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513 djmag.

com techno! techno! techno! techno!




The top 100 most
important techno
trax ever!


No. 513 September 2012 3.95


the underground
direction of Tigas label


Adrian Sherwood, South London

Ordnance, Darius Syrossian, Paul
Hardcastle, Teengirl Fantasy,
Royal T and more




No.513 September 2012 3.95


9 770951 514130
4.50 outside UK & Eire







Tom Novy
Marco Lys
Kid Massive


Wolfgang Gartner
Tommy Trash
The Frederik

David Jones
Grant Nalder
Danny Quattro
Grant Richards


Joe & Will Ask

Shane Patrick
Nathan C
Junior G






Laidback Luke
Sandro Silva
La Fuente
Tim Cullen

Patrick Hagenaar
Shane Kehoe
Luke Walker


Jordan Wade
Rick Maia


Basement Jaxx
Thomas Gandey
Jordan G

Calvin Harris
Michael Woods

Rattus Rattus

N ~ 08444 771 000



comin up


Blawan and Pariah link as Karenn and launch

Sheworks in techno tour de force


Game Changers




Techno! Techno! Techno! Our chronological

list of the movements most crucial moments


Jeff Mills is a true techno original. We talk

technology, the art of photography and
what he thinks of laptop DJs...



Robert Hoods two-decade career has

inspired more copies than Xerox, so we met
the maker...


on the floor

Bristol gets on the move with



Sofrito Londons totally

tropical warehouse party


DJ Mag gets Tangled


Beachside hedonism at Hideout



Things go off at Glade

Techno is arguably electronic musics most

significant genre. But what actually is it?


Tigas Turbo Recordings and a grassroots

techno compilation? We find out more...


Between tearing up floors from Ibiza to the

US, Madrid-based young firebrand Danny
Avila found time to mix our covermount...


DJ Mag Tech Awards 2012 have gone exactly

where they belong to the people!


Ibizas techno goddess Nicole Moudaber

selects a heartfelt seven



Killers this months unmissable

dancefloor bombs


In The Bag Fur Coat











Tech News, including Livids

CNTRL:R hardware controller,
Vestaxs VCI400 mixer upgrade,
and Never Say Dies NSDX Club

In the studio with Hybrid


Ministry Of Sound DJs roadtest

the new HDJ1-500 headphones


Can Stantons DJC.4 controller

beat off competition?


Assorted tips and tricks for




Cover Pic: Dan Reid

003 Ltd, 6-8 Standard Place,

London, EC2A 3BE

next issue out


Editorial 020 7247 8855

Editor Ben Murphy
On The Floor Editor Adam Saville
Comin Up Editor Carl Loben
Music Section Editors Ben Murphy & Adam Saville
DJ Weekly USA/Online Editor Joe Roberts joe.roberts@djmag.

Tech Editor Mick Wilson

Art Editor Martin Brown
Chief Features Writer Claire Hughes
Fashion Helene Stokes
Contributing Editor Carl Loben

Richard Brophy, Alex Constantinides, Paul Clarke, Beth Crockatt, David McCarthy,
Found Sounds, Kutski, Ricky Newson, Jonathan Burnip, Neil Kulkarni, Adrian Kinloch,
Joe Madden, Dan Reid, Mark Gurney, Nicola Elliott, Tom Lea, Ele Beattie, Ben Arnold,
Kristan J Caryl, Jim Butler, Kevin Lake, Kristian Dando, Luke Pepper, Tim Stark, Danna
Takako Hawley, James Kenyon, Cheech & Francos Caf

Advertising 020 7247 8855

Sales & Marketing Director Heath Holmes
Sales & Marketing Manager Simon Kelly
Sales Executive Chris Blackhall


Whats a given in dance music is that certain styles are going to

come back into vogue. Whats never certain is just how thats
destined to happen. For while certain genres undergo a cycle
of death and rebirth every few years, its always exciting and
unexpected to witness how they come to be redefined or
reinterpreted by a new generation.
When minimal techno seemed dead on its arse only a few
years back, after ruling the roost for half a decade in clubs, few
could have predicted wed soon have the none more exciting,
industrial strength raw techno grooves of DJ/producers like
Blawan or South London Ordnance round the corner. It takes a
different attitude, a new approach to forge new futures for
sound, and while the foundations are already established, one
of the great things about dance music is trying to second
guess where its taking us next. Were part of a new techno era
and were excited to be along for the ride.

ben murphy

Publisher James Robertson
Managing Director Martin Carvell
Accounts Patricia Jordan

+44 20 8545 0955
DJ Magazine is published by Thrust Publishing Ltd. under licence.

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
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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.
(Name of Competition), DJ Magazine, 91 Brick Lane, London, E1 6QL.




THE hot new acts

causing a commotion.

Paul Hardcastles
seminal 19 track.




STYLISH backpacks to be
stashing all your gear in
this autumn.

Top 100 DJs Poll Voting Closes

Over half a million votes cast as DJ Mag went to press
As of today (Wednesday 29th August), voting has closed for 2012s Top 100 DJs poll.
As DJ Mag went to press, over half a million confirmed votes were cast in the poll this
year. Clubbers have been voting from all around the world, and the results will be
broadcast to the world at the end of October.
Through the months of September and October, excitement will continue to mount
as to who is the No.1 DJ in the world, whos gone up, whos gone down in the poll,
and whos smashed into the chart as a new entry. The Top 100 DJs poll is a BIG DEAL
thats why so many DJs campaign for votes. Promoters the world over use it as a
snapshot as to which DJs have the greatest visibility and popularity and DJ fees go
up accordingly.
So who will be the No.1 this year? Will David Guetta, the man who has brought
dance music into the pop charts in recent years, hold on to the top spot? Will former
Top 100 winners Tiesto or Armin Van Buuren return to reclaim the crown? Or will
somebody new such as Avicii, Skrillex or Afrojack zoom to the top and be crowned
the new king? All will be revealed at the two special Top 100 DJs Awards parties on
Friday 19th October.
Just as fascinating as the winner is who makes their mark on the poll in other ways.
Will titanic trios such as Above & Beyond and the soon-to-be-defunct Swedish
House Mafia hold their own in the top ten; will there be more trance acts this year,


or less; ditto hard dance? Who will be the Highest House DJ? Will dubstep or drum &
bass get in on the act again? Will any women have been voted into the poll this year?
Anybody voting this year was entitled to a free album courtesy of,
the company powering the poll, and over 50,000 of you downloaded this.
The gap now between the poll closing and the announcement of the new Top 100
list is so that the DJ Mag team can finish authenticating and discounting votes,
and then for the team to put the special November issue of the mag together by
contacting all Top 100 DJs for an interview. It also allows time to plan the big
Top 100 parties, which this year will again take place in Amsterdam as part of the
Amsterdam Dance Event (ADE) and also at Ministry Of Sound in London. The poll
winner will play at both parties, flying between the two on the same night, and well
also be hosting a special Top 100 party in Las Vegas for the first time this year. More
details tbc.
For the last five years, we have been extensively analysing the Top 100 voting data
to weed out fraudulent votes, and have always removed votes that have been gained
dishonestly. As DJ Mag went to press, only one DJ had been thrown out this year
Miss Diamond from Switzerland but a number of other reasonably high-profile
DJs were under investigation. This is a lengthy process, as proving that someone has
cheated is obviously a very serious, possibly career-ending activity.

DJ Shadow




Armin van Buuren


David Guetta


DJ Mag and Classic Album Sundays

team up to showcase DJ Shadows
classic album Endtroducing

Above & Beyond

DJ Mag takes cheating in the poll extremely seriously, and fraudulent votes are always discounted. Its a
time-consuming process behind the scenes looking for irregular voting practices and mapping the wide
number of different spellings that are cast for various DJs from clubbers around the world.
Also, when discounting fraudulent votes or outing cheats, there is no correlation between this and who
has advertised in the magazine. Nor does advertising in the mag buy editorial coverage, as was claimed
in a widely shared blog post recently. The confidential company invoices posted online, obtained illegally,
were for legitimate advertising and CD covermount deals.
So how will the new Top 100 DJs poll look this year? As the tension mounts over the coming weeks, we will
be revealing more about the parties and also which other DJs are being kicked out. Keep checking DJMag.
com for regular updates.

On Wednesday 19th September Classic Album Sundays

DJ Cosmos communal record listening experience,
in which an affirmed classic long-player is aired in its
entirety on a top-notch audiophile hi-fi to a crowd
of listeners will drop the stylus on DJ Shadows
sampladelic opus Endtroducing.
The album, familiar to most as a downbeat, post-club
or headphone classic, was released in 1996 and saw
Shadow (Joshua Davis), a native of San Jose, California
painstakingly construct a mood-altering, mind
theatre of a record from literally hundreds of samples,
stitching them together to create his own entirely fresh
instrumental hip-hop soundscapes. Influenced by his
hip-hop roots and early plunderphonic/cut n paste
masters like Steinski and De La Souls producer Prince
Paul, Shadow pushed sampling as far as it could go,
minting a controversial genre (christened trip-hop) in
the process, but also making a highly emotional, often
beautiful album that has been imitated many times
but never equalled, featuring cuts like the psychedelic
breakbeat of Organ Donor which still gets club play
today, not to mention being sampled itself.
The Classic Album Sundays session, with an
introduction from DJ Mag editor Ben Murphy, will
take place at the Hanbury Arms in Londons Islington.
Tickets are 6 in advance +BF, and the session runs
from 6-9pm a perfect post-work timeslot. Come down
if youre in town and reacquaint yourself with a true
classic, and hear it sounding better than ever
Advance tickets here:



Acid house band The Egg

drop their difficult fourth album
Festival faves The Egg are back with a new album(en),
Something To Do their first for eight years. The live
dance music band, based around twins Maff and Ned
Scott, who were bootlegged by David Guetta a few years
ago for his breakthrough hit Love Dont Let Me Go, have
been taking advantage of the EDM explosion in the US of
late, and have been welcomed enthusiastically into the US
jam band scene.
They love the idea of every gig being different, building
a bit like a DJ set, The Egg tell DJ Mag. We can chuck
in all sorts of stuff with video triggers, our own cartoon

at first dressed in white suits with images projected onto

them. They signed to China Records, home to people like
Morcheeba, and released the Albumen album, and later,
in 1998, Travelator.
They basically continued in the same vein throughout the
noughties, winning a legion of fans at festivals with their
live and semi-improvised sets, until a certain Mr David
Guetta entered their lives. Guetta bootlegged the remix of
The Eggs Walking Away by electro house don Tocadisco,
and the track went stellar. Everything went nuts, the
guys recall. I mean, well done him for capitalising on it,
but he didnt really do much to it. Tocadiscos remix of us
was already an underground hit Guetta basically took
The Egg have never done things the conventional way.
off Sophie Barker (Zero 7)s vocal and added Chris Willis.
Twins Ned and Maff had naked hippy parents and tell
Guetta promod it in Miami, and it was soon Pete Tongs
DJ Mag a funny story of their parents taking them out of
Essential New Tune and zoomed into the UK Top Five.
school in Bristol when they were kids so that they could all It opened doors for all of us, says Maff, signalling that
go to the first Womad festival 30 years ago.
the guys didnt block the release in the end. We actually
At the festival, we were walking along the main drag
played the same stage at Glastonbury that year (2006)
with our naked parents, we were clothed, when our whole and nearly got onstage with David for a The Egg vs David
school class turned up on a cultural day out that they had Guetta foam fight for a laugh he didnt know but it
sprung on them, Ned says. What was weird was that
didnt happen, which was probably a good thing. When
no-one talked about it afterwards, I guess they were all a youre a bit twatted, these things sound a good idea.
bit freaked out.
The incongruous pairing has benefited both parties, yet
Inspired by illegal raves in the Oxfordshire countryside,
its taken a while for The Egg to craft a new album (their
The Egg started making their own live electronic
fourth, the follow-up to 2004s Forwards). It has been
psychedelia-tinged music and playing lots of festivals, quite tortuous, yes, Maff admits, in different locations,


aeroplanes, hotel rooms, live recording loops. Weve

been touring a lot too, so recording has been quite brica-brac.
Ned starts talking about the word play being the same
as what children do together. Thats what Something
To Do slightly relates to, he says. Me and Maff have
something to do together, but its music now, rather than
Lego although its not that different really, and in fact
has similar colours!
Coming across in places like a punk-funk Pink Floyd on
DFA, or cosmic psyche rockers Spiritualized jamming
with Crazy P, Something To Do has more vocals than
previous Egg albums. Neds vox evokes a quintessential
observational Britishness in parts like some acid house
Ian Dury. Electric City (featuring German electronicist
Ulrich Schnauss on keys) starts like a Siouxsie & The
Banshees single before unfolding into a vocodered Air
muzak ditty, while Fire is about being by a campfire at
a festival at 6am. Neds boots got burnt once or twice
around a fire while he was wearing them, Maff laughs.
He didnt really feel anything until the rubber melted.
The guys arent about to give up playing at or going to
festivals in a hurry or sitting by fires at 6am, either.
Its cool how fires make you stare into them and give
out negative ions electrically like breaking waves,
waterfalls which make you feel good, Ned ponders.

