‘10 tracks for a pound’ subscription service. Check it out!

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Zombie Nation Zombielicious

Eric Kupper pres K-Scope Electrikiss

The undead get their groove on

Slip into Kupper’s dreamworld

Only a few artists have managed what Florian has in the past few producer-saturated years. That is holding long-term residence in the boxes of key jocks, while side-stepping the inevitable stifle and stagnation of scene subscription. And his new ‘Zombielicious’ album — recorded under his best-known Zombie Nation moniker — further asserts his status as a rather brilliant dancefloor anomaly. Burning energy, gritty funk and a delicious cool wash over the album’s entirety. And while it’s still dripping with that trademark beef — check the taut, juddering ‘Seas of Grease’ and the bleeping dark-growl of ‘Forza’ — the main difference with Florian’s new output is that his production and arrangement is now much smoother and more refined… but still soaked in satisfying grunge. It wouldn’t surprise if ‘Radio Controlled’ and ‘Filterjerks’ even sneaked onto the airwaves before long. Fingers crossed, as then the world will soon realise that the fella’s more than just Johnny ‘Kernkraft’. Daniel Kinasz

When you read the who’s who list of groups and singers that Eric Kupper has worked with over his long career, you have some sympathy as to why it’s taken him 10 years to release his own debut album. Starting with writing Frankie Knuckle’s classic ‘Whistle Song’, he’s remixed everyone from Goldfrapp and 808 State to Kate Bush and Kylie, working with the likes of Madonna, Mariah and LCD Soundsystem along the way. Recording under his progressive tinged, soulful tech moniker K-Scope, ‘Electrikiss’ condenses his sound into 11 tracks of deep, dreamy instrumental house. There’s a nod to Chicago with ‘Dream State’, tribal on ‘Star Playa’ and even electro with the ‘Tangerine Girl’ sounding ‘Faith Healer’. Best of all, however, is the beautiful, emotive ‘Star Light’. Rather than call in any celebrity friends, Kupper lets his lush melodic music do the talking and ‘Electrikiss’ is all the richer for it. Joe Roberts

Filthy Dukes Nonsense in the Dark Magical mystery tour


The Prodigy Invaders Must Die

In an age in which we’re bombarded with the intimate details of every two-bit popstar’s diet and sex life, a sense of mystery is a rare and wonderful thing. Indeed — and this isn’t to do any disservice to his music — it’s both arguable and ironic that at least part of the reason Burial has become probably the most famous dubstep producer outside of the scene itself is precisely because of the interest created by him keeping his real name secret for so long. King Roc hasn’t gone to the same lengths to guard his identity as Burial did before outing himself as Will Bevan last year, but the man otherwise known as Martin Dawson is still a fairly mysterious figure, probably best-known as one half of Two Armadillos with secretsundaze’s Giles Smith, although a series of four EPs bearing the King Roc name began appearing towards the end of 2007. Crossing between techno, electro-house and ambient, tracks like ‘Random Chances’ and ‘Phidias

Dukes get ready to clean up

A comeback of consolidation

Having risen to fame promoting and playing at indie club Kill ‘Em All, Tim Lawton and Olly Dixon enlisted a third member in producer Mark Ralph, signed a major label deal and locked themselves in the studio. As first singles ‘Tupac Robot Club Rock’ and ‘This Rhythm’ testify, the results add radiofriendly accessibility to their indie dancefloor sound. And with the boys not short of contacts willing to lend a tonsil, the album is an embarrassment of riches. Alongside Plastic Little and Late of The Pier’s Samuel Dust (who get lyrical on ‘Tupac Robot Club Rock’ and ‘This Rhythm’ respectively) the LP boasts contributions from Tommy Sparks on ‘Messages’, Foreign Islands on ‘What Happens Next’ and Brandon Curtis of Secret Machines on ‘Don’t Fall Softly’. Chart potential is ingrained throughout, but it moves into a different league when Orlando Weeks of The Maccabees steps in to add atmospheric vocals to the LP’s title track. Ben Osborne

Forget oh-so-difficult second albums. When you’ve created the definitive rave album with your first, become the biggest electronic act of your generation by your second, conquered the global rock masses with your third and then taken seven years and a near break-up to produce your fourth, the fifth can’t be an easy task. Regrouped and re-inspired, The Prodigy plunder back across their original early-’90s rave era and bolstering warehouse nostalgia with the Mad Max breakbeat aesthetics and raw cyber-punk attitude they later pioneered. Cynics might argue there’s little that would dislodge anything on their 2005 ‘Their Law’ greatest hits collection but once you’ve got past the whiny Pendulum aping synths of both the title track and ‘Omen’ there’s some genuine Prodigy classics in the rough and ready rave euphoria of ‘Take Me To The Hospital’, the unashamed smiley faced euphoria of ‘Warrior’s Dance’ and the bouncy pogo-ing punk snarler ‘Pirahna’. Allan McGrath


King Street Sounds

MONETY! King Roc Chapters


Process Recordings

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Gold’ were as compelling as they were enigmatic, and now the plot thickens even further with his new album. For although you might recognise the titles, many of the tracks themselves bear scant resemblance to their original form. Instead of being deep house, tracks such as ‘Lunar People’ have become sinister psychedelic rock, whilst ‘Melon Koly Flower’ comes with an even heavier shroud of distorted guitar. The reference points are as much The Emperor Machine’s hallucinogenic punk-funk or Massive Attack as they are Burial, yet what King Roc really shares with the latter is the ability to conjure up intangible yet uneasy emotions and the sense that each track is part of one long unfolding saga. As such, ‘Chapters’ is as absorbing as a good detective novel, even if you do already know whodunit.

Take Me To The Hospital 11/2/09 13:17:09


The Whitest Boy Alive Rules Bubbles

Pretty fly for a white guy For a ginger bag of bones with Sue Pollard glasses, Erlend Øye doesn’t half get the girls swooning during Whitest Boy Alive gigs. He’s so damn charming you just can’t help but take to him. Which pretty much describes ‘Rules’, the second album from his latest project. Across 11 simple grooves Erlend’s honey-sweet vocal feels like a hug from an old friend. It’s full of life and completely devoid of cynicism, perhaps because it was recorded in Mexico in a little home-built studio by the beach. The four-piece recorded 300 all-live takes of the 11 songs. The result of such a rawness is that the songs’ new cosmic disco direction has a loose ’60s loungy feel, making them more organic than Erlend’s solo album. The funk bass of ‘Timebomb’ induced an outbreak of office dancing, while interlocked guitar licks and Bob James-esque keys are catchy enough to feel like an old favourite from last year’s tour. ‘Rules’ is just the sort of optimism we need in this worldwide credit crunch/recession/depression — Erlend Øye is the whitest Barack alive. James Kendall

Filippo Moscatello Paglicaccio

Fever Ray Fever Ray

Sytheme Lasers ‘N’ Shit

Oliver Huntemann H-3

Italian colours fly high

Weird, dark and wonderful

Undirected acid epic

Turn the dark back on

Italy has a rich and illustrious history when it comes to dance music. Think of Daniele Baldini, Italo disco, piano house, Neapolitan techno… the list goes on. Filippo Moscatello, the latest signing to Sasse’s superlative Mood Music stable, clearly knows his history but exhibits his secret knowledge in a manner that shows he’s got an eye on the future, too. For his second album, the Berlin-based Sicilian shows a happy disregard for purism, snatching styles and ideas with a mischievous glee that befits his nickname ‘naughty’. So we get the inspired African thumb pianos, trippy tech stabs and compulsive rhythm thump of ‘Kleinmond’, but also the bittersweet, gorgeous melodies and sub bass of ‘World Of A Woman’. And the self-explanatory ‘More Oder’ is a cheeky ode to the Italo disco architect himself, and quite brilliant it is too. One of the most complete electronic house albums in recent history, this is genius stuff. Ben Murphy

Karin Dreijer Andersson, the vocalist from dark Swedish electro poppers The Knife, has one of the most singular and spine-chilling voices in music today. So the news that she’s gone solo is certainly intriguing. But has she ditched the emotive, permafrost electronix of The Knife to pursue tired organic guitar songsmithery? The answer is a resounding no. The dark electronics are present and correct, as are the witchy atmospheres, but rendered with a more personal touch than ever before. The dirge-like ‘If I Had A Heart’ is a doomy invite from the River Styx’s ferryman, while the beautiful, haunting ‘When I Grow Up’ is a synth washed, guitar plucked otherworldly Kate Bush. Incredible. The bubbling electro stroll of ‘Triangle Walks’, meanwhile, builds layers of melodic computer rhythms, soundtrack style, before adding Karin’s voice halfway through, sealing the deal. If you like dark, atmospheric songs you can do no better than this. Ben Murphy

When it comes to tracks that rely on the glorious modulated squelch of the Roland 303, there’s always been a sense that their real genius lies in the machine’s happy accident rather than any genuine visionary creativity. Stretching out over 20 tracks, it’s hard to argue that Syntheme’s LP offers a convincing riposte to that notion too. Indeed, whilst it begins strongly on the dreamy Kerrier District styled ‘Mimtro’, the deliciously naughty throbs of ‘Wazpz’ and the decadent acid disco of ‘Red’, it all too quickly blurs that fine line between masterful, loose limbed acid teasing and indulgent, undirected 303 noodle. A shame, as ultimately it leaves inspired gems like the eerie bump ‘n’ grind of ‘Xwc’ and the scorched acid electronica of ‘Mexicone’ lost in a tangle of half-finished sonic squiggles and avant-garde squat stomps. It’s as if the monkeys got bored bashing typewriters and started hammering at the Roland 303 instead. Allan McGrath

Oliver Huntemann had carved out a distinctively moody, bass-heavy sound, so it’s a pity that for a sizeable portion of his new album he departs from his own script. Instead, Huntemann delivers textbook minimal. ‘Krake’ sounds like it was put through the M-nus in-house FX unit, the percussion pingponging away ad nauseam, while ‘Dauerplus’ could pass for that particularly emasculated brand of techno that Huntemann’s friend Dubfire now uses as a meal ticket. It’s a pity that the German producer didn’t follow his instincts because the throbbing, wobbling bass of ‘Rikarda’ and the pumping nocturnal menace of ‘Bloody Mary’ signal a development from the kind of glitchy electrohouse Huntemann originally made his name with and which is represented on ‘H-3’ by the surging pulses of ‘Dios’. If you can make it through Huntemann’s ill-thought out attempts at emulating Hawtin or Dubfire without falling asleep, his progress is worth a listen. Richard Brophy

Mood Music


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Ideal Audio

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Air France No Way Down

Something In Construction

The Deer Tracks Aurora Despotz Records


Pama International Highrise

Poni Hoax Images of Sigrid

Grandmaster Flash The Bridge

Dub for life

Camp indie electro

Master returns in style

The Highrise Campaign — an initiative aimed at ridding the streets of guns and knives — have assembled a star cast of producers and vocalists to assist on this sterling dub reggae rhythm album. Special mention must go to Mungo Hi-Fi’s wicked dubstep lick of ‘Highrise’. Lovers of reggae styles should investigate, and help the Highrise cause. Ben Murphy

French quintet Poni Hoax do indie-electro with a twist: an epic scale and camp high drama dominates a navel gazing journey through Italo disco, krautrock, prog rock, indie Euro disco and punk funk, and successfully channels the spirit of The Rapture, Joy Division, Gary Numan, Kraftwerk and Giorgio Moroder. Rahul Verma

Hip-hop royalty, Grandmaster Flash’s first LP in 20 years explores myriad styles, including classic boom bap, electro and Miami bass, with a roll call of old school (KRS One, Big Daddy Kane, Cold Crush Brothers) and new school guests (Q Tip, Busta Rhymes, Snoop). A sharp, vital reminder of where hiphop’s from, where it is today and its ‘bridge’ building qualities. Rahul Verma

Sei A Editing Shadows

Harmonic 313 When Machines Exceed Human Intelligence

Dan Deacon Bromst

Rockers Revolt

Carbon dioxide copies

A public broadcast

When it comes to being transparent about your influences, calling yourselves Air France is like Oasis naming themselves The Beatles England. Although even if these two Swedes did feign ignorance over the fact that their moniker might just get them confused with a certain other band, one listen to their debut album would give the game away. For the sort of loungey exotica that Air produced on ‘Moon Safari’ hangs heavily over ‘No Way Down’, and seems just as destined to be devoured as dinner party music. However, the real French Air aren’t the only thing swirling around in here, as there are also gusts of The Avalanches’ magpie sampledelia, world rhythms and widescreen soundtracks on cuts like ‘No Excuses’, whilst even the ghost of Lisa Stansfield makes an appearance for ‘Beach Party’. As nu-Balearica goes it’s certainly not bad, but perhaps the ‘air’ reference is more a tacit admission of how insubstantial it sometimes feels. Paul Clarke

A gentle Morse code pulses through the soft whisper from a musical box and the silky, delicate crooning of Swedish duo David Lehnberg and Elin Lindfors. ‘Yes This Is My Broken Shield’ is the charming opener of ‘Aurora’, an album soaked in haunting hope with a clear vision of something simple and new. “The sound of The Deer Tracks is what you get when you mix the electromagnetic mist of the very beautiful Northern Lights, and the folkish music style is connected with the deep Swedish woods,” explains Elin. You don’t have to be Nordic to make traditional gauzy music, but it helps. This soft-hearted debut is a dignified soundtrack that is both patriotic and submissive, sucking you into a place that The Deer Tracks clearly hold dear. Like bold buds pushing through icy soil, ‘Aurora’’s glitchy electronica thrives in and flourishes into a beautiful release the Swedish Tourist Board should be proud to call homegrown. Helene Stokes


Shadow dancing

Soopasoul Twin Stix

Terry Lynn Kingstonlogic 2.0

Nu funk grooves

Roots for the future

Where were you in 1992? Because producer Danny Hybrid was part of the original northern rave scene, knocking out tunes under names like E-Lustrious, until its helium vocals became too much and he escaped by campervan for a life of surf and sea in Newquay. Returning now, ironically, at roughly the same time as rave itself, all the fresh sea air has cleared his head better than Vicks ever could and seen a return to his first love — funk. Using a live band along the lines of the Dap-Kings, ‘Twin Stix’ throws horns from a 75-year-old jazz legend, gospel vocals and blaxploitation guitar licks into the mix for a convincing ‘70s revival sound. Dance music from a time before it was called dance music, tracks like ‘A Wild Mad Beat’ have been rocking discerning dancefloors for a while and make a treat for any fans of nu-funk or rare groove. Joe Roberts

Terry Lynn’s striking debut LP is socially, economically and politically smart dancehall/ reggae. However, ‘Kingstonlogic 2.0’ is far from earnest and preachy and these themes are explored in searching, searing style against the backdrop of arresting riddims. Lynn is simply reflecting her Kingston (JA) reality of “ghetto, guns and gangstas” on tracks like ‘Child Of The Soil’, whilst the anthemic title track alters Daft Punk’s ‘Technologique’ into a chilling commentary on gunmen. ‘Politricks’, meanwhile, rails against the system and lack of justice. The IMF, development aid and consumerism are also in Lynn’s line of fire and these poignant, coruscating messages are wrapped up in bouncy electro, gospel, gnarly electronic dancehall, soul and sweet reggae. And the icing on the cake is a reworking of ‘Rivers Of Babylon’. Terry Lynn has breathed new life into conscious, roots reggae and updated it for the 21st century. Rahul Verma


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Phree Music

Like his chum Milton Jackson, Sei A segues warm house grooves with soulful techno edges. All dark bliss melodies and crisp production, the result is another classic that dispels the deep house equals dad house myth. Not sure what they’re putting in the water in Glasgow but someone needs to bottle it up post-haste. Allan McGrath



Machine not dance Harmonic 313’s latest album doesn’t provide many dancefloor moments, but it does flirt with dubstep on ‘Ditbox’ and ‘Cyclotron’, while the glitchy acid of ‘Flaash’ and the mournful electronics distract from the prevailing experimental agenda. Richard Brophy



Not all noise annoys ‘Bromst’ shifts from the sublime to the ridiculous. It’s refreshing to hear the dream pop of ‘Snookered’ and the all-encompassing white noise of ‘Build Voice’ and ‘Red F’ but why the Baltimore producer chose to include the cheesy Celtic folk of ‘Wet Wings’ is a mystery. Richard Brophy

REPEATTHE LPS WE CAN’T LEAVE ALONE... Josh Wink When A Banana Was Just A Banana

Anil Chawla & Dale Anderson Roadhouse

The old acid master creates the most underground house and techno album producers would give their right arm to make.

Shifting but seamless journey of deep-house chords, lazy widescreen house loungers, epic breakbeat and driving tech.


GU Music

Shadow Dancer Golden Traxe Boysnoize Records

Menacingly funky robo-funk and tech monsters from the UK’s answer to Justice. No pale imitation, this shadow is as bold as they come. 11/2/09 13:17:32

 



 



Matt Black and Jon More are responsible for some of the digital generations finest modern hip hop and dance musical moments, and whose label Ninja Tune continues to release some of the most cutting edge tunes currently available!

Kevin Sawka can play the most complex of Jungle, Drum'n'Bass and Breakbeats utilizing no loops and no extended samples – only his two hands and two feet. Now you have the chance to capture the essence of this man within your own recordings.

DRUMSOUND & BASSLINE SMITH – DRUM & BASS STUDIO TECHNIQUE Whatever your style, be it dance-floor jump up – liquid funk – ambient or dark, this exclusive collection from Drumsound and Bassline Smith holds the key for any modern day eclectic drum and bass pioneer.

Artist Series Downloads £24.95 RILEY & DURRANT: PROGRESSIVE HOUSE PRODUCER Pristine house samples from one of the UK's most exciting electronic exports... Few DJs and producers can claim as much diversity as Nick Riley and Andi Durrant. With influences including Angello, Ingrosso, Laidback Luke and Axwell, Herve, Ferry Corsten, Paolo Mojo, Lutzenkirchen and Dubfire, it’s no wonder we had to label this sample pack ‘Progressive House Producer’.



Nu:Tone's remix's are always guaranteed to please - and here he has produced an unprecedented palette of royalty-free quality DnB samples.

One of the very first artists to sign to Hospital Records - way back at the turn of the millennium, Danny Byrd’s own inimitable take on soulful, vocal Drum and Bass has become a staple in the scene.



You might not have known it at the time but the chances are you’ve danced to one of Chris Cowie’s productions. Producing genre defying music across the spectrum of Trance, Tech-House and Techno.

With a back catalogue of remixes being played by everyone from Breakbeat dons the Plump DJs, Freakout funksters The Cuban Brothers, and Baltimore godfather Scottie B, Nick is no stranger to variety.

A C I D I S E D WAV : R E X 2 : A P P L E L O O P S : R E A S O N : K O N TA K T : H A L I O N : E X S 2 4 : E M U L AT O R X 2 : A B L E T O N L I V E

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16/02/2009 16:18:46 16/2/09 17:40:17


Rob Da Bank Sci-Fi Lo-Fi 3

DJ Hell CD Eleven

How you look at it

No need to dress up

After getting the reformed My Bloody Valentine to headline last year’s Bestival, Rob Da Bank is now dusting off some other ‘shoegazing’ acts. For some reason the aforementioned eardrum-manglers are absent from a compilation which otherwise covers pretty much every other indie band who lathered their guitars in reverb during the early-‘90s, as well as nodding to their progenitors like Dinosaur Jr and The Jesus And Mary Chain on top of picking out current acts reviving the sound such as Ulrich Schnauss and Maps. To their detractors, the fey vocals of cardigan-clad groups like Slowdive and Ride made ‘shoe-gazing’ synonymous with self-indulgent teenage moping. Yet listening back to tracks like Chapterhouse’s ‘Pearl’ proves the strung-out riffing is — in its own way — as strangely euphoric and trance-like as any electronic dancefloor music, whilst the iridescent ambient of Cocteau Twins suggests that some of these bands were staring at the stars as much as their own feet. Paul Clarke

That International Deejay Gigolos is no longer the ‘must-check’ imprint it once was is more due to the vagaries of fashion than any dip in quality. In fact, now that DJ Hell isn’t to be found raising his arch Teutonic eyebrow in every magazine as he was during the electroclash era, it’s possible to evaluate his label’s wares in a more objective light. Although ‘light’ is something in relatively short supply here since — bar odd tracks like Acid Junkies’ electro-house nagger ‘Chica Sexy’ — if there’s one binding aspect of Hell’s handpicked roster compilation it’s a dark sound moodier than a coke-wasted supermodel. Tunes like Actor One’s ‘Popcorn’ or Abe Duque’s ‘Life Is Sooo Good To Me’ are excellent atmospheric techno, but the best example is probably Herman Schwartz’s spooky instrumental cover of Amy Winehouse’s ‘Back To Black’, which proves that International Deejay Gigolos are still in much better shape than she is herself. Paul Clarke




International Deejay Gigolos

Joris Voorn Balance 014 Balance

DJing 2.0 Not content with simply penning some of the crispest melodic techno this side of Alpha Centauri, for his next trick Dutch wonder Joris Voorn will be shaking up, reconfiguring and generally fucking with your whole concept of what the DJ can do with a mix CD. Essentially following the Richie Hawtin blueprint of mixing many tracks at once into entirely new morasses of beautiful noise, over the course of two CDs Voorn melts lush tech-house, minimal techno, deep electronica, folk and much more into a perfectly judged voyage across widescreen vistas, quite stunning in their scope. An entirely different animal from his 2005 Music Man release ‘Fuse Presents Joris Voorn’, this edition in the always-astute Balance series is food for mind, body and soul. Essentially favouring melodic excursions to the dancefloor, Voorn never forgets a funky, bass propelled low-end rhythm. Taking in everything from Minilogue’s futuristic, enigmatic minimal, to Flying Lotus’s wonky electronic hip-hop, Sasha Funke’s wistful Berlin harmonics, even