The mysterious South London Ordnance only

started producing just over a year ago, having
been a DJ for a while after being drawn to DJ
culture by spending time with the older brothers
and sisters of mates who were starting to get
into dance music culture and all the peripheral
activity. He says he used to circle bits of kit in the
back of DJ Mag that he couldnt afford, and has
lived in south London all his life apart from a brief
spell at university in Leeds.
Being from south London, its not really that
surprising that his sound is principally dark
garagey house and techno, with bits of grime
and dubstep atmospheres thrown in. What is
surprising, though, is the depth of his tracks
for someone whos only been producing a short
I grew up on a diet of jungle and drum & bass,
UK garage, grime and house music I only really
started exploring proper techno in the last few
years, and Im still only touching the surface, he
tells DJ Mag. These days, techno has become
this fantastic umbrella term for, well, anything
and Im as guilty as the next person for using the
term where its not applicable.


South London Ordnance makes

techno refracted through a dusky
sarf London prism

SLO mixtapes have explored the history of techno,

but you wont find him lecturing people online or
in the smoking area at gigs about the importance
of ones techno heritage. Im interested in
too much different music to spend my life
pontificating about the basis of a single genre,
he says, sagely.
SLO initially trained to be an illustrator, and
reckons that the way he makes music is similar to
putting together an illustration. My weapon of
choice is a Bic biro nothing overly complex,
he says. You start making marks on the page
and whilst they inform the finished product i.e.
theyre present throughout the process theyre
not representative of the quality of the final piece.
I like to draw or pull the image out of a mess of
lines and marks. Its the same deal with sound.
I make a noise in a synth that I like, and I record
it, he continues. Then I affect it with stacks of
plug-ins, bounce it out to the desktop, pull it back
into Logic and repeat the process. What you get
is this lovely layered sound, worn through with all
these little marks.
Tracks like dusky tech cut HLDNTHRW and
Revolver Detroit techno refracted through a
grimey south London prism only hint at the
potential of this FWD regular. With tracks on Well
Rounded and Audio Culture (the Big Boss Theme
EP), plus setting up his own label in 2013, were
going to be hearing a lot more SLO grooves in the
months and years ahead.

Whats on
the office


01. Funk DVoid

Balance 022 (Balance Music)
Anthem EP (Moda)
Fading (Echodub)
More Music Sampler (More Music)
05.Wrong Tom Meets Demas J.
In East London (Tru Thoughts)
Sam Records Extended Play (Strut)
07.Chicken Lips
D.R.O.M.P (Southern Fried)
08.Boys Noize
Out Of The Black (BNR)
EP1 (Physical Release)
10. Leon & Pirupa
Bassline (Get Digital)

Like a



Wed both been DJing

out and about in clubs but
our first proper gig
together, our first proper
show, was for a student
event we did up in
Edinburgh. Getting flights to go up to Edinburgh
was amazing in itself (wed never had flights
comped before!) but not only that, we were
booked to play with Eclectic Method the Mac
Daddies of AV. We had to perform our first video
show before their eyes as well as a crowd of 2000
kids haha, no pressure!
Back then, we had to do our video shows off
DVJs, as there was no other equipment you could
really perform on and wed only ever had one
DVJ because we couldnt afford a second! So we
were over the moon to actually have the right kit
at our disposal. Technically we might not have
been as tight on the video mixing but
energy-wise we were off the scale, climbing on
tables, jumping on mics, crowd surfing... The
Method thought we were a bit crazy.



back working together on the project,
and D.R.O.M.P is a disco-inspired
punk-funk cut thats coming on
Southern Fried on 1st October, complete
with a bunch of remixes... STEVE BUG
is readying his fifth album, Noir, for
Poker Flat. Released on 1st October,
its being billed as his most mature
yet... MALA (DIGITAL MYSTIKZ) has his
Mala In Cuba bass opus out this month
on Brownswood, a result of travelling
to Cuba with Brownswood boss GILLES
PETERSON and collaborating with
local musicians... Drum & bass don DJ
HAZARD is the next jock to release a
FabricLive CD, the always-excellent
series thats now up to No.65... Postpunk pioneer MARK STEWART, who
explored alt.dub frequencies in the
Sound label, has a new single out on
24th September on Future Noise Music.
Stereotype features KEITH LEVINE
(ex-PiL) on guitar, and techno don PERC
is one of the remixers... Electro/techno
fiends from Southend, DPPLGNGRS,
featured on these pages a few weeks ago,
have their debut album Black Market
Heart Surgery, released on Hottwerk
Records at the end of this month...
THERMAL BEAR are the latest signings
to SASHAs label Last Night On Earth,
and their first single U Love comes
with a remix by the Man Like himself...
JIMMY EDGAR has just done an offkilter twilight-funk rejig of Tonight
RIGHTS SOCIETY (PRS) are honouring
FAITHLESS on 19th September at the
Jazz Cafe in Londons Camden, the site
of their first ever gig together. A special
plaque will be erected for SISTER BLISS,
MAXI JAZZ and the crew, the latest
recipients of a PRS Heritage Award...
Parisian duo VISION issue One via Big
Dada this month. A techno odyssey that
recalls the journeying of Underground
reworked ROOTS MANUVA last year,
has dubwise LP In East London with
DEEMAS J out on Tru Thoughts...



Brooklyn boys Teengirl Fantasy go back to the phuture

Ever since Teengirl Fantasys musical interests in authentic

Detroit techno, Chicago and New York house collided during
orientation week at Oberlin College, the Brooklyn duo
havent stopped jamming.
We never thought of it in careers terms, Nick Weiss tells DJ
Mag, its just cool to be able to tour with it.
The nostalgia of US house and techno in their tracks is part
of this new community of American musicians (think Ital,
Black Dice, Blondes) reversing the dip in authentic US
dance music, which was over-shadowed by the Euro-electro
trends in the early noughties. TGF describe how they used
a lot of digital synthesisers, so theres a kind of digital
quality which is clear and almost 3D-like.
The music they produce is created in a warehouse with no
windows, other member of the duo Logan Takahashi tells

DJ Mag. It doesnt have any outside sources coming in,

especially as theres no samples in this album. Orbit, the
first track on the album, warms listeners into melodic bassy
synths with hi-hats, snares and tom-tom drums teasing you
throughout, as theres a somewhat hesitant tone of nearing
a musical climax. Kelea, doing the vocals in EXF, goes
poppier with R&B-like overtones, and Mist Of Time
featuring Laurel Halo plays along with warbling synths,
making time feel hazy and fragmentary.
The rest of the album journeys through a space-like odyssey
of discordant sounds whilst fluttering digital synthesisers
and crisp drums keep it tight. House legend Romanthony
(the voice in Daft Punks One More Time) supplies the
vocals in Do It, which is a personal achievement for the

Monthly Raveology
show is helmed by MC
We all know that drum & bass is everywhere
these days, but did you know that its also on
the telly? For the last year or so, MC Magika
has been hosting The Raveology show on Sky
Channel AKA 370 at 10pm GMT on the last
Thursday of every month.
Its repeated several times over the following
month, and there are longer special
programmes on events such as the Drum &
Bass Awards, which Magika was instrumental
in setting up himself (He was also one of the
minds behind the Dubstep Awards, too).
The show consists of live footage from some
of the biggest events from around the UK,
with live sets from DJs and MCs and live acts, plus
interviews with some of the biggest or upcoming
artists in the scene and also some fans. Andy
C, Chase & Status, Netsky, Friction, Sub Focus,
Grooverider, Loadstar, Skibadee, Roni Size and
Mickey Finn are just some of those whove featured
in recent months.

Starting off his MC career with Carl Cox back in the

rave days, Magika has been a scene stalwart for the
best part of 20 years and still MCs all over the shop.
I really love performing, Ive been very blessed and
have travelled the world five times over doing what
I love, he tells DJ Mag. I am very humble, and feel
very honoured to have lived the life I have.


Our new show on Ministry Of

Sound Radio
Its more like a dream which became a reality, Nick
The experimental sounds in this sophomore LP have been
reportedly going down a storm. TGF describe how in their
live sets theyre playing mostly stuff from the new
album which people havent heard, so for the people to
respond to songs in live sets for the first time is pretty
Signed to R&S Records, theyre grateful to tour with fellow
artists like Pariah and Vondelpark, who Nick gives much
praise for their craftsmanship. Anyone can be a DJ,
anyone can play music, but to really be able to craft a set
thats moving but is also really seamless is very inspiring.

DJ Mag is to begin hosting a monthly radio show on Ministry Of

Sound radio, which broadcasts worldwide. The show, going out
on the last Wednesday of the month when the latest issue of the
magazine comes out, will feature guest DJ sets, interviews, sets
from the DJ Mag Allstars alongside discussions about themes
explored in the latest edition of the mag. Hosts Joe Roberts
and Adam Saville from the magazine will begin broadcasting on
September 26th.
Reflecting the content of the mag, the online radio show will feature music from across the electronic music
spectrum. The DJ Mag show joins regular monthly sessions from Above & Beyond, X-Press 2, Hospital Records,
Never Say Die, Sister Bliss as well as weekly live broadcasts from the world famous club and some Ministry Of
Sound branded content. The live radio show will also be available on demand directly after broadcast on



Darius Syrossian understands house music

Underground house DJ/producer Darius Syrossian loved by
DJs such as Sneak, Heidi and Jamie Jones is buzzing about his
Ibiza residency at Sankeys when DJ Mag catches up with him. VIVa
Warriors on a Wednesday has not only been packed every week but
the quality of the crowd has been spot on, full of real music lovers
the type of crowd that as a DJ you love to play in front of, he
blabbers. Those that really get proper underground house, and not
those that have gone to Ibiza to just party and get wasted.
Darius moved to the UK aged 14 and is based in Leeds in the north
of England, although he hasnt been in the party city so much lately.
Since a chance meeting with Steve Lawler, while both were playing
Sankeys in Manchester in 2008, his star has risen considerably. He
worked in record shops for 14 years (Global Beat and then Crash
Records), but as vinyl started declining he decided to get stuck into
producing. Just as well for lovers of quality house music that he did.
Darius has been feeding much of his output out through Lawlers
label, but what I like about Steve is that he gives me freedom
to also release on other labels as well, he says. So his I Am
The Creator Of Jack was one of the standout tracks of Heidis
Jackathon comp last year, and hes had releases on the impeccable
Get Physical, 8-Bit and Monique Music, with more to come on DJ
Sneaks Magnetic label, the hot Hot Creations, and OFF Recordings
from Berlin.
Freaky D too, a DJ Mag office fave with its go-go breakdown,
was also a big track for him. You know, I nearly didnt even
send this off as a demo! he reveals. I wanted to make
something crazy for me to play, but thought it might be a bit
too leftfield for any labels to take. I put it on my Soundcloud
to see what people said, and the response was crazy!
He started playing it out, gave a copy to Heidi, and started
getting offers from big labels. But it was made for my VIVa
CD comp, so it went out on my home label, he says.
Said VIVa comp features a load of exclusive gear from
names like Luna City Express, DJ W!ld and Hector
Couto as well as new young talented kids like Cecyl
and Freeman & Farrelly, who Darius found by trawling
through Soundclouds. He mixed it all in one take
no computers or laptops and its come out pretty
Darius also has a lot to say about the real house
music debate that Sneak has been quite vocal about
over the past year or so, talking about the hardship
that some of the house pioneers wouldve faced in
their everyday lives. Music is somebodys art, and
real art normally comes from hardship, he reckons.
Look at which two groups of people started house
music in the US; it was 95% either black people OR
gay people.
But now this new EDM movement is not real art
born out of hardship, he continues. Because
of the way the internet works, you can market
anything with money, and its a shame that some
pin-up DJs who dont even make music from the
heart, but make lowest common denominator
easy listening obvious electronic music, are the
artists that people are being told to like. That
is being pushed because money is being thrown
at it, and the younger generation in the States
are lapping it up. However, I take my hat off to the
younger generation here in the UK, they dont seem
to be drawn in by the EDM stuff like the kids in the
US seem to have been.


With a fair few releases under his belt for

labels like Butterz and No Hats No Hoods and
remixes for cats like Zinc and Katy B, Royal-T
has now been entrusted with helming the
latest Rinse Presents CD, showcasing the
spectrum of his wickedly produced grime shizz.
On his Rinse show every Wednesday night
1-3am he drops a range of stuff, and this is
reflected in the productions that adorn his
Rinse release. Cruel To Be Kind is a frenetic
grime assault featuring hype vocals from P
Money, who Royal-T has collaborated with
on five or six occasions. My first ever release
1UP was vocalled by him and that was more or
less the track that made everyone hear about
me, so its nice for him to be the first track on
my first LP, Royal-T tells DJ Mag.
Recent single Inside The Ride, brimming with
garagey vibes, is also present and correct,
while Music Box, featuring grime uberproducer Terror Danjah offsetting what
sounds like a quaint chiming music box with
dastardly bass flows into Gully Funk, a
grimey breakbeat opus with a warping b-line.

Another highlight, Work Your Body,

meanwhile, is a fresh, uppy funky/garage piece
with a rude bassline rasp that he crafted with
UK funky don Roska. Hes done two Rinse
Presents before, so when I first started the
project I was going to him for advice and stuff,
then we made the tune, says Royal-T. It was
kinda cool working with someone outside of
grime, I think we created this fusion between
what he does and what I do.
The number of ideas, quality production and
cracking tunes are what truly mark this release
out. Im strict with myself in what I make,
so I always try and do something completely
different on every track, he says. Its just
fun as well. I wanted to push the boundaries
with the album. Its not necessarily something
deliberate, but everythings got to be different
or exciting otherwise theres no point.
Still based in his hometown of Southampton,
Royal-T considers himself part of the new
generation of grime. The scene is a whole lot
different now to what it was for me growing up,
so it almost doesnt feel like the same genre
but Im glad to be doing my bit and being a
part of its legacy.


Royal-T is part of grimes next generation


No Dial Tone join the Classic Music family

The latest additions to the Classic

Music company are No Dial Tone, aka
Norwegian duo Vibeke and Kristina.
Their Bjork meets Matthew Herbert
neo-boompty house cut About You
fits perfectly with the Classic sound,
which has been revived recently by
label chiefs Luke Solomon and Derrick
Carter. Classic was one of the most
creative, innovative house labels of
the noughties, putting out a slew of
fantastic releases from artists such
as Roy Davis Jr, Tiefschwarz, Iz &
Diz, Greens Keepers, Jacob London,
Freeform Five, Style Of Eye, and
Derrick L. Carter himself. Most tracks
had a particular quirk to them that
marked them out, and About You
continues that lineage.
We have many Classic records in our
collection, and I think they are all
something special, No Dial Tone tell
DJ Mag, evidently delighted at joining
the Classic extended family.
Both of these DJ/producers used to
be dancers living in Los Angeles back
in the day. We were surrounded by
real house cats every night we went
out, they say. It was a special time.
We both love to dance, and we used
to dance all night. To continue that
moment when your eyes are closed
and the fluidity of the music just runs
through your entire body.
Both decided to start DJing
themselves, Vibeke hanging out at
Doc Martins Wax Records shop on
Melrose Avenue in LA and Kristina
being persuaded by a friend. I

never really thought about it much

before that, because at that time, my
favourite place was on the dancefloor
and not in charge of it, Kristina
says. I must thank my friend for that
advice because it is pretty amazing to
be able to go so deep into the music
when mixing, to look up, and see the
crowd loving it as much as I do.
Now back in Norway and producing
their own stuff, they tell DJ Mag
theyre inspired by nature and
organic sounds. We dont really have
a recipe for production, we just follow
our hearts and work from there.
Theyve had releases on various
eastern European labels, but after
being referred by their friend Jt
Donaldson they sent About You to
Luke Solomon, and here they are
with a full release, complete with a
deep Mic Newman and jazzy Tom Ellis
remix. Theyve got a follow-up release
coming on Classic in the autumn too,
and meanwhile theyre back running
their bi-monthly club-night Lipstick in
the Norwegian capital, Oslo.
It was originally held in a hidden
location, you could hardly find the
party, as you had to go through
long hallways and many hidden
staircases to finally reach it. We had
many magical nights, and recently
re-opened the club night after having
a break for a while. The re-opening
has been a big success and it runs two
Saturdays every month at Fisk & Vilt in
Oslo. Come join us next time you are
in town!


Adrian Sherwood is a true dub
pioneer. In the post-punk era, his
On-U Sound label brought the world
some amazing alt.dub acts such as
African Headcharge, Tackhead and Dub
Syndicate and hes worked with other
dub legends such as Lee Perry, Keith
Hudson and Prince Far-I.
Over the past few years hes stepped
out from behind the producers desk
to become an artist himself and his
third album, Survival & Resistance,
is a trippy, slightly psychedelic dub
odyssey refracted through a Brazilian
prism. Refusing to rest on his laurels,
he bigs up dubsteppers Mala and
Burial and reveals that hes currently
working with Pinch...
Hi Adrian, what got you into dub in
the first place?
One thing leads to another. When I
was about 12, I liked soul tunes, pop
tunes T.Rex, Rod Stewart and like
all the kids at school I was into Tamla
Motown and James Brown. I had loads
of black mates as well from Jamaica
or St Vincent or other parts of the
Caribbean, and there were lots of good
calypsos around and Carnival winners
from Jamaica Cherry-O Baby, tunes
like Al Capone, I liked all the gimmicky
records from Jamaica at first.
I was on an estate in High Wycombe,
and there was a local reggae club
which was originally a soul club called
the Newlands. I got into records like
Census Taker by Rupie Edwards and
Hijacked by Joe Gibbs, ones that
had funny little intros or tracks that
had spoken word or rude reggae. As
things evolved I started getting into
good songs like Bob Andys Life, and
in those days the B-side of the tune
would have a version on it.
At first I used to feel ripped off by
B-sides with versions, cos they were
boring as if they just took the voice
out. But then they started adding
reverbs and delays and the versions
got madder and madder, and the
whole genre of dub started when UK
record companies realised they could
put out royalty-free dub albums. It
was only people like Augustus Pablo
that put a face on it, gave it a kind of
cohesion. I vividly remember the first
time I heard King Tubby Meets The
Upsetter At The Grass Roots Of Dub or
Ital Dub [Augustus Pablo], and a bit
later Brand by Keith Hudson. They
were really important records to me.
Dub had evolved from the dancehall
demand for versions, for big
soundsystems. Not the little men
in your local pub or the blues dance
in England, but the big players like
Dennis Bovell, they wanted unique
versions of tunes. We liked it cos we
could sit at home and it was a backdrop
to getting spliffed up.


After Hitrun Records, you started

On-U Sound and produced acts such
as African Headcharge, Tackhead,
Gary Clail and Dub Syndicate. By the
end of the 80s it was like you were
running tings what happened?
I kept thinking people would
appreciate us more than they did,
sales-wise. We got respect, and to
this day Im glad Ive got a good
name its better than being loaded.
But the whole of the period where
we had really good popularity, I was
convinced that instead of selling 25- or
30,000 units, we were about to sell
250,000 or 300,000. We shouldve
done probably, but I wasnt very good
at promoting and our crew was a bit
too black for some people it scared
off major labels. We also didnt really
have front-people, I deliberately didnt
want the responsibility of peoples
careers or people bothering me, so it
was mainly instrumental as well that
put people off.
But we did very well for a good
decade. I just drew a wage from my
company the whole time, I wasnt
lavish or flash or anything, and every
time I did a job I put the money back
into my label. I wont go into figures,
but it was a very sizeable amount
hundreds of thousands of quid that
I put into On-U. I couldve taken it
myself and become a rich person,
or become a jobsmith producer.
But it wasnt me, and Im very
proud of the fact that I didnt
do it.
I couldve made a living just
by doing more gigs and
stuff, but I kept backing
things. The figures
didnt add up and there
were too many staff
and one thing and
another. When it
started taking a
downturn, my
head wasnt
in a good
place Id
gone through
a marriage
break-up, I was paying
rent on three or four
places, wasnt making
particularly great tunes
even though there are
some good ones from
that mid-90s period.

the label going like it was it had done

my head in. Id put 20 years of work
into it, and I didnt have the energy to
keep trying to run staff I had eight or
nine staff at one point and I started
just doing gigs on my own, like live dub
shows, soundsystem shows. My name
was going all over posters, but people
often dont know who a producer is
unless they read the back of an album
For the first two albums, I cut tunes
primarily that I could play out like
a soundsystem man playing stuff that
people couldnt play back at me. The
difference with this album is that I made
it as something youd listen to in your
yard, rather than as something to play
out. I like that Burial album that you
might play in the background, or zonk
out to late at night I wanted to make
an album that you could do that to, but
that didnt sound like anybody

Youve worked with a

lot of acts, but what
made you want to step
out on your own?
Even though Im proud
of all the stuff Ive done
with On-U, I got to the
point where I wasnt at
all interested in keeping

Paul Hardcastle

Chrysalis, 1985
In 1965 Vietnam seemed like just another foreign
war,but it wasnt. It was different in many ways, as were
those that did the fighting. In World War Two the average
age of the combat soldier was 26... In Vietnam he was 19.
Paul Hardcastles anti-war single 19 was a worldwide
smash in 1985, soaring to No.1 all over the world. It wasnt
the first record to use sampling, and it wasnt the first antiwar song to make No.1, but it was the first No.1 anti-war
song to use hip-hop sampling techniques on an electronic
dance track.
Hardcastle was working in a hi-fi shop on the Kings Road in
Chelsea in the late 70s when he thought hed like to have
a go at music. He bought himself a basic Korg 700S synth,
got some demos done and joined a band called Direct Drive.
They had a couple of minor disco-funk hits Time Machine
and Dont Depend On Me and it was during his time in
another band, First Light, with vocalist Derek Green that he
first heard electro.
I heard a track called Planet Rock by Afrika Bambaataa
& the Soulsonic Force, and if you listen and I dont mind
admitting this Rainforest has the same sort of groove,
but Rainforest had a decent melody, Hardcastle says.
With its chiming melody and popping electro beats,
Rainforest became a big hit, knocking Madonnas Like A
Virgin off the top of the 12-inch sales chart in the UK and
doing well in America too.
Just after Rainforest came out, he was watching a TV show
called Vietnam Requiem. I taped it on a Betamax tape for
some reason, and when I watched the programme back I
thought, Bloody hell, these kids were only 19 and theyd
been sent out into a jungle in what mustve been horrific
circumstances. So basically I thought Id try to make a
record out of it.
From the proceeds of Rainforest, Hardcastle had just
bought an Emulator one of the first sampling synths

that had just two seconds of sampling time. I tried putting

some words into it, and all that made sense was the word
Nineteen or In Vietnam he was 19, he remembers.
Then I truncated it, cut off the front of the sample, and I
just had the 19 bit. I put that down on tape, left the house
to meet friends for a bit, came back and listened to the
Paul had forgotten completely about the 19 bit. It came
in, and I just stood there and went, Shit! Bloody hell! It
was apparent that it was something totally different and
In Vietnam the combat soldier typically served a 12
month tour of duty, but was exposed to hostile fire almost
everyday. N-N-n-n-n-n-n-n-n-n-n-n-n-n-nineteen.
Layering choice dialogue by narrator Peter Thomas from
the Vietnam Requiem documentary over electro-pop beats
and synth melodies to highlight Nam post-traumatic stress,
Hardcastle brought in female voices for a chorus to ram the
message home. Destruction of men in their prime, whose
average age was 19, they sang, with Paul chopping up the
first syllable of Destruction into a staccato stutter.
He took the track into Chrysalis Records, but most execs
werent into it as they thought it wouldnt pick up radio
play. But a junior A&R man called Simon Fuller did see
its potential, and he left his job to become Hardcastles
manager setting up 19 Management in the process. Fuller
would later bring the world the Spice Girls.
By chance, the single was launched on ITVs News At Ten
as it coincided with the 10th anniversary of the end of the
Vietnam War. It quickly became the most played record on
Radio 1, and the biggest played video on MTV. That just
shows how wrong a record company can be, says Paul. A
month later it was No.1 in 13 different countries, was the
biggest selling record of the year, and Paul picked up an Ivor
Novello award for it.