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Loco Dice The Lab 01

Final Song #1 Get Physical


The last sonic supper snippets from Goldie’s ‘Timeless’, from these seemingly nebulous fragments Voorn builds new music in his own image. His real art is drawing all these disparate threads together but retaining his own lush, cohesive feel throughout. The spare atmospherics here feel like standing in a cavernous chamber — where the spaces are as important as the sounds that fill them. Perhaps the most jaw-dropping moment of the entire epic comes near the close, where a masterful blend of Marcello Giordani’s Italo disco funker ‘Respect Yourself’ and Jimpster’s ‘The Last Tape’ bleeds into the enveloping synth oscillations of Carl Craig’s masterpiece ‘At Les’. Exciting enough in itself, it’s when Voorn then adds layers of Innerzone Orchestra’s jazz cover of that same tune that your jaw drops. This is truly DJing 2.0 — Joris Voorn belongs in the pantheon of dancefloor titans for this instant classic. Ben Murphy

Meanwhile, in the laboratory… The kind of DJ that would choose to play a micro tour of compact and bijoux 300-capacity clubs is a rare breed. ‘Under 300’ is the artistic concept behind Dice’s promotion for this prototype for NRK’s latest burgeoning series ‘The Lab’ — capturing that intimacy of vibe and sound. It’s questionable that we need another techno compilation brainwave but as Dice rolls out the sixes, it turns out numbero uno is just the right side of forward-thinking and the nearest hint at the darkside we didn’t realise we’d been looking for. Despite this being a carefully chosen collection with grooves from stalwarts Terrence Dixon, Kerri Chandler and Nick Holder respectfully melded alongside hipsters Sascha and Daso & Pawas; you also get the impression the making was entirely spontaneous. And that is the genius of Loco Dice and his ability to explore the subtle shades of electronic dance music. Helene Stokes

It’s a genius idea — we imagine every A&R at every major label is currently kicking themselves. Ask a bunch of music nerds what song they’d have played at their funeral. If that sounds like it would make for a morbid album then you haven’t taken account of the people ‘hosting’ their final party. DJs know the best tunes and when to drop them, and this selection taps into a range of emotions. Coldcut go for the thoughtful ambience of Brian Eno, Ewan Pearson’s choice of Peggy Lee’s ‘Is That All There Is?' is a wistful shrug of the shoulders and Cerrone’s disco epic ‘Supernature’ sees that Inner City's Kevin Saunderson departs this mortal coil with a glitterball sparkled bang. Erik Satie’s heartbreaking piano work ‘1. Gymnopédie’ (chosen by DJ T) is as maudlin as it gets but before long DJ Hell is tapping his foot in his coffin to The Stranglers’ ‘Golden Brown’. This series shows some life. James Kendall 16/2/09 10:17:59


James Zabiela The Masters Series Renaissance

A touch of class Far from the young wet-eared prodigy that Sasha helped nudge to the forefront years ago, James Zabiela has long earned the right to be called a master thanks to his prodigious command of technology and a musical knowledge that is more John Peel than Judge Jules. On this double CD he offers the most complete exhibit of his skills — and tastes — yet. Whilst Zabiela’s pumping tech club sets have never been guilty of putting adept geekery above floor slaying intensity, he chooses to hold back on the first disc, instead offering a blissful sonic collage that blends spoken words, melodic shards of emotive electronica, the Squarepusher styled beats of Ed Chamberlain, R3volve’s shoe-gazing bliss and even twisted,tranced out d&b. Recreating the intense abandon of a Zabiela rave set, the second journeys through highlights like Extrawelt’s haunting bass monster ‘Added Planet’ but it’s the first that you’ll go back to time and again. Allan McGrath

Âme, Dixon & Henrik Schwarz The Grandfather Paradox BBE

Benny Benassi Toolroom Knights

Minimalist edutainment Kings of slow-motion house, Henrik Schwarz, Âme and Dixon stroll into the Tardis to time travel through 50 years of minimal music, which is gorgeously blended and blurred in trademark Âme-style. The kaleidoscopic mix sees sophisticated electronic music (think Robert Hood, I Cube anc Richie Hawtin) sitting comfortably alongside beguiling stripped-down sounds from an array of greats, including jazz guitarist Pat Metheny and 1950s jazz hero Yusef Lateef. All woven expertly into the tapestry are Kenneth Bager’s tear-jerking emo-tronica, Liquid Liquid’s percussive punk funk and Cymade’s Afro-funk. If the true test of a DJ is to ‘edutain’ and bring the unfamiliar to an audience expecting something else then these Teutonic tastemakers pass with flying colours. 'The Grandfather Paradox' has redefined ‘minimal’ and opened up its future possibilities, ironically, by exploring its past. Rahul Verma

All In! 10 Years Of Poker Flat

Dynamite NYC

The ambassador’s choice

Rap meets dancehall

Aah, with these three CDs you are really spoiling us! The ambassador’s parties have noted that Poker Flat has exquisite taste and truly does go over and above the call of duty. We knew that already. And in this digi, ethereal world a collectable, limited edition cardboard box-set, complete with stylish playing cards and stickers, really is a delicious treat. Big chief Steve Bug opens the vaults of his 10-year-old imprint, unleashing future, past and present definitions of sound and skilfully imposing another classic collection in our hands. It’s hard not to expect this commemorative release to come up trumps (ahem), each CD has a cosy blanket of deep techno and bouncy electro thrown over it. Newcomer David Durango’s peak-time device snuggles up to Patrick Chardronnet’s heartstopping tribal affair on the 'Exclusives' disc. Whilst D.H.S’s ‘House Of God’ and DJ T’s ‘After Dark’ grant a full house. Helene Stokes

In the current age of intricately personalised iPods and endlessly ordered playlists, the days of the unmixed compilation are surely numbered — we’re all perfectly happy being our own ‘compilers’ thank you very much. Noble tastemakers Soul Jazz, however, are keeping the dying art alive. Far from merely compiling sounds, the label succeeds in carefully sourcing its tracks like an archaeologist would historical artefacts, before presenting them, side-by-side, in complete contextualised documents that educate and inspire in equal measure. Exploring the osmotic cultural relationships of early-'90s NYC, this latest thesis presents the dancehall hip-hop hybrids that the city’s adopted West Indians descendents created in that era. From Fu Shnicken’s iconic ‘Ring The Alarm’ to the funky block party ragga of ‘Dem A Murderer’, each track is alive with ghetto energy and musical cross-pollination. An essential document for any true scholar of soundsystem culture. Allan McGrath

Unsatisfying mess Given that he has included his own noisy electro-house cover of Iggy Pop’s ‘Sweet Sixteen’, we’re not sure we should even give this Benny Benassi mix a listen. Unfortunately we do and are subjected to a noisy undirected mesh of diluted French fuzz, generic rave techno and Top Shop electro. You’d find more ‘satisfaction’ in a sewer. Allan McGrath

The future is now

Leftfield listening music

It’s not all sequined boob tubes and white horses. Disco in the naughties is also about bold affirmations and glittery electrofied clashes mixed up with cutesy vagabond styles. Azuli craft this exciting release from a revival scene that’s easy on the eyes and kind to your ears. Holy Ghost, Friendly Fires and Greg Wilson hone perfect shapes for the dancefloor. Helene Stokes

Michael Mayer’s label may no longer be the cultural touchstone it was during the early days of the German renaissance but their latest 'Pop Ambient' is another faultless ensemble of downtempo leftfield electronica. At points blissfully warm and majestic, at others spinetinglingly cold and haunting, the quality persists throughout. Robert Davis

Azuli pres Miami 09

Miss Jools Mobilee Back To Back Vol.3

Soul Jazz


Lo Recordings

No brainer tech bangers

Bizarre and bewitching

Following the surprising charms of their new 'Future Disco' series, Azuli fast revert to type with an easily packaged no brainer collection of electronic house and techno tracks in wait of this year’s WMC. Patchy in quality, anyone wanting anything other than 27 solid club tracks need not apply. Robert Davis

Journeying across the lands less travelled, psychedelic sonic meanderings might often lead into bizarre and disorientating landscapes but then that’s precisely their charm. Often spellbinding, spooked and sublime, occasionally impenetrable, there’s one thing this 27-track collection never is and that’s boring. Allan McGrath



Deep, down and funky Whilst some minimal techno can often fall short in the funk factors, Mobilee always keep things tugging nicely at the hip and this vivacious mixture of deep house and tech gems from the label is perfect proof. All handpicked by the rising Miss Jools, this is not an essential purchase but it is a pleasing listen. Robert Davis



Fly Girls Soul Jazz

Fabric Deeply futuristic d&b that blends techno, dubstep and dreamy vibes with old school philosophies. DJ471.compilations.indd 155

Pop Ambient 2009



A Psychedelic Guide To Monsterism Island

Poker Flat

Future Disco

Hervé Ghetto Bass Music Response

A celebration of history’s best female rappers with the likes of Princess MC and Sweet Tee recalling the days when they won respect for the depth of their rhymes rather than their cleavage.

The perfect introduction to the UK’s hottest sounds and shows why, when they finally do explode overground, Hervé will lead the way.

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April 2009 Dubai

Battle of the DJs The search for the hottest DJ in the Middle East is back! /PENTOBOTHPROFESSIONALANDAMATEUR$*SFROMTHE-IDDLE%AST

Pre-heats 6ENUE $ATES Time: Entry Fee:


6ENUE $ATES Time: Entry Fee:



WIN, WIN, WIN Pioneer and Pacemaker are donating loads of FREE prizes for the winners of the competition, including: s0IONEER0RO$*$6* s0ACEMAKERSPORTABLEMINIDECKSs0LUSLOADSMORE



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DOWNLOAD CHART 1 Dave Spoon  Lummox  Televizion

Dave Spoon tries his hand at a bit of acid electro and throws in a few old skool rave stabs for good measure. Big tune!

2 Doman & Gooding feat Dru & Lincoln  Running  Positiva

Tipped to be one of the biggest dance tracks of 2009, spurred on by an excellent Mark Knight & Funkagenda remix.

3 Rudenko  Everybody  Data

Russia’s rising star has been snapped up by Data for this huge crossover hit. Support from Pete Tong and Judges Jules.

4 Ricky Stone  In Miami  Flat Belly

Could be massive at WMC this year — with remixes from King Roc and Rudi Stakker.

5 Chris MiMo Jones  Pick Me Up  Big In Ibiza

A hypnotic and progressive tech-houser with melodic keys and a simple hook that’s carving up floors everywhere.

6 Filth & Splendour vs Betoko  The Argument  Itch Records

With remixes from Jaymo and Lewis Ryder. Expect big things from Filth & Splendour in 2009!

7 Empire Of The Sun  Walking On A Dream  Virgin Records

Effortlessly beautiful and complete with remixes from Van She Tech, Sam Lamore and the Hong Kong Blondes.

8 Project Bassline  Drop The Pressure  Cheap Thrills

Big ol’ bassline anthem here from Bassline Project, aka The Wideboys — as featured on Sinden’s ‘Fabric Live’ compilation.

9 F-Man  Abstrack #1  Flamingo Recordings

Fedde le Grand goes back to his more underground roots with this awesome track on Flamingo.