It didnt make No.1 in the US, as although it was the biggest

seller, some radio stations refused to play it and the
chart was partly made up of airplay. But I was the hero of
Vietnam vets, says Paul. I went across to Atlanta and while
I was there at a convention, I had people coming up to me
saying, We dont understand why some young British guy
has highlighted this for us, but we thank you.
The Vietnam Vets used 19 on their annual march when they
marched through Washington, and its remained a part of
Pauls life ever since.
Not long afterwards, impressionist comedian Rory Bremner
came up with a 19 spoof based on the England cricket
teams woeful performance against the West Indies that
summer (In 1984, the England captains average was
n-n-n-n-nineteen etc). Ill let you into a little secret I
actually did that, admits Paul, who got involved in the
project in secret. Chrysalis didnt want me to be involved in
it whatsoever, they were like, Youve made a big statement
and now youre making a parody of it, but if we cant laugh
at ourselves then whats it all about?
And last year, despite being a Chelsea fan, Hardcastle
allowed Manchester United to use 19 to commemorate
their 19th league title win and return it to the UK Top 40
giving the proceeds to Scottys Little Soldiers, a charity for
kids whose parents dont come back from conflict. 19 also
makes a couple of appearances on his Balearic new album,
which also features Bestival chief Rob Da Bank remixing the
famous tune.
Its served me well, and Im still proud of it, he says. I still
hear it on radio and think, Im glad I bloody did that. Noone had the guts to have a go and say Right, this is really
what happened smash, in yer face! says Paul, sounding
a bit like Pete Waterman mixed with Alan Partridge. It was
risky, and it worked. Ive got a Facebook page and website,
and whats really nice is the amount of people whove said,
You actually got me into wanting to do music. You cant get
much more of a high accolade than that. CARL LOBEN

















































On yer
More than ever, the backpack
is an essential accessory
addition to your look. Its a
practical piece of clothing that
will complete your outfit and
garnish you with extra style












Essential Selection

Wow factor online


Look away now

UK streetwear banner Addict release a
collection of t-shirts for AW12 that are
extremely likely to bring tears to your eyes,
and perhaps a tut or two from jealous or
prudish types. Controversial graf artist Insa
has lent his fetishistic urges to this Bike
Girls series. Deliciously rude and saucy,
little is left to the imagination, on a
backdrop of his trademark art attack.
Naturally theres a whole lot of conceptual
bumpf behind his creations, something
along the lines of Insas world is one
where art, product, graffiti, fetishism and
desire collide.








Is a US community website where
anyone can submit their design
for a t-shirt and have it voted on
with a view to it being printed up
and sold for a cheap-as-chips 8.
A new design goes up every 24
hours. Were not ashamed to say
that weve tried it out, and by jolly
it works.

Its all about walking stick chic.
So hot right now. A gander at this
website will have you wowing and
wondering at the extreme variety
of walking sticks out there on the
market. Our personal fave is the
Knob Stick. Mainly because were




Exclusive wardrobe access

What are you wearing right now?

Ive got on my favourite pair of black
pants from Annex, Im wearing a grey
t-shirt from Won Hundred and some
Costume National Shoes. Im getting
ready to go out!
How would you describe your style?
I love to wear black. My style is a
mixture between boyish and
feminine, I love to wear long mens
shirts in combination with skinny
pants and boots. You will never see
me in a dress.


What you wearing?

A delightfully calm shopping
experience can be had here.
Featuring some of our favourite
brands, like Carhartt, Pointer,
Garbstore and Stussy. Their
stationery department has some
fine notebooks, pens, pencils and
midori kraft envelopes.

Who is your favourite designer?

I love Henrik Vibskov, for example
his Jet Lag Pants. He has some
amazing cuts, I love the male
What is your favourite boutique/
Well there are some. I like the Voo
Store in Berlin, its a concept store

and they have a lot of nice things from

sneakers to bracelets and perfume.I
also really like the Annex Store in
Bondi Beach Sydney, nice and simple
but still unique cuts.
What is your most treasured
I have a necklace with little things on
that Ive collected from around the
world or got from my friends that I
wear every day.
What are you currently working on?
Right now I am working on my new
weekly radio show It Could Be Worse
on Ibiza Global Radio that I will have
till the end of the summer here in
Ibiza. I will be moving to New York in
autumn till next year, which Im very
excited about. And I am always
working on new music, new





Tasty chunks and food

for thought
Long scarves. Even a sari works well, as we
hold on to the last glimmers of summer.
Keeping our fingers crossed for an Indian one
- summer and scarf.

x Civilist =
Pointers collaboration
with Berlins uber cool
Civilist store harks back to
when the British Infantry
Brigade was based in
Berlin shortly after World
War 2. They take their
inspiration from an urban
camouflage made up of a
repetition of different
sized squares, that was
used by all British forces
at the time to disguise
the shape of a tank.
Its been 20 years since
the British troops left
Berlin. Pointer founders
Gareth and Greg paid a
visit to the ever so chic
Civilist store and came up
with the idea of a
fraternization a tribute
to the influence of the
British in Berlin.
The collection features
Cyril, a Pointer standard
in black on waxed suede
with a crepe sole, a parka
and t-shirt. Available
from Civilist and Pointer


Soviet launches The
Craftsman for AW12
With 25 years under their belt, this
year Soviet has been preparing to
give itself a gentle dust down and
spruce up. Fresh new designers
have been drafted in and an
exciting series of collections are
lined up. Most forthcoming is their
Autumn Winter range that mixes up
a rustic, easy to wear, cosy but not
lazy capsule. Weve always got a
soft spot for chunky knitwear
their Simon cardi with wooden
toggles hits the spot looking fine
with their Darwin polo and a pair of
Eames chinos (as pictured).
This year its good, but next year it
gets even better. Believe.
Soviet is available exclusively


Limited edition Trinity

boot in art attack


Behind the brand

We Own
Not only are We Own connected, but theyre bloody well right in the
thick of it. Party purveyors, celebrators of the good groove and
makers of fine t-shirts and apparel. In their own words, we make
clothes and throw parties. Theyve not held back in the slightest this
summer, with parties going off in Ibiza, Croatia and Scotland.
A brand just two years young, its all about their club-kissed logo and
sassy twist to their vests and t-shirt designs that has held We Own
high in the style ranks.
Brand founder Marty Bell is out there living and breathing the scene
and has hopes to take We Own to the next level. We want We Own to
be the largest brand in the DJ/clubscene. We hope to develop our
events side of the company into a fully fledged fashion line, with wild
party stores in every major city, he explains, adding that a music
festival may well be on the cards.


Nico Ni jewellery is
currently rocking our
world. Loving the solid
silver and crystal
collections. Inspired by
clubbing it round the
world, Nicole Leech is
crafting something
fabulous here. Nicioni.

DISPAIR Simplicity gets extra points.

Dispair shoes, found at Topman, do the
business when it comes to sleek and
comfortable. AW12 sees a worthy
collaboration with homeless charity Depaul

MAKIA Nordic attire. Old fashioned

with a modern twist. Weve seen and we
believe. Watch this space.
Philips compact Citiscape
headphones collection
features four styles for
four ways of life. Were
opting for the classier
Uptowns, but likely to go
Downtown, just for the
heck of it.

Loving this understated brand. Muted colours,
soft cottons, easy on the eye, low on the
logo you get the picture. Underunderwear.

D&B Andy Cs feisty d&b imprint, Ram

Records, has a super fine collection of t-shirts
to shout about. A snip at 19.99.




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echno is inescapable today.
A truly global music and
lifestyle its popular all over the
world in a myriad of styles and
interpretations. It informs fashion,
film, pop music and culture all over. Its chief
driving force, technology, continues to push it
down new avenues, our increasingly computercentric world affording it new opportunities to
mutate and evolve.

From synth pop to Detroit, minimal to acid,

Berlin to Sheffield and beyond, its story is
deeply imbedded in dance culture itself. In
tribute to its ever-morphing spirit of innovation,
and its fascinating history, we present the
techno special our celebration of the music
and the people who make and play it, across the
board. Prepare to enter the machine

kinetic energy

Keeping the motor


Blawan and Pariah two of the UKs most

forward-thinking producers have joined
forces to form new alias Karenn.

top 100 most

important techno

Last year, we gave you our Top 100 Most

Important House Tracks. This time, its the turn
of that sounds tougher, more experimental,
more mechanistic cousin.


Berghains most celebrated resident, Berlin

techno lord and DJ/producer Marcel Dettmann
lives, sleeps and breathes his genre like few


Jeff Mills is a true techno original. A founder

member of Underground Resistance but now
fiercely independent; a radical producer
with a genuine manifesto that extends to his
productions, art and performances; and a
lightning-fast DJ with skills to put most others
to shame.

In a two-decade career hes created a global

movement, been instrumental in defining the
sound of Detroit and inspired more copies than
Xerox. But through it all, Robert Hoods beaten
his own drum, to his own inimitable rhythm.


Cassy has come a long way since her Vienna

youth days of jamming with DJ friends.
Bouncing around with such labels as Perlon,
Ostgut Ton, Playhouse and most recently
Cocoon Records, the lady keeps on staying on


Spanning over 30 years and still pushing

forward into the bleeding-edge, techno is
arguably electronic musics most significant
and influential genre. We look at where it came
from and what makes it what it is.

Flash Back

Detroit techno soul originator Eddie Flashin

Fowlkes is back with new productions and a DJ
tour. DJ mag catches up with him.

State of independence



Beck to the future

Delsin could just be the most forward-thinking

label in techno. DJ Mag talks to label founder
Marsel van der Wielen.
The UK techno king, now residing in
Amsterdam, talks us through his top 10 tracks
from the technoid vaults...

Tigas Turbo Recordings is diverse by nature.

And now hes putting out a grassroots techno
After a fortuitous endorsement from Richie
Hawtin, the career of Glasgow techno master
Gary Beck snowballed.

Around the World

Deepchilds new album is a cultural tapestry,

threading together the sounds of Saudi Arabia,
Detroit, Australia and Berlin into a dazzling


Blawan and Pariah two of the UKs most forward-thinking
producers have joined forces to form new alias Karenn.
With their fresh, tough UK sound part of an uprising in new
techno talent and their Sheworks label on fire, it was time
to meet the firebrands of the underground to find out
what the future holds
Words: BEN MURPHY Pics: Dan Reid

heres something different stirring.

Underground clubs across the land and in
Europe are rumbling to an evolved sound.
Techno, in its truest form, is rising again.
But this time its got a fresh aesthetic.
Defiantly the product of the UK, this new form has no
truck with recent trends, like minimal; its something
wrought from the no sell-out ethos of technos most
independent producers, DJs and labels, constructed
in the gritty mechanistic tradition of British industrial
and noise music. And Blawan and Pariah Barnsley,
Yorkshires Jamie Roberts and Dundee, Scotlands
Arthur Cayzer respectively are leading the charge
with their new label, Sheworks, and collaborative
project Karenn.
Blawan (25-years-old) first fried our synapses in
2010 with a slice of shuffling, polyrhythmic beat
science for Hessle Audio, Fram, following it with the
monstrous, freaky acid techno, broken beat chimera
Bohla for R&S, before perfecting, reducing and
refining his singular sonic stamp on a 12 for Dutch
underground stable Clone, a further EP for R&S and
cuts for Restoration, Black Sun and Vae Victus. Pariah
(24) has only released three 12s since 2010 for the
esteemed R&S (including the double-pack, extended
EP Safehouses), but has already carved a considerable
rep for his fresh production sound and imaginative,
emotive takes on hip-hop, electro, garage and beatless
electronics, from the Dilla-referencing, reconstructed
boom bap of Detroit Falls to the Cybotron bass tones
and heart-wrenching moods of Prism.

club music

Already influential, theyve pooled their resources

as Karenn to become a true techno force, defined by
bleeding-edge production and a sound like no-one
else. Chaste Down is an infernal, dank clank of
slamming, machine-tooled funk, with a kick like the
thunderous roar of a factorys hydraulic hammer, where
oscillating squelches and squerches infiltrate the mix,
and sinister hisses and dark susurrations sound like
the busy machinations of a living, breathing engine
room. Auflen Whip is even tougher, a cyborg stomp
that forces feet to move, while Lime Wash is like the
impassive, doomy warnings of a self destruct device,
set to a mind-warping analogue rhythm.
Experimental and dark, yes; also hugely powerful and
designed with the club in mind, this music is rapidly
becoming a dominant force in the UK and beyond.
Its not music that people are going to stick on their


iPods. Its club music, says Arthur

(Pariah), when we meet the duo at
Hackney, Londons Oval Space venue,
its outdoor terrace in the shadow of
the looming, suitably mechanistic gas
works opposite.
Blawan and Pariah met in Leeds
in 2010 at a gig they were playing
at, and after exchanging tunes,
recognised that their musical visions
tallied. Clearly good friends today
laughing and sharing in-jokes
during our interview, while
remaining entirely affable and
engaged their ease with
one another translates to a
quick and productive studio
I really enjoy writing for
the Karenn stuff, confirms
Arthur. We work well together
and get stuff done pretty
quickly. Its refreshing to be able
to work with someone rather
than just being holed up on your
own wanting to punch a computer
Karenns take on techno represents
an individualistic spin on a form of
music that theyve both loved since
their teenage years.
It was something that I stumbled across,
without knowing what it was, remembers
Arthur. It was a Cristian Vogel record when
I was about 16. I had absolutely no idea that
this genre of music was called techno, I just
really liked it. My first love of techno was all
the Detroit stuff. It probably still is. Music from
Detroit in general, whether it be hip-hop,
house, techno, anything. Theyve got
something that really appeals to me. That
was how I was first exposed to it, then I
branched out into the British side of
techno and European stuff.


Blawans route into it was somewhat more

unconventional. Studying sound design at university,
after first being alerted to electronic music by a tutor

at college, he developed a love of the industrial and

noise music that proved so influential in the post-punk
movement, before discovering the work of techno
producers who incorporated aspects of that sound into
their tracks and DJ sets.
I basically came at it from the noise and drone and
slightly Krautrock side, says Jamie. I wasnt immersed
in those scenes but I knew enough about them to
explore where the little offshoots were going and
things that inspired me. Things like [hugely influential
industrial acts] Throbbing Gristle and Whitehouse,
theyre proper, serious stuff. That led me to Regis and
Surgeon, the Birmingham side of things. It wasnt until
through my tutor I started making electronic music,
that I started making the connection that this was club
music and it was an actual scene, theres DJs involved.
I was educating myself by listening to it on my own first
of all.
His love of industrial and studying of sound design
goes some way to explaining the mechanical, dark
edge to his own productions and the sonic signature
of Karenn. While packing a hefty percussive
punch, Karenns (and his own) cuts are filled
with detail, experimental sound and
noises that reward closer listening
and point to a conceptual aspect
and technological innovation that
brings the music to life. For Jamie, an
intrinsic part of what makes techno
such a vital and endlessly adaptable,
evolving genre is its relation to
sound design and the pursuit of
new noises and textures, snapped
to a metronomic beat.
I totally latched on to the idea
that you could do whatever
you want [within techno], he
enthuses. I came at it from a
sound design point of view, it
allows infinite scope. Theres a
pretty rigid structure techno
is usually 4/4 but it doesnt
have to be but theres
so much that goes on
around that, and thats
testament to how long its
been around for. Theres
still plenty of room for
In Arthurs case, Karenn
represents a new
opportunity for him to
express himself outside
his Pariah project, and to
explore techno music in a
more specific way after the
Detroit techno and electro
influences that permeated his
initial tracks.
Becoming associated with
the sound that emerged
from dubstep after his first
R&S releases what was
tagged as future garage,
before becoming successively
renamed as producers and
writers struggled to define it
Arthur was perplexed by both
the tag hed been ascribed,
and the hype which
surrounded his music.
I think the way
that I look at the
Pariah stuff is, it
doesnt have to be
anything specific.

My releases have been all over the shop from beatless

stuff to hip-hop to garagey stuff. I like the clear vision
we have as Karenn, that this is a techno project, it
lets me get that side out of my system. Its another
passion of mine, its nice to have an opportunity to do
something like that, because I dont want to confuse
people with my stuff. I really need to think quite long
and hard about where Im going to go with my own
stuff, but with Karenn its nice to have a definite goal.
When Safehouses came out in 2010, the eight
tracks Id released were the only eight tracks Id ever
finished, he recalls. It was a bit of a shock to me, the
hype that gathered around stuff that was me learning
the basics of production. The reason I didnt release
anything for a year or more after that is really wanting
to learn the proper ins and outs of production. I
wouldnt say Im there yet, but Im getting there. Its a
bit sadder and a bit darker. The A-side of the last [R&S]
release is where Im at. No more happy vocal samples!


Blawan too, despite his consistent techno leanings,

was also tagged as being part of dubstep (perhaps due
to his releasing on Hessle Audio), but has successfully
shaken off the tag. Though he was initially frustrated
by the association, now he feels more magnanimous
and reckons people can call it what they like.
I have said that I found it frustrating but the more I
think about it, the more I dont really care. As long as
Im doing my own thing, Im going to stay true to it. Let
people name it whatever they want, if theyre happy
with that, then Im happy with that.
Retreating from the limelight somewhat after the initial
hype, hes instead immersed himself in techno culture
and believes there are benefits to being less visible and
more underground.
I wanted it to be that way, I learnt a lot from the last
few years and it opened my mind to where I really want
to be. Really immersing myself in techno and trying to
do it as pure as I can, and learn from people like
[Clones] Serge, Ive gone off and released on different
labels. Its about strengthening peoples ideas about
where I want to go, rather than be a beacon of light for
something where no-one really knows whats
happening. Cos that stage youre talking about [the
post-dubstep craze], no one knew what was going on,
no one knew techno was going to have this
Its notable that many of the artists and DJs associated
with this new UK movement in techno come from the
dubstep and drum & bass scenes. Mavericks like
Untold, Boddika, Joy O and Pearson Sound have begun
making their own takes on techno that are entirely in
tune with the new clanking, industrial raw sound; their
different rhythmic approach, stemming from being
techno outsiders, has injected new blood and revivified
the genre.
Theres definitely been a shift in the last year,
believes Jamie. Its people who werent necessarily
making techno before now, and making really good,
really forward-thinking stuff. Untold, when you think
about when he did that first R&S release, he set the
precedent, it was like, shit, theres something on the
horizon. A lot of people followed, but therere a lot of
other people who have never made anything other
than techno who are now coming through as big
hitters. I would say people like Sigha, hes been making
strictly techno for the last three years, and you look at
him now, hes at the top of his game.
Meanwhile the influence of Ben UFO, co-founder of
Hessle Audio, whos been one of the most visible DJs to
begin incorporating granite-tough UK techno into his
grime, dubstep and garage sets, cant be discounted.
For a lot of guys coming from a similar background in
music, he is a tastemaker, reckons Arthur. Ive got
lots of records that I bought because I heard them in


his sets. His record collection is probably astounding.

Bens a good example of someone who doesnt make
music whos one of the most inspiring people, adds
Jamie. You dont have to know anything about him,
you just have to listen to his DJ sets, and they tell a
story. People understand it. Bens a massive influence,
even on producers. He brings fresh elements to stuff
without actually writing any music. So hes got that
locked down.


Karenn and Sheworks are the duos primary concern

right now. The latter, their label, is something that was
initially conceived as purely an outlet for Karenn tracks,
but is instead becoming an imprint for like-minded
beatmakers and collaborative projects. After their
debut Untitled EP (aka Karenn Works The Long
Nights), theres been an EP from uncompromising
Dublin techno boss Sunil Sharpe, with a new EP set to
drop from Pariah and Midland, imbued with the steely
techno focus thats increasingly captured Arthurs
imagination and driven his production of late.
The reason we decided to do it was to put out the first
Karenn records, and then, after that we thought, We
can help some other people that we might share some
affinity with, that were really into, says Arthur. The
emphasis is on people who are UK-sounding. Sunil is an
amazing example of that. His tracks sound like old rave
tracks but put through some scary filter.
The Midland and Pariah record has been a long time
coming. Its the only thing Ive released that is straight
up techno [so far].
Sheworks is defiantly vinyl-only. Insisting theyre not
anti-digital luddites, their vinyl focus is more an
ideological move that, they say, is borne of belief in the
importance of the black plastic and keeping it alive.
Its the format we both feel most strongly about. Ive
loved it all my life. From the first records I bought when
I was 14, Ive always been buying records. I have no
problem with anyone playing anything else, cos I use
Serato a bit myself, Im no purist. Its a scene that
needs supporting. Its hugely important, says Arthur,
while he also reckons that the continuing, and vaguely
increasing, underground support for the format is
hugely encouraging.
You hear of people going completely away from vinyl
that you thought would stick with it, and then you hear
of people coming back to it. Its nice to see that the
sales are up, people are buying it again, theres a real
interest in it. The fact that people are buying it, they
might not play it in a club, but its supporting the
scene. Its positive.


With a new Karenn double-pack in the offing, theyre

working on a live show that will lay bare their
production processes, with them playing using the
same mostly analogue hardware that the Karenn tracks
are made on.
Its the purest way to replicate the way we work
together. Its alright me and Arthur going in and
spinning some records back-to-back, but thats not
what we want to do, we want to go there and
demonstrate to people how we work together. The best
way to do that is with a live show, Jamie thinks.
Analogue, indeed, is an essential part of the Karenn
sound. Quizzed as to why they prefer to work with
hardware, the pair reckon that the sounds generated
by synths and drum machines rather than computers
are far more alive, sounding unique each time rather
than being easily duplicated, injecting that elusive
ghost into the machine that makes techno sound vital
and more organic rather than a soulless computercontrolled pulse.
Say youve got a polyphonic synthesizer versus a soft
synth on your computer, and you play a C minor chord


pad sound, every time you play that on a synth, its

going to sound different, theres so much movement in
analogue equipment. That really appeals to me, and
especially with loop-based music, even without doing
that much, there are these little artefacts appearing
out of nowhere, those imperfections in analogue gear
is what makes it sound so alive, Arthur says.
With their Karenn project and Sheworks in fine fettle,
the live show locked down, Pariahs new EP with
Midland, and Blawans forthcoming releases for labels
Hinge Finger and Decoy, theyre on fire. But theres just
one more thing. What does the word techno
mean to them? Whats it all about?
You do hear people saying, its just a 4/4
kick. But you listen to some of the
records you dont get that sort of
emotion in other music. Often without
using any melody. Its got this kind of
sadness mixed with anger, considers Arthur.
The raw energy of it. Its kinetic.
You hear Baptism by Regis,
and youre getting
completely pressed under by
that wall of sound, its
Over the past two years Ive
come to learn its quite a
lifestyle, finishes Jamie.
Especially if youre a
producer and you want to
immerse yourself in techno,
youve got to take onboard how

present yourself as an artist, how you go about

presenting your records, make the people who are
passionate about techno listen. They know the
difference and some people refuse to call it a techno
track unless its got a 909 in it. Its about treating it
as a culture, how you go about writing your music.
You can do whatever you want with the sound, as
long as you have the aesthetic and the intention
right, as long as you take it seriously.
Thanks to Oval Space for the cover shoot
location and facilities.

Techno 2.0

Techno is the sound for many innovative producers today.

We found out what, when and where they came from...

hether its house emerging from disco or dubstep mutating

out of d&b, garage and grime, dance music will undergo
cyclical stages of evolution as long as the human race has
ears and opposable thumbs. Currently, though, proper,
slammin techno is flavour of the month for many dancefloor destroyers.
Its easy to see why. Stumbled upon by Michigans Belleville Three during

the mid-80s, originally conceived as a tool for pure innovation, it ripped

up the rule book, allowed them to push things forward. Todays heads
may not be spearheading a revolution. Granted. But whether they were
previously making garage, dubstep, grime or d&b (or whatever!), its
now garnered enough scope for experimentalists to take us to the next

At a creative crossroads, Hemlock boss Jack Dunning,
known to bass enthusiasts as Untold, drew upon techno to
turn his creative clock back to zero. Previously pandering
to a dancefloor more hungry for the drop than the more
experimental end of dubstep, he looked to 4/4 styles as a
means of starting afresh toward the latter part of the decade.
It was almost like a blank slate, really, Jack explains.
Writing at that tempo, with that 4/4 beat, is just something
else to chuck ideas at. At that time, people wanted the
chainsaws and there was no point fighting a losing battle.
I made a call. Am I going to try to compete on the level of
dubstep, make these tracks that have got bigger drops than
the next tune? I was like, nah, my stuff has always been

about cherry-picking ideas from stuff thats been before and

chucking that on a platform.
Tinkering with tribal junglist drum patterns jungle is in
my blood, he adds in a way that left dubstep obsessors
speechless, 2009s Anaconda set a precedent. Since, hes
taken to fitting the tunnel techno of, say, Mike Denhert with
a searing underbelly of sub bass, borrowing inspiration from
dub scientists like Shackleton and STL, and a label like Perlon.
His most recent EPs, Change In A Dynamic Environment (part
1, 2 & 3), pretty much sums it up.
Its a linear format, longer tracks, he says. Its no longer
about the drop. Im thinking about how the music can change
the atmosphere of a room when you play it.


jon convex
Much like Boddika, the other half of cavaliering d&b duo
Instra:mental, Damon Drama switched focus from 160bpm
breakbeats to the slower pulse of Detroit-inspired machine music
in recent years. Staying loyal to the seething undercurrent of his
earlier work, under his Jon Convex moniker, he has dropped tunes on
Martyns 3024 imprint and has just landed album IDORU onto his
own dedicated techno label Convex Industries. In keeping with the
dystopian 125bpm ideas explored alongside Boddika as Autonomic,
the album sees Damon stir elements of Detroit electro, Krautinformed electroclash and house into the mix.
Its very much within the last few years that Ive really got back
into the 4/4 rhythm, says Damon. I used to love it back in 91/92
with the hardcore mixing up with techno and then fusing together
with breakbeats over the 4/4 structure. I just enjoy layering all the
elements I love over a thumping head-nodding beat.