10 Trnsstr  Shuffle Scuffle EP  Berwick Street Records

A belching techno monster with a relentless bassline. Epic slabs of sound are stacked atop glitchy lo-fi drums.

11 Buraka Som Sistema  Sound of Kuduro EP feat DJ Znobia, M.I.A, Saborosa & ...  Fabric Integral Kuduro looks set to blow up worldwide, and these guys accompanied by M.I.A show us why!


DOWNLOAD CHART Each issue we’ll be bringing you the Killer Download chart, featuring the hottest new tunes available on


Diplo Decent Work For Decent Pay  Big Dada

22 Deadmau5 Slip (Sèbastien Lèger Remix)  Mau5trap 23 Various Artists The Awakening EP  MUM 24 Meck Frenetic Windmills/Dusty’s The House  Chart compiledInby Mark van den Berg at MixMash. 25 Timmy Vegas & Bad Lay-Dee Another Dimension  Eye Industries 26 Freemasons feat Hazel Fernandes If  Loaded 27

Kid Cudi vs Crookers Day ‘n’ Night   Data

28 Rainer Weichhold Secret Weapons  Great Stuff 29 Röyksopp Happy Up Here  Wall Of Sound

12 Darren Emerson  GU36 Bogota  Global Underground

The former Underworld member brings us some techno inspired by his time in the Colombian capital.

30 Rob Roar & Felix Baumgartner Slam 303  Phonetic

13 Shinichi Osawa  Push – Remixes  Southern Fried Records


14 Malente   Bring That Lead Back  Southern Fried Records

32 Klaus Hill & El Matador Rock The Disco/One Time  Bomb Squad

Huge remix package totally dominated by Tronik Youth’s remix but including reworks from Alex Gopher and La Mode. Chock full of old skool rave synths and drums topped by a killer drop.

Shadow Dancer Golden Traxe  Boysnoize Records

33 Grace Jones Williams Blood (Aeroplane Remix)  Wall Of Sound

15 Milton Jackson  Crash  Freerange Records

Milton Jackson makes a triumphant return to form with this new album of bubbling Detroit goodness.

34 Plump DJs Beat Myself Up/London Street Music  Finger Lickin’ 35 The Qemists feat Wiley Dem Na Like Me  Ninja Tune

16 Djedjotronic  Dirty & Hard EP  Boysnoize Records

Latest from the Boysnoize crew — this Parisian producer drops bouncey fidget beats with vocals from Spoek.

17 Jay Kay  Belfast Kiss  Kinkydigital

36 Luke Walker Find Your Way  Gung Ho 37 Chris Lake & Emma Hewitt Carry Me Away (Part 2)  Rising Music

Jay adds a 2009 twist to Lil Louis’ classic ‘French Kiss’ — one to watch in 2009.

18 Will Saul & Mike Monday  Zippo  Buzzin’ Fly

Deep and progressive with flourishes of rising wonky synths and a superb breakdown.

19 Lazy Jay  Oracle  Big & Dirty Recordings

Following on from his last two electrotech tracks, Lazy Jay moves closer to the epic techno sound with ‘Oracle’.

38 Gran Son Corners EP Breakin’  Even Deep 39 His Majesty Andre Great Matters EP  Cheaper Thrills 40 Streetlife DJs Keep It Secret EP  Street Beats 41

20 Various Artists  Kings Of The Underground Vol.002  Cr2 Records

Not as underground as we’d like with tracks from John Dahlbäck, Mark Brown and Dirty South, but still a strong comp.

Tim Deluxe Mudpod  Skint

42 Random Factor Outlaw/Knockabout Remixes  2020Vision 43 Gel Abril Miranda  Get Physical 44 Ramon Tapia Mini Jack  Great Stuff 45 Feed Me The Spell/Raw Chicken  Mau5trap 46 Rocha & Lewinger Down Seq  Great Stuff 47 Kidda Under The Sun (Hervé Remix)  Skint 48 Hervé & Kissy Sell Out Rikkalicious  Cheap Thrills 49 A.Skills feat Krafty Kuts & Beardyman Happiness/Got The Rhythm  Finger Lickin’ 50 Prok & Fitch El Beasto  Floorplay DJ471.killer_download.indd 157

157 16/2/09 20:15:39


TECHNEWS PITTER PLATTER Denon’s latest deck features their ever-improving direct drive platter control.



Native Instruments’ flash new groove production studio — Maschine — brings together hardware and software


Numark have a great new budget CD and MP3 deck called the ARC3.



Numark’s latest Midi controller features a built-in soundcard.



Our club technology spotlight scans over the supreme full colour laser from Laserworld with its dazzling white beams.



How to recreate the killer sounds of Joker, plus an extraordinary new synth.



All eyes on the XS from Future Retro for its seemingly endless control over synthesis.



On you’ll find up-to-theminute tech news, plus a stack more video treats.

158 DJ471.tech_news.indd 158

THE BIGGEST ANNOUNCEMENT FROM NATIVE INSTRUMENTS at the NAMM trade show in Califonia, recently, was without doubt their groove production studio — Maschine. It’s their first real sequencer, but instead of using just software, Maschine bridges the gap with a traditional hardware interface — inspired by the likes of the Akai MPC samplers. It can be used entirely on its own to construct productions although sounds are still generated by the computer. It’s only necessary to use the terminal itself when it’s more convenient to use a big screen with a full keyboard and a mouse. Just like a lot of the beat-making workstations, Maschine has 16 trigger pads, which are backlit. These indicate what is being triggered in the software, and act as a display when using it’s step sequencer feature. Two large LCD displays make it possible to scroll through the full 5GB library of sounds, effects and settings that are available. It uses a similar approach to their Kore player so that sounds can be found intuitively according to a process of elimination based on genre, type and so on. Producers can add their own samples and Maschine makes it easy to find them based on a selection of tags, which can be added to aid your search. The main focus is on making the process as intuitive as possible and retaining that live, human interaction. For example, punch some drums on the pads to record a basic beat and quickly quantise it in chunks of 50%, instead of fully locking it to a grid — this keeps a swing in the rhythm but just makes it progressively tighter.

As we’d expect from NI, there’s a stack of sophisticated effects, such as Frequency Shifter, FM, Granular and Beat Delay, Multimode Filter, Metaverb, Ice and Reflex to play with. There’s also live sampling and re-sampling capabilities from internal and external sources. Recordings can be modified using the sample/loop editor and waveforms appear on the LCD display while chopping. There’s a healthy number of knobs to tweak your sound and on-the-fly recording stores automation data, which can easily be edited in the unit. In a smart move, NI have made the Maschine compatible with all other DAWs (digital audio workstations). It can be loaded up in the likes of Cubase and Logic as a multiple-instrument plug-in, spanning across your virtual mixer. And if you want to control other software, the Maschine hardware acts as a Midi controller too.


£599 OUT


16/2/09 18:48:49






Ableton Live 8 users can now create their own synths and effects using its built-in graphical programming interface — Max MSP. There’s also a new looper. Ableton 8 seamlessly shares these projects via the web from within the programme to the public or individuals. It only syncs those files that have changed or that users don’t already have. Check

SCRATCH LIVE Version 1.9 of Scratch Live comes with a drastically improved interface and a new sampler. Live Feed now records audio inputs — such as mics or other mixer outputs — continuously to a buffer, which allows for spontaneous scratching. The fabled Loop Roll feature is now official and regular Scratch Live users can run their Video-SL plug-in without the expensive TTM-57SL mixer.

Denon have a pair of new mixers on the way. First up, we have the full rundown on the DNX1100, which keeps things simple on the features, but with a clever matrix system so any input can be on any channel. It has a send/return for FX and an assignable booth output — all for under £700. More details on their flagship model next issue.


HIGH TORQUE Nearly a year after its announcement, M-Audio’s Torque 1.5 is finally on sale. It features Abletonlike time-stretching and warping of tracks to compensate or adapt to a song’s tempo changes. There’s VST plug-in support for extra effects and a 16-cell temposynced sampler. And it’s free for users who bought v.1 last year.


The next biggest product from NI is a cut-down version of their Audio 8 soundcard. It features half the ins and outs, which is still plenty to get a separate feed for two decks in and out of a laptop. It takes line and phono ins and costs around £229.

NEW RANE One of the most respected scratch samplers just got an update. Plug the new TTM 56S into any socket around the world and connect turntables or CDs to all inputs by just flicking a switch. There’s a pair of headphone jacks in both sizes and the Transform switch is now a Kill.

These mixers are really good for the money! The Kaoss Pad works well, the faders are well spaced on the 202 and the curve adjustment is nice and tight, which would allow for decent scratching. Faders are really nice and smooth too! It sounds as good as you’d expect from Korg. The 202 is one of the best value products this year for sure. Down sides are minimal. The EQ dial is a waste of space and it could do with XLR outputs. That’s it. Cheeba If I did get a KM202, I’d probably just set the EQ dial to my preferred EQ setting and leave it set so I can concentrate on using the EQ bands and Kaoss Pad during my mixes. From what you’ve told me, this mixer sounds like a bargain! Simon Baugh I’ve had a good play on them and if you want a scratch mixer with an FX unit, you’ll find no better for the money. Cheeba

DJ471.tech_news.indd 159

I was thinking of upgrading my mixer, and was looking at the Korg KM202 as an option (I have £250 and it got a 5 rating in DJmag). Has anyone used one or the 402? Simon Baugh

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LIVE CONTROL THE MOST ADVANCED CONTROLLER for Ableton Live yet has just dropped on The APC40 was designed by both companies and is so tightly integrated with the software that all the values are fed back to its LEDs. Named the APC40 for its 40 square pads — which correspond to Ableton’s clip matrix — they light up according to what’s on screen. Green is for clips ready to play, amber for clips playing, red for record-ready clips and off for empty cells. It requires no mapping at all with Live and can also work with any other software. And it’s fairly reasonable at £399. SPACE-TEK If you want a rock solid DJ stand but don’t want to shell out a fortune, the top boys from Space Tek have a new, lighter stand for just £110. It supports virtually any gadget on its foam-protected mount and stands solid on its own foot. STEALTH CONTROL Numark have released a Midi-only version of their Omni Control digital DJing controller. The Stealth Control features the same solid metal construction and a stack of knobs and buttons, which are great for diverting attention away from the computer. Get it for £219 from numark. com.

CLÉ (Martini Bros) POKER FLAT




Ministry Of Sound has opened its doors for budding DJs to come and learn from top jocks like Danny Rampling and Ray Keith in the legendary club. We’re giving away a place on the seven-hour course plus a goodie bag that includes vinyl, CDs and VIP access to MoS parties. Just email teachme@, listing four of the course tutors to be in with a chance. Deadline is Tuesday 31st March.

DJ471.tech_news.indd 161

CAN’T LIVE WITHOUT... ROLAND SH-2000 SYNTH “After our studio was robbed in 2005 and all our beloved analogue synths were stolen, my partner Mike and I concentrated on digital producing for a while, but we got bored quite quickly. So we searched around for some fresh antique gear to make us feel complete again. “The Roland SH-2000 was built in 1973 and is one of the first synthesisers with presets. The synth section on the left allows us to modulate and filter the preset sounds and has some quite unique features, such as growl or wow buttons. “For our full satisfaction we route the Roland through some Moogerfooger pedal effects when we play live or produce.”