Somewhat of an anomaly, Indigo aka

Liam Blackburn has never considered
himself part of the UK bass scene
despite having a string of releases on
Exit, ASC and Brownswood since 2008.
Touching on d&b, ambient, house,
garage and techno, hes also released
on Hypercolour, On The Edge and his
own label, Mindset. In the past getting
more support from the German scene,
from the likes of Modeselektor, t++ and
Hardwax, it wasnt until recently that
the UK scene really started to take an
interest, R&S sub-label Apollo snapping him
up to put out an album.
Im into all sorts of styles and I get bored if I
stick to one, Liam tells DJ Mag. I feel like I
am denying my creativity and suffocating it if I
dont express things freely. It is not my desire
to box a certain sound off.
Inspired in part by the pulsating, dimensionmorphing force of Basic Channel, Deepchord
and Shed, the word techno is representative
of much more than just 4/4 body music for

Techno can please more senses than just

your hearing, he explains. I love its hypnotic
tendency. Its very spiritual, tribal... modern
shamanism. Changing cellular structures,
moving objects and healing disease in the body
with frequency, there is so much more to the
sound than we realise.

Also check out...

Boddika, Pearson Sound, Joy O, Pangaea and 2562


Top 100

echno! Techno! Techno! Techno!

Last year, we gave you our Top 100
Most Important House Tracks. This
time, its the turn of that sounds
tougher, more experimental, more
mechanistic cousin, the genre thats driven
the spirit of innovation and change in dance
culture since its inception in the computer
labs of Dusseldorf, Detroit, Sheffield, London
and beyond.
These are all personal, subjective selections
tunes we believe have been momentous
and influential, either pushing techno into
hitherto unknown territories, or simply club
monsters that destroyed dancefloors, mini
vignettes that offer a window into dance
music at a certain place or time. Techno is a
broad church, incorporating many diverse
definitions, so weve attempted to touch
on every significant offshoot and sub genre
possible, while staying true to the essence of
what it quantifiably is; as such, weve avoided
incorporating tech house or electroclash
Its also in chronological order, so weve
started with the proto-techno tunes that
helped usher in the movement and conclude
with the new cuts that are continuing to
mutate the style as we know it today. Were
out to celebrate the endless brilliance that
continues to define techno, not dwell on
sepia-tinted electronic memories, but there
is inevitably a large number of older tracks
to represent the first flushes of imagination
before dance music split into many different,
highly regimented fragments.
Anything you think is missing? Or that we
shouldnt have included? Tell us so mail with your own
selections, or head to our Facebook page and
post away!
Enough talk. Lets step into the darkness and




Frequency 7
Polydor 1981

Born out of the Blitz Club in

1978, Londons androgynous,
heavily made-up melting pot
of fashion, music and gender
dissolution, New Romantic
band Visage were founded by
Steve Strange and Rusty Egan,
with the line-up completed by
members of Ultravox (including
Midge Ure) and Magazine.
Though second single Fade
To Grey was their biggest
worldwide hit, it was this
techno-before-techno B-side
on the follow-up single that
gained heavy rotation with
era-shaping Detroit radio DJ
The Electrifying Mojo, as well as
with Chicago legend Ron Hardy.
Still menacingly compelling,
its moody metronomic
metallic stomp and dystopian
synthesised soundscape signal
a direct precursor to Atkins,
May and Saunderson.


Trans Europe Express

Kling Klang/EMI 1977

Where techno really began is

a hotly contested topic that
will rage forevermore, but
few could dispute just how
important these four Germans
were in crafting the embryonic
electronic form that birthed
the genre as we know it today.
The motherlode, the rosetta
stone of techno, Kraftwerk
seemed utterly alien when
they first materialised in the
early 70s with a motorik
sound totally divorced from
the hard rock and prog that
dominated then. But it was
their experiments into the
latter half of the decade,
and embrace of an entirely
synthetic audio imprint, that
really pushed the Dusseldorf
sonic scientists into a new
sphere of influence. While
there are a multitude of
candidates for this list,
Trans Europe Express, with
its obsession with perpetual
motion and technology,
its pulsing, blipping beat,
electro synth bass and eerie,
futurist lead riff (sampled
by Afrika Bambaataa and
endlessly referenced) is the
best expression of Kraftwerks
seminal techno brilliance.


A Number Of Names

Capriccio 1981

Arguably the first Detroit

techno record unless the
person youre arguing with is
Juan Atkins A Number Of
Names actually sounded more
like the work of a certain four
white guys from Dusseldorf
than two black teenagers
from Detroit; with a Germanic
vocal eulogising a high-rolling
lifestyle over a beat more
Kraftwerk than a mannequin
on a mountain bike.


Cybotrons Clear sounded

like it was constructed by
sentient, funky droids, such
was its dauntless, stargazing
uniqueness when it first
emerged in 1983. Lumped into
the electro scene, but sounding
far more futuristic than much
of the hip-hop derived sound,
this early cut from the alleged
techno originator Juan Atkins
and studio partner 3070 forged
a link between the bugged
out acid-fried space funk of
Parliament/Funkadelic and
European synth progenitors
Kraftwerk, both of whom were
played by influential radio jock
The Electrifying Mojo on his
Detroit area radio show: Juan
was listening.




Inteam Gmbh 1984

A former member of far-out

krautrock mavericks AshRa Tempel, themselves no
strangers to an astral synth
or two, Manuel Gottsching
went seriously leftfield when
he penned E-2 E-4, named
after a popular opening chess
move/position. Over fifty
minutes long, taking up both
sides of a vinyl album, this
very long, undulating epic
was recorded in 1981 and had
literally no precedent. Based
on a deeper than Atlantis key
riff, utterly hypnotic, with a
wistful, Balearic feel that saw
it sampled almost 10 years
later by classic house track
Sueno Latino and covered
by DJ Duke among others, its
4/4 beat, shuffling percussion
and aquatic, ever-changing
effects made it essentially the
first true techno track. So
futuristic was it, in fact, that
Gottsching didnt feel the world
was ready for it until 1984 when
it was finally released



Fantasy 1983

Though much is made of the

assembly lines of Detroits
motor industry, and how their
mechanistic machinations
provided the inspiration for
much of the citys incipient
techno music culture,

Model 500



Metroplex 1985

The godfather himself,

Bellevilles Juan Atkins started
his post-Cybotron solo career
as Model 500 with this track,

Top 100 most important techno records

the first on the fledgling and now
most legendary Metroplex label. It
remains one of the most important
records in techno music. Released
in 1985, it was a blueprint, a road
map made where Funkadelic and
Parliament collided with Kraftwerk
and Bambaataas Planet Rock.
They say there is no hope, they
say no UFOs, why is no head held
high, maybe youll see them fly?
says Atkins like a space age George

Nitzer Ebb


Join In The Chant

Mute 1987

Douglas McCarthys stentorian vocal

Books! Burn! Guns!
made Join In The Chant resemble
a fascistic word association game;
a sort of Nuremberg Mallets
Mallet. And the jackboot drums and
blitzkrieg bass of Nitzer Ebbs 1987
single saw two blokes from Essex
who were pretending to be German
make an oblique link between the
industrial grind of EBM bands like
DAF, the carnal hedonism of New
York disco and the then-embryonic
sound of Detroit techno. They were
a profound influence on Derrick
May, The Hacker and Black Strobe
amongst others, who all paid tribute
by panel beating Nitzer Ebbs sheet
metal into new shapes on 2006s
Body Rework album.




Robert Armani

Techno Music

Circus Bells

10 Records 1988

Dance Mania 1990

It is arguable that if Juan Atkins

had not produced this early techno
track, DJ Mag might not have that
much to write about. There is also
some disagreement about the
provenance of the word techno. It
is often attributed to Neil Rushton,
who put together the compilation
Techno! The New Dance Sound of
Detroit which this track appeared
on, but some people argue that
Atkins himself coined it.
Of more importance, however, is the
musical impact of Techno Music.
Following Atkinss early forays as
Cybotron, Techno Music appears to
build a bridge between Europeaninfluenced electro and his Model
500 work. Over a synth that warps in
and out of distortion and a squelchy
acid bass, a solemn, Kraftwerk-esque
robo vocal intones the tracks title,
supported by the kind of phased
claps and sinewy rhythm that were
a feature of Model 500 tracks like
Sound Of Stereo and Electronic.

A 909 master, Chicagos Robert

Armani was an early advocate of a
more brutalist and uncompromising
take on acid techno. Forget the
funfair name, too. An intoxicatingly
crude, jumpy, panic alarm smash of
909 techno, the industrial reality of
Circus Bells is more like a flurry of
iron fists to the face.



Just Want Another Chance

Incognito Records 1988


Rhythim Is Rhythim
Strings Of Life/Nude Photo
Transmat 1987

Strings Of Life may be the track that

got the glory, but its predecessor
Nude Photo deserves as much
respect, and not merely for being
pioneering. Co-written by Derrick
May and Thomas Barnett, its a
robotic masterstroke, with its
snatches of female laughter amid
the dark, brooding funk. It even
featured artwork from fellow Detroit
producer Alan Oldham. But it was
Strings Of Life, which saw May chop
to pieces a piano jam by his friend
Michael James, that would link him
inexorably with the exploding acid
house scene in the UK. A euphoric,
raw, and in places, haphazard
masterpiece, that, impossibly,
manages the miraculous without
even having a bassline.

Using one of Kevin Saundersons

various monikers, Just Want
Another Chance features sexuallycharged lyrics, and even simulated
moaning, but its primal urges are
most manifest in the unfathomably
deep and resonant bassline that
underpins its 909 rhythm. With a
virtually beat-free version amongst
the three on the original 12, it
found its way into the samplers of
various drum & bass producers in the
90s, most obviously on Ray Keiths
1994 Terrorist, many of them
equally inspired by Saundersons
hyper-pitched breakbeats as
Tronikhouse with 1991s Hardcore
Techno EP. Thus the Reese bassline
was born, finding its place into the
jungle/d&b canon alongside the
Amen break from The Winstons
Amen, Brother.



Suburban Knight
The Art Of Stalking
Transmat 1990

May, Atkins and Saunderson get all

the credit for kick-starting techno
in Detroit, but during those early
years another name played a key
role: James Pennington. Working
as Suburban Knight, Penningtons
first record, The Groove, appeared
in 1987 on Mays Transmat, hinting
at a more menacing undercurrent
in techno than the label owners
symphonic Strings Of Life. While
Groove was a formidable debut,
the follow-up, The Art Of Stalking,
sounded like Pennington had
taken possession of the keys to
Hades. Based on an unforgettably
malevolent bassline which
provided the inspiration for much
of the darker drum & bass records
that would appear in the following
decade and an intangibly eerie
atmosphere, Stalking perfectly
encapsulated the fear, paranoia and
uncertainty that existed in Detroit
after Reagans economic savagery.

Joey Beltram

top three techno


Slam Positive Education


This is our second single. Still

considered a classic by many and
still being featured in many DJs
sets today. It was recently given
the Berghain treatment by Rod
and Jerome Sydenham.

DBX City On The Edge Of

Forever Peacefrog
One of many brilliant records
from an influential 90s label,
who brought us tracks from Dan
Curtin, Luke Slater, Juan Atkins
and Robert Hood to name just a
few. DBX aka Dan Bell has made
many amazing records for the
label, but its this underground
gem that in our humble opinion
lasts the test of time.

Teste The Wipe Probe Records

Still sounds as fresh today. With its
throbbing bassline and tripped-out
synth lines, this track never leaves
our playlist. Shakes the ass and
twists the mind like all good techno
records should!


Energy Flash
R&S 1990

Searing through the global

underground like lightning, Joey
Beltrams Energy Flash remains as
definitive and darkly anthemic to this
day standing the test of time like
few other techno tracks. From the
radioactive glow of its seething bass,
through the panic-stricken whispers
of ecstasy, ecstasy to the cyborg
voodoo of its demonic 303 squarks,


Energy Flash was a mindfuck





FFRR 1990

Pic: Satoru Fueki

Anyone doubting the influence or

A&R acumen of a Mr Pete Tong
need listen no further than this
pre-90s rave techno classic from
the brothers Hartnoll. Originally
signed to Ministry Of Sound resident
Jazzy Ms OhZone Records in 1989,
Orbitals breakthrough track Chime
was swiftly snapped up by Tong
for London Records subsidiary
FFRR. Within weeks, the records
iconic, cascading rave chimes
struck a chord and soon cemented
themselves at No.17 in the national
charts. Rather than surrendering to
the unashamed euphoria of the eras
acid house wave, Chime was an
unmistakably British take on techno
that retains a universal allure.



KMS 1990

Available on Techno 2: The Next

Generation, the desolation
suggested in the title of Stark
captures its icy cool swirl of mournful
moans, dark acid bass and swirling
snares. The work of classically
trained Tim Brown, who Kevin
Saunderson hired to run KMS, he
never released another track, making
it all the more essential.

Ron Trent


Altered States

Warehouse Records 1990

Originally released on Chicagos

Warehouse Records, the label run by
acid pioneer Armando (check his own
masterpieces Downfall and 100%
Of Dissin You), Altered States
was the B-side to The Afterlife
written by Ron Trent, the son of a
disco DJ, while he was still in high
school but after its initial success
was re-released by influential Dutch
techno label Djax-Up-Beats. An epic,
emotional 10-minute-plus journey,
its overdriven kick and classic snare
programming underpin a simple
string melody that burrows its way
into the brain, and once heard, is
never forgotten. Trent went on to
co-found the revered Prescription
Records, but never topped the
timelessness of his breakthrough


top three techno


Teste The Wipe Probe Records

Vainqueur Lyot
(Maurizio Mix) Maurizio
The Aphex Twin
Digeridoo R&S Records
I unintentionally chose three tracks
that were all released in 1992, so
these all have a 20-year vintage.
Raw, deep, powerful. Words arent
enough to describe these tracks.
After all this time, they still have
the power to transport any crowd to
another dimension.


bleep aesthetic with which Warp

became synonymous, something Bell
would continue to perfect on albums
like 2003s Sheath after parting
ways with Varley.






Analogue Bubblebath
Mighty Force Records 1991

Few minds in UK electronica have

displayed as much maverick genius
as that of Richard D. James, aka
Aphex Twin. But way before world
domination and bearded Aphex
clones with boobies, the Cornish
crackpot announced himself to the
world with the shape-shifting, DIY
masterpiece Analogue Bubblebath.
A comedown classic that matched
its avant-garde electronics with
a melody that melted hearts and
minds, Analogue Bubblebath also
represented one of the first flushes
in the early-90s flood of ambient
or so-called intelligent techno. A
pre-cursor to his equally essential
LP Selected Ambient Works 8592,
file next to gems like Speedy Js Die
Orbit and CJ Bollands Carmargue.



Substance Abuse
Plus 8 1991

Really, the sound of someone

bellowing Overdose! over a beat
seemingly designed to induce
cardiac arrest should be the last
thing anyone chemically refreshed
should want to hear at 4am. But the
breezeblock thud of the tune that
announced Richie Hawtin as a major
talent in 1990 still announces scenes
of dancefloor euphoria when its
dropped on clubs today.


Second Phase
R&S 1991

A collab between New Yorks Joey

Beltram and Belgiums Mundo
Muzique, Second Phases Mentasm
gave us arguably the most influential
and certainly most copied
sound of the modern rave era the
hoover. The distinctive, infernal
machine growl was later sampled
wholesale in Goldies breakthrough
Terminator and borrowed by
everyone from The Prodigy to Lady
Gaga, as well as forming the demonic
bedrock of so much tech-step d&b,
Trade-era hard house and countless
other dark rave sounds.

Warp/Outer Rhythm 1990

L. F. O. It might not have its own

dance to go with it, but in techno
terms those three letters standing
for Low Frequency Oscillation are
as anthemic an acronym as Village
Peoples Y. M. C. A. The first track
ever recorded by teenagers Mark
Bell and Gez Varley, LFOs timewarp
bleeps and propulsive bassline
reached No.12 in the charts in
1991, and gave the Sheffield-based
Warp label down the road from the
pairs Leeds home its first hit. LFOs
Frequencies LP encapsulated the

the late 90s/early 00s. The Dutch

producers decision to ditch melodies
and hooks in favour of abrasion
caused a lot of consternation
however, not least because he was
capable of such epics as Evolution.
Like a lot of early 90s techno, this
was all about the climax, as a twonote synth riff is pushed onwards
and upwards by insistent bleeps,
rolling, crashing snares and the
kind of atmospheric, eerie pads you
just dont hear any more. Paaps
subsequent releases were more
sonically provocative, but Evolution
remains one of the classics of early
90s trance-techno.

Speedy J
Plus8 1991

Jochem Paaps conversion

from trancey techno to noisy
industrial was one of the most
fascinatingtransformations of


The Final Frontier

Underground Resistance 1991

Unlike other early UR releases,

Frontier reveals an emotive side
to the Detroit collectives sound.
Opening with shuffling drums,
its authors spray on a frequencyshifting acid line before those
unmistakable synths, equal parts
dreamy and spine-tingling, kick in.
Championed by Laurent Garnier at
the time it was the centrepiece of
his X-Mix CD if any techno record
will reduce a purist crowd to mush,
its Final Frontier.




CJ Bolland


R&S 1992

Yet another timeless gem from R&Ss

eternally glowing discography, CJ
Bollands Camargue eschewed

Top 100 most important techno records

the Belgian techno brutality that
the label was perhaps unfairly
tagged with and instead delivered a
strafing, orchestral techno-trance
masterpiece. A unique and classy
epic, Camargue was loaded with
heart-tugging emotion and majestic
strings, but powered with bouncy,
intricate techno grooves. Magic.

92 cut is all about the funk. Vintage




KMS 1992

DJ Hell


My Definition Of House Music

R&S 1992

Some of our younger readers might

well question how a track called My
Definition Of House Music can sit
proudly in the 100 most influential
techno tracks of all-time.But that
would be all too simple. Rewind
to 1992 and house and techno
both embodied the same relentless
journey into unknown futures that
arguably only the latter has upheld.
For DJ Hells 1992 breakthrough
was nothing if not forward-looking.
An odd but easy marriage of edgy
orchestral strings, futuristic techno
grooves and dense tribal percussion,
My Definition Of House Music put
Helmut Josef Geier (aka DJ Hell)
on the international music map
and launch padded one of the most
colourful careers in the history of
modern techno. Another stone-cold
classic from R&S.

Age Of Love


Age Of Love (Jam & Spoon Watch Out

For Stella Remix)
React 1992

The archetypal alchemy of technos

metronomic pulses and the
blissed-out euphoria of trance,
Age Of Loves eponymous anthem
was another track that stretched
technos definition into new
territories; providing the technotrance foundation that labels like
Sven Vths Harthouse duly built
upon. Probably most recognisable
through Jam & Spoons definitive
Watch Out For Stella Mix, Age Of
Love combined technos hypnotic
futurism with coldly cosmic, slightly
unnerving waves of electronic
emotion and a locked groove that
was mutated Moroder all over. Scour
YouTube and find videos of everyone
from Erol Alkan and Richie Hawtin to
Len Faki and Luciano calling upon its
ethereal charms.

The work of Dutch producer Orlando

Voorn, Flash continued the peerless
run by Kevin Saundersons KMS
label,joining the label owners
Tronik House and E-Dancer projects
as well as Chez Damiers releases.
However, Flash was no typical
Detroit techno track. Liberally
sampling from the P-Funk Allstars
Hydraulic Pump, its slamming
house beats and series of smart
drops and cut-ups lead the way to
tweaky keyboard riffing and that
unforgettable, suitably deranged sax
solo.Voorn released more material
under the Fix guise, most recently as
last year on his Night Vision label,
but as far ashands-in-the-air, party
music goes, he never again scaled
the dizzy heights of Flash.



Jupiter Jazz
Underground Resistance 1992

There are many deserving Mad

Mike Banks moments in the
pantheon of techno, but Jupiter
Jazz is surely among the most
majestic. Who says that pianos dont
belong in techno? Not Banks, thats
for damn sure. Released as part
of the World 2 World EP in 1992
(which also features the blistering,
unsettling anthem Amazon and
the blissful Cosmic Traveller), its
euphoric whirlwind of rave stabs,
bubbling acid, benchmark techno
percussion and hands-in-the-air
pianos deliver everything you could
possibly require from a classic
moment in dance music.



club culture. Deliberately named

as a shot-in-the-arm to the sleepy
Parisian club scene, Wake Up was
a gorgeously trippy 303 epic that
replaced the MDMA-glowing warmth
of his Acid Eiffel recorded as
Choice with a more sinister
narcotic charge.

Acperience 1
Harthouse 1992

If it was Phuture in Chicago who

threw down the acid gauntlet
with their seminal Acid Trax
(surely a techno track despite its
association with the citys house
music history), then it was Hardfloor
who really snatched it up and ran
with it, latching onto the little
silver box with monomaniacal
zeal. The much publicised story of
the Roland TB-303 that it was a
groovebox designed for synthetic
basslines which allowed musicians
to practise their instruments by
playing along, but was transformed
into an alien-sounding, freaky
machine demon when overdriven
and overloaded must have been
the urtext to this German duo, who
constructed squelching, kinetic
micro symphonies with the bubbling,
sulphuric offworld sounds of the
unit. In the process, they created
dark, scary, thrilling, druggy
masterworks like Acperience 1.
Thumping, melody-free, with deadly
snares and those evil sounds, its
acid in excelsis



Gravitational Arch of 10
Plus8 1993

Mark Gage is one of the great what

if producers in techno music. Gage
was responsible for just a handful of
releases as Vapourspace and Cusp,
but never capitalised on the huge
appeal that Arch, his finest moment,
generated. Clocking in at close to
15 minutes, it has a long, drawn out
intro that starts with a wide-eyed
ambient coda and leads into a
trancey, arcing riff. To this Gage
adds a pulsing, evocative bass and
eventually a slamming percussive
rhythm track that guaranteed a wide
spectrum of DJs from the techno,
trance and progressive house
spheres played it. Gage only released
a few more Vapourspace EPs and was
last heard of in the late 90s.


The Martian


Star Dancer
Red Planet 1993

Only the second release on

Underground Resistance off-shoot
label Red Planet, The Martian (aka,
you guessed it, Mad Mike Banks)
let fly this firing, trance techno
colossus in 1993, thick with flangers
and delays, and a warped synth wigout at the end. A track to lose your
mind in.


Eddie Flashin

3MB feat Juan Atkins

Jazz Is The Teacher
Metroplex 1993

A collaboration between Juan Atkins,

Thomas Fehlmann of The Orb and Sun
Electric fame and Basic Channels
Moritz Van Oswald, Teacher is
a gloriously atmospheric, highpaced techno track. Issued around
the same time that UK producers
were introducing jazzy elements
to techno, its lean rhythms show
that integrating the freeform spirit
of jazz yields greater results than
merely throwing a sax solo sample
over techno beats. The same release
includes the spacey techno of
Cosmic Courier.