161 16/2/09 18:51:00



DJ DOCTOR Dear DJ Doctor, I’m going to buy a couple of USB memory sticks for my Pioneer CDJ-400s decks. Does it make a difference what brand I get? I’m going to be constantly reading from them rather than just moving things on and off. Nicky Baird, Dalston DJ Doc replies, All of the USB memory sticks I tried on the CDJ-400s worked fine, but as a rule spend some money on a decent brand such as Kingston, Verbatim or Sandisk if they’re going to be in heavy use. I’ve had quite a few cheap unbranded ones that have failed or become corrupt, so it’s worth spending the extra cash on reliability. And because they’re so cheap these days, buy an extra one as back-up. Always keep copies of the files on here just in case the worst should happen.

TOP100 CANS Following the huge success of DJmag’s worldrenowned Top 100 DJs Poll, we wanted to give something special and unique back to the world’s best DJs. After racking our brains we decided that they could all make use of a luxury pair of headphones. After testing out the new Pioneer HDJ-2000s, we sourced a pair for each Top 100 DJ and had their names laser engraved on these very smart cans.

162 DJ471.tech_news.indd 162


From: Winnipeg, Manitoba Music: Drum & bass A mix of dark mysterious drum & bass. Love the old school feel and mystic vibe — reminds us of some outdoor raves in the mid-’90s, with a 20k rig and one disco light! “It was the second video I made and it got first place... take that Neil Patrick Harris!” enthused Tyler.

From: Courtenay, Vancouver Music: Drum & bass A trippy mix that blends a dark atmosphere with a soulful vibe to create a unique and intense sound. Light at the end of a long, dark tunnel. “The TenMinMix competition will get you heard around the world,” opined Cory.

Shayne Hille Shayumm


Link: People used to think I was nuts making so many videos. Well, if the truth be known it’s got me talking to some worldfamous DJs — Q-Bert, for example. Go see his Youtube channel. He is also starting an online scratch/ turntablist Uni and I will be helping out with some beginner mix lesson videos.

Tyler Johnston


SEND your query to the DJ Doctor at djdoc@ and you could win the wicked AKG K81 headphones.


Every month we’ll be highlighting the top three TenMinMix winners. To see the videos for yourself simply log on to

Cory Jesmer (DJ Jesmer)


DJMAG team up with YouTube superstar, the DJ Tutor, and here he highlights some of the coolest videos that can be found at


TOP CLIP Video: Sunset in Wales, Pacemaker style Link: watch?v=6kd4q5eqtPA I had a mad idea of playing a great house toon through the Pacemaker on a hill and at the same time videoing the sun set — sounds a bit crazy! But a few days later the man behind Enzyme Black got in touch and let me know that he loves the video.

BEDROOM DJ – BE SEEN! Link: tenminmix For many years one of the only ways to get noticed was to send demo mixes to clubs. Now all you need to do is send a link and the agent or boss of a club can actually see you at work. The TenMinMix has become a place where DJs are being booked!

From: The Netherlands Music: Tech-house/house This mix has a deep vibe, yet at the same time it has uplifting qualities. A great warm-up set to a three-hour techno mash-up in the heart of Berlin! “Thanks to the TenMinMix, DJs have the chance to develop and share their knowledge and skills,” Shayne said.

THE To be in with a chance of winning the following bounty simply log on to 1st: A one-hour set on MOS radio, 25 downloads from, three CDs from CD Pool UK and a oneyear subscription to DJmag. 2nd: Ten downloads from djdownload. com, two CDs from CD Pool UK and a one-year subscription to DJmag digital. 3rd: Five downloads from djdownload. com and a CD from CD Pool UK.

16/2/09 18:51:37

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13/11/0810:22:56 17:04:01 16/10/08 AM


Denon's DN-S3700

TECH SPEC  igh-torque direct H drive 9” platter USB device hosting S lot-in CD / MP3 disc drive P C / Mac Midi interface controller F ilter, flanger and echo/loop effects  everse, dump reverse R and brake jog effects  ey lock and variable K pitch control T hree hot cue/loop controls  anual loop control M with adjust Auto/manual BPM  aise TFT screen with R waveform view

NEW KID ON THE BLOCK Will the new Denon DN-S3700 direct drive deck take a significant swipe at Pioneer’s business?


enon’s direct drive turntable technology has just taken its biggest leap yet with the introduction of the new S3700 multiformat deck. Their struggle to top the Pioneer CDJ-1000 has been going on for some time, but their tactics have just taken a much needed U-turn. Traditionally known for adding features rather than simplifying products, Denon were the first to introduce spinning platters onto CD decks. First appearing on the S5000 a few years back, they were yet another addition to an already overcomplicated mass of features. Whilst loved by the diehard Denon clique, they failed to win mass appeal due their unconvincing turntables — small, wobbly beltdriven platters and a digital sounding scratch.

words: David Eserin

UNDER FIRE It was actually Numark who first cracked turntable emulation with the CDX, but the design was huge and clunky. Denon fought back with their compact S3500, introducing direct drive control, which provided a sturdier platter and a much more realistic scratch sound. But it was still quite complicated and the platter was still just a little too small to take advantage of this format properly. And with all the rapid advances in mass storage playback and Midi control — even though they could play MP3 CDs — both the CDX and S3500 quickly became dated. All the while Pioneer’s CDJ-1000 became more vulnerable as each new product was announced. Seemingly off the scent, the next big statement saw Denon up to their old tricks as they attempted to corner the digital DJ controller market. The HS5500

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used the S3500’s platter, but it could play two tracks from one USB source, control audio from two software decks and introduced D-Sync for sharing just one USB hard drive across two HS5500s. Pure genius, but they forgot the all-important CD deck as standard and it requires a genius to use it! Denon’s take on the Pioneer CDJ-400 — the S1200 — crept in under the radar, and won our Tech Award for best multi-format deck under £400. It’s a truly staggering product with built-in soundcard and Midi control for use with software, along with CD/ MP3 and USB storage playback. It didn’t have the same effects advantages, but battered the competition for quality and price. It was refreshingly simple to use.

KEEP IT SIMPLE It seems that Denon have finally realised that simple is safer all round. The new S3700 is possibly the first Denon flagship deck to trim back on features rather than cram more in. Saying that, they’d actually be hard pushed to fit any more buttons on the unit! In its favour, this does mean that most functions have a dedicated button, rather then having to press shift, hold down play, count to 10 and wiggle a foot before something happens. They’ve established a uniformed layout and feature set, such as their three effects on the left, three platter effects at the front. For extra uniformity all loops and navigation controls are in the same place as all their other decks. It may take an afternoon to get to grips with a Denon, but once learnt, playing with any Denon deck will be child’s play.

SHINY NEW THINGS They’ve ditched the sampler from the S3500 and replaced it with the staggeringly intuitive hot loop/

Internal 24-bit processing and USB audio  -Link to share memo D data between players PS2 keyboard input

cue buttons. Hit any of the three buttons for an instant hot cue and once again to trigger it. Each button then has its own clear button above. If you want a loop, hit the loop button and they flash orange. You can also combine loops and cues on different pads. Loops can then be halved in length with the effects/loop cut dial below. It’s all so easy and data can be stored and shared across units using the D-Link cable — not to be confused with D-Sync on the HS5500, which can share music drives. Diehard Denon heads will be glad to see the manual loop on the right, although many others will choose to ignore it. If choosing to give it a chance, DJs will discover that it does offer more advanced control than other decks, but at the cost of intuition. It’s the one feature that Denon couldn’t drop the multiple key operation tactic with too. Further improvements come from the raised screen, which makes it much easier to see all the ID3 tag info and it’s simple and easy to navigate mass databases. A welcome addition is the waveform view to see peaks and troughs in the music, but this only works after analysing MP3s and Wavs on PC first. It won’t work with CDs at all. The effects are the standard set of filter, echo/loop and flanger. These are useful, but pretty old sounding and the filter offers very little charm.

PLATTER MATTERS Apart from the new simplicity, the most notable improvement is just how much the platter looks like a Technics and there’s a real piece of 9" vinyl there too, which even plays on a regular deck! The scratch sound quality is phenomenal — though not quite as

16/2/09 18:56:37

Denon's DN-S3700



4.0 4.0 4.0 4.0 4.0


Realistic and comfortable scratch control, simplified operation and layout for controlling and playing a wide range of sources.


Some of the buttons could be improved, very Mac and HFS unfriendly, no waveform view on CDs,or MP3 and Wav without scanning files on PC.

Denon’s direct drive platter technology comes of age, but a few niggles hold it back.





01753 680023

realistic as the Numark CDX — but it’s close enough. It is certainly on par with a digital vinyl system, which is more than workable for scratching and turntable tricks like beatjuggling. The motor torque on the platter is ridiculously powerful. The torque is 2.5Kgs per square inch, which is quite a lot when applied to the 9" platter. Compared directly with a Technics, it’s much stronger but in order to recreate an authentic turntable feel — so you can drag your finger on the platter to bend the pitch — it’s possible to set the motor torque in three stages, and the lowest feels just like the 1210. They’ve clearly bitten the bullet and gone for a straight recreation of the traditional strobe light dots that make the Technics so iconic. They’re a little bit scaled down, but it makes the deck feel much more like a professional product, providing an instant visual representation of the platter speed consistency.

One thing traditional vinyl lovers may miss is the ability to tweak the pitch bend with the centre pin. Instead the pin is fixed to the plastic bulk that screws onto the vinyl, rather than attached to the platter. But then using the pitch bend buttons is far more accurate than these dated methods anyway.

screen, motorised platter or LEDs. This will no doubt happen in the near future, but there are no promises to what extent, so it’s worth holding out for news. They have a good track record with Serato providing native control for the D4500 and S1200, but currently Traktor only has Midi mappings for their products.


We loaded up and modified the S1200 Midi mapping file in Traktor to get an idea of the scratch and were pleasantly surprised when it worked and how tight it was. But it’s necessary to press a button or stop the deck to activate scratch mode until they implement it on a deeper level.

There are some minor gripes. It’s impossible to skip through tracks that have encoded MP3s with VBR, yet it will still offer accurate scratch — a weird contradiction. The slipmat doesn’t go all the way out to the edge, so on applying too much pressure the disc rubs on the platter. And though the buttons are super heavyweight, they need a good tap in the middle to ensure they are engaged. Popular DJ software has yet to be updated to work natively with the S3700 and take advantage of its

DJ471.tech_denon 3700.indd 165

The S3700 batters the CDJ-1000 in so many ways, but doesn’t do enough to forge industry standard status. Regardless, digital scratching just got a whole heap more accessible no matter what format you use.

165 16/2/09 18:56:42


Numark’s ARC3

TECH SPEC T abletop MP3 and CD player with scratch Large 5" scratch wheel Seamless looping Dual loop memory banks

BANG FOR BUCKS Numark’s ARC3 brings CD scratching and MP3 playback to the budget market


Half decent scratch sound, multiple loops and hot cues as well as key lock and variable pitch.

he ARC3 is the latest budget CD deck from Numark and is the first to offer MP3 playback and scratch control for under £200. Essentially a tweaked version of their Axis4 model with added MP3 playback, all the features on the ARC3 work as well with MP3 as they do CD — including looping, skipping and scratching. Unfortunately, very little has been done to help you browse the extended track selection that MP3 offers. The ARC3 does not read any track names, artist names or ID3 tag information stored on the MP3 CDs. And users cannot browse in the folders that they have set up on the MP3 CDs. Instead, ARC 3 will read the files stored and list them in one long list — ordered by their corresponding folder firstly and then alphanumerically second. As no track or artist names are displayed, DJs will need to refer to a written or printed list of track numbers and names.



 ey lock support for K maintaining key while tempo shifting Pitch control: ±8% and ±16% A nalogue (RCA) and digital (S/PDIF) outputs 110 and 240 power input


2.5 4.0 3.0 4.5 4.5


Plays discs with errors and has no ID3 tag info or MP3 folder browsing.

Considering the advanced features of scratch, key lock, variable pitch and loops, the ARC3 is one of the best value CD decks available.


For a budget mixer, the scratch on ARC3 is surprisingly tactile. At 5", the jog-wheel is just about big enough for effective scratching although users must bear in mind that it is not touch-sensitive like vinyl or the CDJ-1000s. A scratch is only put in motion once the wheel has been forcibly moved. The same in reverse is applicable so the jog wheel has to be completely still before playback kicks in again. Only with a great deal of practice is it possible to interrupt playback with a scratched vocal and drop it back in





CONTACT 01252 341400 effectively and in a well timed manner. The sound of the scratch has some digital whining, but it is certainly not overpowering or irritating. And as long as there is enough of the track loaded into memory, it can pull off some decent spinbacks too.

LOOPY TRICKS As with the Axis4, users can create and designate two loop sections to play with on each CD. Simply punch the in and out points on the dedicated buttons and the loop will start to roll. To leave the loop simply hit the out button again. Users can use the Reloop Stutter button to jump straight back into the loop and

stutter the in point. By hitting the in button whilst in the loops, users can advance the in point forward and create some pretty hot looping and remix style effects. The play button also acts as a stutter or hot cue when the music is playing. This could be set to a vocal and the two loops could be combined as additional hot cues. The ARC3 proved to be very reliable and played nearly all the discs we threw at it. But by the same token, it often played discs that were rejected by other players for having disc errors, which then caused obvious playback issues.

USB SOUNDBOX IMG Stageline present a handy USB soundcard that caters for a range of signals

words: David eserin


MG Stageline have created a neat little box for amplifying turntable signals to line level and recording them to your computer. It can be used as a preamp at the same time, because it includes connections to send the boosted signal right out. It comes with level controls on the unit that are backlit by LEDs, which would come in handy for recording DJ sets at a party — especially as it can record line level signals at the flick of a button. The USB Soundbox also comes with a power supply so it can be used when a laptop is not available by providing

166 DJ471.tech_Arc3.indd 166

power through the USB cable. However, using it in this way does introduce a lot of hum so we wouldn’t recommend it. Contrastingly, recording vinyl over the USB proved to be of decent quality. Our only complaint was that the overlimit lights were a bit too sensitive. They need to be flashing every now and then to get a full strength signal through. As a soundcard for Mac and PC, the USB Soundbox is plug-and-play but it did strangely distort sound anywhere above 30% volume on Mac and PC



CONTACT 01908 217100



16/2/09 18:57:33

If youâ&#x20AC;&#x2122;re serious about the world of digital DJing, you already know about Serato Scratch Live. And if youâ&#x20AC;&#x2122;re serious about being a digital DJ, you need to put your hands on NS7. Bundled with Serato Itch software, NS7 gives you hands-on control of every aspect of your performance. A seamlessly integrated hardware/software digital DJ system, everything about NS7 is first rate, from the real vinyl and motorized, adjustable torque aluminum platters to pro-quality replaceable faders and a built-like-a-tank metal chassis. NS7 truly represents the pinnacle of digital DJ performance.

Get serious. Get NS7.

WWW.NUMARK.COM Untitled-1 6

16/2/09 17:29:41

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16/2/09 11:09:27

Numark's Omni Control


TECH SPEC C omplete professional computer-DJ package  ardware controller with H built-in audio I/O Includes Native Instruments Traktor 3 LE and MixMeister Fusion Live software Heavyweight, sturdy feel E xtremely clean, high-quality soundcard Supports Midi over USB Powered by USB





Numark’s new laptop DJing controller is perfect for bedroom DJs...

words: David Eserin


umark’s Omni Control is aimed squarely at bedroom laptop DJs. It provides everything a laptop DJ would need, including a Midi controller with soundcard built-in and software to mix audio files, as well as all the cables. But crucially it is an instant and intuitive piece of kit. The controller itself is pretty much an exact replica of the Numark Total Control but, instead of being cased in a glorified margarine tub, Numark have invested in some seriously tough steel casing. Bulked out with a dense steel case, Numark’s Omni Control is incredibly sturdy although it is worth remembering that the knobs and faders are still attached to the same circuit boards — unnecessary impact can still dislodge them. That said, there is zero chance of the case itself shattering and, whilst Numark’s Total Control was prone to slipping around, the Omni Control’s extra weight keeps it anchored tightly to the table — especially when you get frisky with the faders.

OUT THE BOX The Omni Control couldn’t be easier to install and is running and ready to use in under 10 minutes. It runs flawlessly on

both Mac and PC with the included Traktor software. Alternatively, it can be used alongside Mixmeister studio, which can be downloaded for free on the net. Whilst the controller is a bit cramped, there is an abundance of buttons to capitalise on all of Traktor’s many tricks too. Another natty feature is that a lot of the knobs also double up as buttons. For example, by pressing the EQ knobs down users can kill frequencies dead in one swift action. On the downside, the shiny knobs do have a tendency to slip under the fingers as there is very little grip. That said, the Midionly version of this unit has upgraded to rubberised controls. As usual with all Midi controllers, Numark’s Omni Control can be used with any software that supports Midi mapping. Traktor LE comes with comprehensive built-in Midi mapping for the Numark controller, although users will need to upgrade to full Traktor software to be able to customise Midi mapping.

AUDIO INTERFACE Completing the package is the built-in soundcard, which offers two stereo outputs

plus a headphone socket and mic at the front. The mic input has its own volume control and its signal routes directly through to the first stereo output, which needs to be set as the master output and connected to your PA. The headphones replicate the audio coming out of the second stereo output, so this one needs to be set up as the monitor in your software. When compared with the likes of Ecler’s Evo5 and the Allen Heath’s Xone:4D, the sound quality stands up well although it is significantly lower in gain. Another problem lies in the mic input, which seems to emit a high-pitched whine. Unfortunately, this is most audible when the gain is around seven on the dial — often the ideal mic level when music is playing. Quick and easy to use, Numark’s Omni Control is laptop DJing minus the hassle. Traktor integrates seamlessly with iTunes and it’s easy to start messing around with some decent effects. Set up is as simple as plugging in the USB and one audio cable. If simplicity is the key, Numark have it locked down with this one

DJ471.tech_omne.indd 169


CONTACT 01252 341400


4.5 5.0 4.0 4.5 4.5


Comprehensive control, a solid build and easy to use.


Slight issues with a high pitch whine and watch your sleeves on the pads as there’s very little resistance.

Bedroom laptop DJing just got serious.

4.5/5 169 16/2/09 22:16:18


Laserworld's Purelight

TECH SPEC Laser class: 4 Beam properties: 3mm/1mrad Scanner system: fast galvo system with excellent projection quality Deflection angle: max. 60° optical

Control mode: ILDA, DMX 512


ILDA: 25pin ILDA Standard Sub-D shaped 25pin connector

Laserworld’s Purelight may sound angelic, but has it got that killer cutting edge?

DMX 512: 16 channels

aserworld, a Swiss and German outfit, have come up with a new full colour laser with a novel way of splitting the beams from the laser diode. This makes it capable of producing a seriously bright and beautiful pure white light. The PL-2000RGB (on test) is the cheapest in the range and costs around £13,400 but can easily be hired. It puts out just over 2W, equivalent to 2100mW — which sounds more impressive! The Purelight series has around eight lasers that range up to 36W in power. These cost in the tens of thousands and would surely burn holes through heads, let alone retinas, with one concentrated beam. Laserworld have altered and refined the wavelengths of the basic three colours that make up white light for the Purelight model, creating an extremely fine white light. The image scanner inside the laser's box moves quicker than standard lasers so pictures and patterns are clearer and more defined. It is capable of firing out 55,000 points of light per second, building up the image by scanning faster than the eye can see.

Scan speed: max. 50.000pps (LW-50K) or CT 6210: 60.000pps at 7°

Basic patterns: 256 (layers, tunnels, fences, animations, graphics and fonts) Effect channels: Rotation, bounce, size, colour, slow-draw, stretch and rolling, etc Weighs 290g without cord


80mm touch-sensitive pitch slider, with position LEDs


£13,400 CONTACT 0844 736 6154 (sales and hire)



SOUND TO LIGHT What makes it such a versatile laser is the quality of the preset settings. However, to get the very best out of the investment, it’s necessary to buy some decent software to avoid repetition from the presets. The sensitivity to the laser’s sound input can be fine-tuned so that it really reacts to the music, offering a far more sophisticated show and synchronised displays and patterns. Most of the lights and lasers kick into action with the slightest noise, meaning the intensity of the music is mirrored by the visuals with a striking accuracy.

QUALITY CONTROL Other lasers for the clubs and the events market have been built for the longevity of their light output. In this regard, the Purelight needs a bit more maintenance than others so falls down slightly. But this factor can be overlooked, considering its other strengths. You can catch this impressive laser in action at London’s Brixton Mass on Saturday 28th March.


4.0 5.0 4.0 5.0 5.0


Beautiful colours and superfast scanners give quality images and high impact white light.


Anything run on 100% productivity will need a break at some point, so servicing or re-gassing can be expensive.

A versatile piece of kit that beams out above the rest.



Kam’s new Soundpack DVD-SD Pro is an extremely versatile playback deck



ore and more people are carrying their music collections, photos and videos on USB memory sticks. And there are more and more devices, such as the Xbox, that can easily view and play these files. Kam have created the DVD-SD Pro, which is based around a DVD drive capable of playing DVD, CD+G and MP3, as well as being Divx compatible. It allows users to watch movies and music videos, loop up animated idents and much more. For those breaking into the mobile DJing business, it comes as a ridiculously affordable first step into building up a karaoke set-up, one also

170 DJ471.tech_laserworld.indd 170

capable of dishing out personalised graphics. It can play from a number of other sources too — users can feed music, photos or video files through the USB or SD card reader. It’s all operated from a slightly fiddly menu, but it provides above and beyond the features associated with simple home devices. It also compliments their Soundpack speaker and hi-fi systems with its compact shape, designed to sit below your DJ mixer. Connections go through the SVHS, Scart and composites for video and there’s Digital optical output, or RCA connections for Stereo 5.1 sound.



CONTACT 01582 690 600



16/2/09 18:53:45



Sample Magic

Sample Magic

Sample Magic

10/10 CM EXCLUSIVE! 100s of sub-heavy bigroom beats, lowend bass grooves, stripped synth, nunoise and percussive soundbeds, FX, drum hits and more. £44.95

Audio toys and tawdry noise for breaks, electro and dubstep. 800MB+ ball-busting beats, breaks, b’lines, circuit-bent synths and vox mashups. £44.95

5/5 SOS 10/10 CM The return of a legend... 800MB+ big-room beats, bass, brass, guitars, keys, percussion, filters, fx and more. £44.95

Minimal Techno

Tech-Funk Breaks

Funky House Grooves 2


Sounds to Sample

Bunker 8 Digital Labs

A mindblowing collection of 1,650 sample-accurate drum and percussion loops for hard dance, trance, progressive and tribal house producers. £49.99

DIGITAL EXCLUSIVE Staggered, twitching and downright wonky hip hop breaks, 8-bit basses and glitched, gliding soundscapes. 450MB of pure sonic filth. £14.95

A tour de force of the UK hip hop / grime scene. Combining the best elements of electro with the rhythms of trashed-out cyber hop, these beats are way off the proverbial. £15.99


Bunker 8 Digital Labs

For the first time at S2S, the FULL disco download, featuring 100s of authentic guitars, keys, beats, slap bass, scorching vocals, percussion and more. £9.99 each

A menacing 1.3GB collection of deep hip hop, trip hop and downtempo loops, dripping with atmosphere, solace and depth. £13.20

Ecstatic Grooves

Classic Disco 1-4

Glitch Hop

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Groove Additives

Supercharge your house, minimal and techno beats with these all new 300+ sneaky, shuffly, stripped-back topline rhythm and no-kick drumloops. £24.99 Untitled-1 4

16/2/09 17:26:37



MIX DOCTOR Every month, we pluck a track from our forums at and our Mix Doctor gives it a medical. For your check-up, surf to the Pick ‘n’ Mix section and check out the Mix Doctor sticky for instructions.

We reveal some handy tips and tricks to help you on the road to wicked productions...

unds Killer So freshest sounds How to create the on the dancefloor...

The latest gem on Kode 9’s Hyperdub label, Joker’s ‘Digidesign’ hits us with a fresh electro G-funk sound that is like little else around right now. The track’s signature sonics include a distinctive lead synth, which merges that Dr Dre styled G-funk vibe with a discordant Eastern feel. And achieving this sound is pretty simple, too. The trick is all about detuning your oscillators. MiniMoogs are famously good for this sort of sound so reaching for Arturia’s MiniMoog V is a good first step. Equally essential to achieving that wonky ‘Digidesign’ synth is to engage the synth’s portamento or glide control. The reason for this is simple. If you change notes on a




normal synth patch, the note changes immediately but by engaging the glide/ portamento it takes a little bit of time for the note to change as one note slides up to the next. The greater the musical interval from one note to the next, the greater the bend effect at the start of the note. Producers will find this invaluable in creating their own twists on the ‘Digidesign’ formula.

Under the scanner this month is a track from American DJ turned producer Mike Beeds. Reminiscent of classic Chicane-style dreamy house, ‘Calcutta’ is an uplifting and epic track with plenty of progressive and trance elements blended into the mix. In many ways, it’s a real ‘journey’ of a track but it is let down by really dated beats. Mainly consisting of a kick and clap with huge reverb whacked on them, they also feature some simple hats and the odd heavily reverbed woodblock sound. Sounding both wooden and static, the rhythms lack funk and groove.



Mike would do well to draw influence from some of Eric Prydz’s bigger Pryda material for an example of the tighter, chunkier and funkier beats that can boost today’s big room, arpeggio-driven house. Thankfully, the music saves things. It’s very lush with a big string pad pumping along, and a filler sound that flows and creates a cinematic Vangelis vibe. But the problem is that sounds better in the movies than on the dancefloor, so the balance needs to be redressed by using an energetic bassline, slightly less reverb and some more energetic percussion.

Sample Magic seem to be unveiling an excellent new sample collection every few months. In fact, since the last time we mentioned them, they have released three great sets and this ‘Minimal Techno’ offering is the cream of the crop. For those who don’t have much time in the studio, it is essential to have an array of cool percussion sounds at hand, and this has them in abundance — many of which can be used across a range of 4/4 genres. The musical loops are equally versatile and range from lush to groovy, always striking the right balance between processed and clean. Solid sounds throughout, ‘Sample Magic’ has no fillers and an unparalleled ratio of useful audio snippets. As well as a great range of percussive loops and music loops, there are also solid combinations of the two together. And, as with all Sample Magic collections, they are nicely categorised into three tempo groups. There are also plenty of ready-made patches for the full spectrum of soft-samplers. All in all, an essential sample pack.

172 DJ471.tech_producer.indd 172






16/2/09 18:46:22

words: Marc ‘01’




V ST/AU soft synth Boasts both Simple Mode and Advanced Mode interface for performing/ editing 300 presets by top designers including Junkie XL and Richard Devine Up to 16 LFOs, 16 AHDSRs, 16 MSEGs, 16 step sequencer for modulating Use up to 15 simultaneous filters from the 31 different filter types 16 different effects including reverb, delays, mod fx, distortions, bass enhancer, compressor, multi mode filter, EQ and panner Mac OSX 10.4.9+ / Windows XP SP2 or Vista


Covering sounds from classic synths to insane special effects, Camel Audio’s Alchemy promises to be the ultimate sample manipulation synthesiser PRODUCERS thrive on the discovery of fresh sounds and in Camel Audio’s Alchemy they have a sample manipulation synthesiser that provides them in abundance. Stacking samples and synthesis side by side, Alchemy provides a sample library that weighs in at over 2GB and unpacks to around 300 presets. Covering sounds ranging from classic synths to insane special effects, users can then warp them using Alchemy’s limitless array of resynthesis techniques. Alchemy’s patches make use of up to four oscillators as a starting point. Users can choose from any of the built-in waveforms or sample groups. Alternatively, it’s possible to load pre-owned Wavs or SFZ files. Each oscillator can be treated to the frequency-warping potential of additive, spectral and granular synthesis. All three techniques produce vastly different sounds to those achieved using conventional, subtractive synthesis methods, and run the whole spectrum from organic,


acoustic emulations to splintered alien machines — sometimes within just one preset. For example, users can radically alter the sound of a vocal sample in real-time with advanced harmonic pitch shifting, fracture or stretch the sound by granulating it or just draw on new partials (harmonic frequencies) with a brush. In this sense, Alchemy truly is a sound designer’s playground.

SIMPLE SIMON Even with this awesome complexity of synthesis features, Alchemy hasn’t obliterated the concept of instant gratification thanks to its ‘simple’ mode. Simply click on the ‘simple’ button on the top tab and this shrinks the interface down to a single block that contains the eight most essential parameters for tweaking the selected sound, as well as a basic ADSR envelope for shaping the amplitude. Alongside this, we also have a couple of nifty X/Y pads for warping multiple pa-

The key to getting the most from glide/portamento patches is to take consecutive notes on the same level and move one of them a full octave above the other. Remember — the

rameters — all of which can be individually assigned — and a remix pad. The remix pad is very similar to the one NI use in their Kore player and utilises eight blocks, each of which can be used to trigger different variations of the current preset. As the user moves the cursor between the pads, sounds are manipulated and morphed according to the corresponding block’s parameters, resulting in some astonishing sonics. As you might expect, users can store their own preset variations on the pads. As the users get more involved with editing and performing they can assign their own individual parameters to the simple selection of knobs. Overall, Alchemy is an ambitious instrument and will easily satisfy the needs of the most demanding producers. A tweaker’s paradise, there are a massive amount of parameters to twist every nuance of a sound to perfection

greater the interval between notes, the greater the glide effect! Many sample collections supply Recycled loops, which can be hugely time-saving.

DJ471.tech_producer.indd 173

But whilst they come expertly chopped, always open them in ReCycle before using them in order to check that they are chopped to the level you require.





4.5 4.0 5.0 4.0 4.5


Twist sounds and samples in every conceivable way with additive, granular and spectral synthesis.


You’ll need to watch the tutorial videos to unlock its full potential. A hugely powerful synth and a sound designer’s dream.


It is really handy to have a physical control for your master volume in case sounds blast unexpectedly and potentially damage your monitors.

173 16/2/09 18:46:23


IT'S MORE LIKE CROWD Denon DJ. Everything you need.

However you choose to do it, Denon DJ has the full range of gear youâ&#x20AC;&#x2122;ll need to move the crowd, from media players and mixers, through to turntables and headphones. Road-tested and built to keep the music flowing, Denon DJ equipment is trusted by pro DJâ&#x20AC;&#x2122;s and clubs around the world, chosen for superb reliability and innovative features designed to enhance your performance and inspire the crowd. If your lifestyle depends on it, choose Denon.

Untitled-1 1 use it. live it. 16/2/09 11:04:57

Future Retro's XS Synth PRICE




analogueaddiction. TECH SPEC A nalogue synth with Midi and CV/Gate control

Loaded with fat, sexy electronic sounds, the Future Retro XS brings the classic analogue synths of old into the future...



LFO with Midi clock sync Pre and post filter overdrive  ing modulator, oscillator R sync and cross modulation  ultiple patch points for M interfacing with other modular gear

ynths like the MiniMoog are so revered because they are laden with knobs to twiddle and extract those classic sounds. The downside is that they are expensive and can be even more costly to maintain due to their age, so the new analogue synth — the Future Retro XS — comes as a godsend.

modulation points are at your fingertips. The filter section is also topnotch with all the classic filter types represented. The filter can be pushed into liquid self-oscillation at high resonance and the circuit also features pre and post overdrive — making for extremely filthy sounds.

On first inspection it ticks all the right boxes too. Extremely sturdy, it's blessed with rich sounding oscillators, juicy filters and Midi control and the basic build design is very satisfying. There are three oscillators with all the necessary waveforms plus sub oscillators for extra girth in the bass end. For more tonal possibilities we have ring modulation, cross-mod and sync knobs. In fact, when it comes to the more abstract and out-there ends of the sonic spectrum, the XS has it covered in spades. With clear labelling and a one knob per job layout this is one fast and intuitive machine to experiment with — all the

The LFO has two modes — free running and Midi clock sync. In Midi mode the divisions range from eight bars to 1/32 note. One disappointment is that in free running mode the top speed is only 12Hz, which is too slow to re-produce some of the classic sound FX and also too slow for metallic filter FM or frequency modulation. Midi control is also quite basic and the XS only responds to pitch and gate, but it's possible to use the modulation wheel as an extra controller for most modulation destinations. Alternatively, use the patch points to route extra signals in via Control Voltage.

Rack mounts

Delving deeper, the design of the XS seems to have drawn inspiration from some classic machines with an Accent envelope akin to the legendary Roland TB303. Users can switch between the funkier Accent envelope patterns and regular Amp and Filter envelopes by setting different note velocities. There are also four modes for the Amp envelope to choose from, which provide yet more room for experimentation.

Weighs 4lbs



The top section of the synth houses a collection of patch points similar to the mighty Korg MS-20 and Arp 2600. These can be used to redirect the audio and controller (CV/Gate) signals between the XS and other synths to create new sounds and interface it with a bigger modular system. Despite a few drawbacks, the hands-on Future Retro XS lives up to its name and offers a pleasing spectrum of classic analogue sounds, as well as a whole host of new sonic possibilities.

4.5 5.0 4.0 4.0 5.0

Packed with a huge range of fat and juicy analogue sounds.


The LFO is too slow to produce metallic FM style effects.

A modern retro-styled synth, the XS easily holds its own against the classic analogue machines.



Just when you thought you had enough plug-ins along comes the new Uhbik!

words: marc '01


hen it comes to plug-in quality and tweaking possibilities, UH-E have set the benchmark with their Zebra synth and Filterscape plug-ins so their new Uhbik Effects Suite comes with high expectations. Currently, there are eight effects in the collection with more to be added as part of a free update. This will include a virtual rack module.

have been covered dozens of times before, but Uhbik throws some new twists into the controls to give their collection some personality of its own with dirty, squelchy and acidic sounds provided by the Runciter filter and a range of quality reverb effects available from the ambience generator.

The collection includes a flanger, phaser, tremolo and pan, frequency shifter, ambience and reverb, multitap delay, equalizer and filter. All these effects may

Even in regular stereo mode these plugins sound big in the mix with a host of parameters to offset the channels and widen the stereo image

The Uhbik can also be used for surround sound mixing with up to eight channels of spatial processing.



DJ471.tech_future.indd 175


4/5 175 16/2/09 18:55:18 Voted ‘DJ retailer of the year 2007/8’ by DJ mag readers




Pioneer CDJ1000Mk3 Industry standard CD player with MP3 and adjustable jog wheel.

Pioneer DJM800

High end digital mixer Built in effects, MIDI control, colour effects

£899 £1075 10 FREE TUNES

Pioneer CDJ400

Plays CD’s, MP3 CDs and MP3’s from USB devices AND its’ a MIDI controller too!


VCI100 Black

The best selling controller in the best selling colour! Limited quantities only!



So far, the only dedicated Ableton controller for DJ’s


call 020 8208 6988

Great controller with built in soundcard and Serato Itch Software. All in one solution!

£599 £599

MixMeister controller


Numark Total Control


Custom controller for mixing Includes MixMeister Fusion USB MIDI controller

Amazing USB MIDI control. Includes Traktor LE and Cue LE.


New midi mixer, 24bit soundcard and double the controls!


Denon DN-HS5500


With a motorized platter and large LCD You can play 2 songs from any USB device or the built in hard drive at the same time! Or use it as a MIDI controller and soundcard with your favourite DJ software.

Omni - Control

Solid controller with built in soundcard includes Traktor 3 LE


Hercules DJ Console RMX MIDI controller and twin output soundcard includes software.


Akai MPC500 sampler 12 velocity sensitive pads Memory card, ultra portable


Main store: 10-12 Hanway Street, London, W1T 1UB - 020 7637 3293 Also: 256 Tottenham Court Road, London, W1T 7 RD - 020 7631 1935 Mail order / service : 970 North Circular Road, London, NW2 7JR - 020 8208 6988 email and international sales:

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16/2/09 12:11:22 Voted ‘DJ retailer of the year 2007/8’ by DJ mag readers



Stanton SCS1D

call 020 8208 6988 IN STOCK NOW!


Deck MIDI controller Motorised platter Large LCD display Firewire connection


Stanton SCS1M

Denon DN-S3700

The new DN-S3700 could be the next industry standard CD player. Not only will it play CDs but also play MP3 and audio files from USB devices. It is also a MIDI controller with a built in soundcard. The main attraction is the 9” Motorised platter as well as the 5 built in effects.

Serato Scratch Live

Industry Standard Easy to use, low spec requirements FREE DJ downloads included


120 watts per speaker Built in amps AMAZING sound!

Denon DNS1200 CD / MP3/ USB / MIDI Scratch play Compact size


£295 pair


compact USB controller 43 messages Jog wheel


USB Midi Controller Touch sensitive Light as a feather!


DJ in your pocket built in 80gb drive Filter, EQ and Scratch

Yamaha Tenori-on

£899 £399 £629

MIDI controller and synth Unique user interface, the most modern and funky way to make tunes and play live!

EKS Otus

Midi Controller Full size platter Double controls


Traktor Scratch Pro


Stanton SCS.3D


Mixer MIDI controller Built in Soundcard Firewire connection


High end DVS Inc vinyl + CDs Great interface

Traktor Pro

DJ software 4 deck mixing Loops and effects



Main store: 10-12 Hanway Street, London, W1T 1UB - 020 7637 3293 Also: 256 Tottenham Court Road, London, W1T 7 RD - 020 7631 1935 Mail order / service : 970 North Circular Road, London, NW2 7JR - 020 8208 6988 email and international sales:

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www.djd www. djdeals.c












9999_DJ13_02_09 copy.qxd



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Call: 01892 515007 DJM600





The world’s first and 4 channels+FX finest audio midi mapping and visual DJ/VJ mixer master filter control silver/black

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DJ products for pro DJs. UK’s No1 Pioneer stockist


CDJ800 Mk2


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Phone: 01892 515007 Visit:JB’s music store 59 St. Johns Road Tunbridge Wells Kent TN4 9TT Open 10-6 mon-sat. Untitled-1 1

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Logic  Cubase  Reason  Ableton  DJ Skills

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printing & flyers

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printing & flyers

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record LaBeLs

serVices SCHOOL TUTORS WANTED Are you interested in working with young people in Schools and Youth Clubs? Two day training course in Surrey to learn all about this exciting opportunity. You must be able to DJ to a high standard and mix every type of music style. On the job training for successful candidates. Work in your own area. Please contact DJ Workshops Ltd for more details T: 07853 991 883 or Julie T: 07702 068 161

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GRUMPY OLD RAVER Mellow out with age? Not bloody likely…


mmmmmm..... shantee, shantee, shanteeeeeeeeeee.” Whoah! Slam on the brakes now, sunshine. No-one said anything about chanting. Ranting? Not a problem. Chanting? A step too far. This is not a normal way to start to the day. Grumpy Old Raver could never be accused of being a wallflower, but even in solitude at some remote hippie retreat I’d feel a right chump chanting the yoga mantra, or whatever it is. Never mind in a cold gym in grimy East London. What am I doing here? Well, I’ve got to do something — anything — to try and silence the persistent nagging voice in my head that keeps telling me it’s time to shape up or, alternatively, ship out on an early boat. Everything, it seems, is heading south — and I don’t just mean all the new clubs in London. It’s time to at least try to make up for all the years of abuse I’ve put my body through. Those punishing marathon party sessions that make the London Triathlon look like a stroll in the park. The copious amounts of booze that could sink a battleship and the narcotic indulgence that has left braincells scattered like petals across the globe. You see, realisation that the years were indeed rolling by only dawned recently when over the rumbling bass one baby-faced clubber asked my age. Nothing to hide — or so I thought — I answered truthfully only for her to shriek: “Oh. My. God. I soooo hope I’m still partying when I’m your age.” Which was like being slapped with a wet fish. Hit by the reality train. A frantic search revealed my mates weren’t just monging out in the chillout room. No, they’d fucked off years ago to (eeek!) get married, (double eeek!) land a mortgage and (whaaaaaaaaaat!) have kids.

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And so after 20 years, G.O.R. has emerged from dark basements blinking like a newborn and walking tentatively into ‘normality’ like Bambi taking his first steps. But when you’ve spent so long in the debauched environs of clubland, it’s normality that takes on a ridiculous edge, the fear creeping into every day life. “Seen that daisy chain of gay guys all having sex on the dancefloor?” Pah, so what. “Nipple clamps too tight?” No, they’re fine thanks. “Fancy chumming me along to the supermarket?” Noooooo! — not the supermarket! A fear once reserved for Sunday morning emergency runs to the petrol station for Rizla has somehow germinated into a blind panic at the mere mention of the word Tesco. Sadly, that person hyperventilating at the threshold of Sainsbury’s is me; just as the doughy, pasty body in the mirror is indeed mine. And yes, it’s surely only a matter of minutes before the youngsters on the dancefloor think I’m a pissed off parent come to pick up their kid who’s stayed out too late. How did I get from being that cherub-faced 16-year-old brandishing fake ID to feeling like the oldest raver in town? And more to the point, I demand a recount! Perhaps there’s a niche in the market for underground clubs catering to the over 30s (and the rest!) only. Where entry can only be gained by showing off your rave scars and failing a memory test. There’d certainly be none of this hi-tec fingerprint or eye scan nonsense being considered by some clubs. Christ, G.O.R. already signed up for that shit at Heathrow thinking it would help me breeze through immigration. Which I’m sure it does if you’ve just returned all bright eyed and bushy tailed from a fortnight with an Amish family in Middle America. But stagger off a plane after a heavy

G.O.R. has emerged from dark basements blinking like a newborn and walking tentatively into ‘normality’ like Bambi taking his first steps. weekend in Berlin, eyes like a roadmap of Britain, and you can forget it. Instead, get trapped in a Perspex box before walking sheepishly to the back of the normal queue. Now that is a walk of shame. But back to the matter in hand and addressing the physical issue before the mental, what I need is maximum results with minimum effort. So a mate in the industry has suggested joining him for early morning yoga. Sitting on a matt and breathing, while my body pings back into shape like Stretch Armstrong? Piece of piss. And just the ticket to help me fit in with all those body-beautiful types at Miami Winter Music Conference. Only I’ve been DONE. UP. LIKE. A. KIPPER. ’Cos ‘matey-boy’ hasn’t shown up, leaving Grumpy Old Raver face-to-face with a softly-spoken instructor who looks like Willow the fucking Wisp in a room full of strangers who’re obviously made out of Plasticine. And it’s not even 8am! These yoga junkies can remove earwax with their big toes. While balancing on one hand. You fucking freaks! So what! I can drink my own body weight in whisky and still get myself home. That’s surely a skill. And in the day of cotton-buds, much more useful. So, yoga… been there, done that, not for me. Next! 16/2/09 23:23:06


Intelligent design for digital DJs Designed with world-class DJs to advance performance and handling, the innovative second generation of CDJ-800s are stylishly tailored to extract the utmost creativity from the digital revolution. The MK2s feature convenient MP3 compatibility, a folder search facility and an improved jog wheel. They allow you to create, cut and manipulate loops live using the new auto beat loop command and provide extra memory for storing cue/loop points. Supported by solid steel buttons and a metallic finish as well as brighter, clearer displays of data, the CDJ-800MK2s offer power, freedom and control!        

Full MP3 Compatibility High Quality, Club Standard Jog Wheel Folder Search / CD Text Super Fast Search Improved Autobeat Loop Quick Return Wide Pitch Control Digital Out


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revista dj  

evista en con la portada de david guetta

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