Time To Express

Lower East Side Records 1992

Reading more like the routine

obligation of a breast-feeding
mother than the title of a techno
track, Time To Express sure as hell
sounds like one. An early one, too.
A busy, clattering slice of analogue
groove, Eddie Flashin Fowlkes

Laurent Garnier
Wake Up
FNAC 1993

When a young Laurent Garnier

returned from his short sojourn
in a Hacienda-era Madchester, he
found his home city frustratingly
lacking when it came to underground



Acid Eiffel
Fnac 1993

Years before Daft Punk got Da

Funk and filtered disco loops


became the French sound du jour,

Laurent Garnier in partnership
with fellow Paris residents Shazz
and St. Germains Ludovic Navarre
showcased a deeper side to the
French capital. Inspired by Garniers
residency at The Rex club, the
mournful synths of 1993s Acid
Eiffel make it a landmark record.

Robert Hood


Internal Empire

of Detroit on Dan Curtin shouldnt

be played down. Voices From
Another Age is only one
example of many. Displaying the
audacious creativity beheld while
at the hands of a circuit board of
909s and 303s, its a visionary
moment within an exceptionally
prolific career.

M-Plant 1994




Novamute 1993

In some senses, 1993s Spastik is

even more minimal than the genre
Richie Hawtin would subsequently
become the figurehead for, yet
whereas much of the minimal techno
hes put out on his M-nus label and
later Plastikman albums like 1998s
Consumed were characterised by
their echoing space, on Spastik
he seems to pile beat on top of
beat until you can hardly breathe.
Constructed entirely from beats
from a Roland 808 drum machine
and completely dispensing with a
bassline or anything as extraneous
as a melody, Spastiks constantly
shapeshifting pure percussive
assault never sounds constrained by
Hawtins self-imposed restraints, but
rather constantly wriggles around,
daring you to keep hold.

Empire is one of techno musics

most celebrated releases, and with
good reason. Issued in 1994 by
former UR member Robert Hood,
it offered a blueprint that minimal
techno has followed for nearly 20
years. Like Dan Bell, Hoods music
focuses on the power of repetition,
as metallic rhythms are locked in and
only the tiniest incremental change
a tonal shift here, an intricate
percussive twist there are audible.
Unlike Bell however, Hoods music
is more up-tempo and visceral and
on Empire more deeply rooted in
the Detroit tradition. This explains
the high-pace, slinky rhythms of
Spirit Levels and the coruscating
metallic riffs of the title track or why
Minus and Home bear melancholic
Motor City chords, rewired to bleepy,
wiry backing tracks. But it doesnt
account for curveballs like the glassy
percussion of Within that ensure
Empire has been often imitated but
never equalled.



My Machines



Positive Education
Soma 1993

Glaswegian techno titans Orde

Miekle and Stuart MacMillan made
their first deep impact with 1991s
Eterna, but it was their 1993 followup on their Soma label, itself hugely
important to UK techno culture,
that elevated them to the pantheon
of the techno greats. Positive
Education, with its slamming kicks,
huge, ominous, dark and irresistible
sub acid stabs and shimmering
breakdowns, crossed over beyond
the techno floors and into the sets of
all DJs who really knew the score
and still does today

Planet E/R&S 1994

Any number of Carl Craig classics

could have made the cut, and several
more have, but this lead cut from
the 4 Jazz Funk Classics EP (whose
title nodded to the classic industrial
of Throbbing Gristles 20 Jazz Funk
Greats), announced both Carls
endless invention and way with a
dancefloor. Forged of polyrhythmic
4/4 beats and layer upon layer of
percussion, its dissonant, discordant
computer riffs sounded like the
march of a malevolent robot army
until its unexpected, chipper hip-hop
breakdown. Proof positive if it were
needed that Detroits second wave
could be just as innovative, if not
more so, than its first.

Dan Curtin



Basic Channel
Phylyps Trak 2

Basic Channel 1994

Much contemporary dub techno

appears to be based on the
principles of ever-diminishing
returns: the more of it you hear,
the less impressive it sounds.
The same cannot be said of the
blueprint from which it evolved,
Basic Channel and its successor,
Chain Reaction.Although Mark
Ernestus and Moritz Van Oswald
only released a handful of
records as Basic Channel, their
influence is still pervasive, and
Phylyps Trak 2 still sounds unlike
anything else that has been
released in the intervening years.
Clocking in at over 12 minutes,
Trak 11/1 is the heads-down
repetitive techno groove to beat
them all, its deep, layered sounds
and surging bass ebbing and
flowing hypnotically. However,
Trak 11/11 has become one
of the most recognisable techno
records of all-time. Its tight,
metallic drums, wheezing riffs and
unflinchingly repetitive arrangement
which has allowed it to be mixed
with everything and anything
guarantees its classic status.

Game One

Metroplex 1994

Infiniti is another pseudonym for

the originator Juan Atkins, while
Game One, a collabo with Dutch
producer Orlando Voorn (aka Fix),
is a breathless exemplar of steely
focus, a vertiginous sky-ride through
glinting towers of techno optimism,
buoyed by fathoms-deep bass tones;
a reflection in the mirror-glass of the
General Motors building, perhaps.
Just dont look down

Voices From Another Age

Sublime Records 1994

Hailing from Cleveland, the influence





A Homeboy, a Hippie and
a Funki Dredd
Total Confusion Tam Tam

When I heard this for the first

time in a club, it was one of those
beautiful shock moments to come on
a regular basis throughout the 90s.

Planetary Assault
Systems Surface Noise

If Luke Slater would be the
only techno producer on earth it
would still be a damn fine planet
to live on.

Grungerman Hout Profan

My partner Wolfgang Voigt really

crossed the line with this one...
combining German Schlager and
techno but it had to be done!
Its as much fucked up as it is

Top 100 most important techno records


Planetary Assault

Peacefrog 1994

One of the most respected UK

producers in techno, Luke Slaters
club-focused, most popular project
Planetary Assault Systems never
sounded more aptly named than
on this world-exploding colossus
from the Planetary Funk Vol.4 EP.
An affirmed dancefloor classic, this
dropped harder than an atom bomb
on release, with its chunky, thudding
kicks, rolling bass and piercing
shards of icy, interplanetary iron ore
melody, dredged up from a meteor
mining mission.

second Dogmatic Sequence release

is affirmation of his unconventional
approach. The throbbing acid and
dense rhythms of Viagem is the
closest he gets to dancefloor techno,
while Construction Tool sees him
deliver a pounding industrial rhythm
powered by a hoover bass. But its
on City Lights 2 City Of Starsigns
that Pulsinger shows why hes such
a maverick. A swinging double bass
supports jazzy, atmospheric textures
and the arrangement sounds as
giddily breathtaking as a nightride on a ferris-wheel overlooking



Losing Control
Accelerate 1994

Eat Static


Planet Dog

There are a million different
interpretations of what techno
actually is. To some, its anonymous
hand-stamped 12s from Berlin;
to others, its the minimal
machinations of Richie Hawtin; to
others still, its the techno soul of
Detroit, or the thundering stay up
forever hedonism of the Liberator
DJs and squat parties. But often
forgotten, or ignored, is the role
of crusty techno in the UKs
early to mid-90s dance culture,
when huge, festival-like events,
like Megadog at Brixton Academy,
were commonplace. Eat Static
(who often played and were seen
as figureheads), former members
of acid rock outfit Ozric Tentacles,
turned to the machines for their
cosmic, alien encounter-obsessed
take on club music, and hit paydirt
with the surprisingly funky, bubbling
acid and galactic synths of this title
cut from their best album.


Patrick Pulsinger
Dogmatic Sequences II
Disko B/R&S 1994

Austrian artist Patrick Pulsinger

has always been one of technos
most experimental artists and the

Though the sound of minimal techno

peaked in the noughties, overtaking
Ibiza and providing the soundtrack
for thousands of sunglasseswearing ravers, its roots lay further
back. Influenced by the minimal
compositions of Philip Glass, DBX,
aka Daniel Bell, made stripped-back
machine music throughout the
90s, working with Richie Hawtin
as Cybersonik (check their meaty
Technarchy). It was the relentless
hypnotic detuned vocals and
unsettling sci-fi FX of Losing Control
that marked his finest moment.
Need an idea of how influential it is?
Then consider that Carl Craig, Richie
Hawtin and Robert Hood were all
queuing up to provide remixes.


Emmanuel Top

Novamute 1994

Harder than a concrete slab and

twice as heavy, this fierce dispatch
of acid dirt from the unhinged mind
of Monsieur Top really performs
what it says on the tin. A lacerating,
relentless acid builder, this
frightening record layers lattices
of 303 madness until it explodes
in a crescendo of insania-inducing
squelchiness: nothing comes close.
Your mum wont like it.

Dave Clarke


Red 1

Bush 1994

Profiled elsewhere this issue (p.50),

its not just UK-born, Amsterdambased Dave Clarkes no bullshit
views and hardcore stance that
are uncompromising. Real, raw
techno through and through, Clarke
(nicknamed the baron of techno
by John Peel) began his epic Red
trilogy with this sniping, cutting
juggernaut of backwards cyborg
loops and rushing ride cymbals . Still
hard-as-nails today with funk by the
pound, its only one monster in a
catalogue stuffed with them, from an
artist whos lost none of his acerbic

Josh Wink



Wave Jumper

Underground Resistance 1995

In compiling this top 100, one of the

biggest challenges DJ Mag faced was
deciding which Drexciya contribution
to include. Gerald Donald and the
now deceased James Stinson left
a small but peerless body of work
and Wavejumper is one of its many
highlights. Originally released on
the Aquatic Invasion release in
1995 it was re-released last year
on the excellent Journey Of The
Deep Sea Dweller I compilation an
unnamed vocalist lays out the duos
unique philosophy at the start: You
must face the power of the black
wave of Ladozia/before you can
become a Drexciyan Wavejumper
before hyperactive 808s and grainy,
droning bass licks support typically
otherworldly synths. Its one of the
best examples of Drexciyas ability
to balance visceral elements with
esoteric musicality.

Higher State Of Consciousness

Strictly Rhythm 1995

Is it techno? Is it acid breaks? Or

maybe acid house? When Josh
Winks aptly-titled, genre-blurring
303 beast exploded, nobody really
knew and nobody seemed to care.
The most instantly recognisable and
iconic 303 bar none, Higher State
Of Consciousness was almost like
Energy Flash once the ecstasy,
ecstasy had actually kicked
in; overflowing with oscillating
electricity and amped up on
overwhelming, trippy surges of
emotion. Perfecting that mastery of
tension that so much classic techno
relies upon, its tweakin acid funk
ruled the house floors, the techno
floors and eventually the charts;
peaking at No.5 in 1995.

The Advent

Daft Punk


Rollin & Scratchin

Soma 1995

It would be churlish to ignore Daft

Punks contribution to techno. This,
remember, was an act that, before
the French touch flavours, before
the 1980s pop flourishes, released
on the fiercely independent Soma.
This was the flipside to the acid disco
of Da Funk, and its ear-splitting
drums and cerebellum-shredding,
screeching acid lines became a fierce
club tool and scared more than a
few casual listeners who picked up
Homework expecting wall-to-wall
pop hits



Internal 1995

Another of the UKs most hardcore,

true techno outfits, Colin McBean
(now known as Mr. G) and Cisco
Ferreiras Advent project was forged
in the strobe-lit madness of clubs
like Lost. Granite-tough, influenced
by the harder touchstones of Detroit
and Berlin techno, Badboy remains
their anthem.

Funk DVoid


Jack Me Off
Soma 1995

The debut release by Lars Sandberg

aka Funk DVoid owes a debt to an
early Armando track, Confusions
Revenge. This is where the rookie


Scottish producer borrowed the

vocal lets jack the house from, but
the rest is his own doing. A primal,
grainy banger that undergoes a
series of filtered drops, it is in stark,
noisy contrast to some of Somas
more esoteric releases.

his pulsing, rhythmic, clamorous

classic feels fresh as a daisy even
now, with its lengthy breakdowns,
building to spine-tingling bursts
of euro-influenced energy. A big

Detroit...But Its F**king Avin It,

Chris Liberator from the prolific
Liberator Crew, founders of best
record label name ever, Stay Up
Forever and Lawrence Dunsters
anthem revelled in the simple
power of a 909 and 303 while boldly
declaring to dispossessed dancers,
Our time is now.




Dataphysix Engineering 1996




Kenny Larkin


Soul Man
R&S 1995

Plus 8 1995

Technos golden age during the

mid-90s was full of limitless
possibilities, as Loop demonstrates.
A collaboration between LFO and
Richie Hawtin working under his
FUSE guise, it also showed that
technos main players had a playful
side. Loop begins with stomping
beats and rattling snares, but soon
gives way to a cheeky bassline that
sounds like it was lifted from a
progressive house record, sped up
and then aligned to spine-tingling
synths. Dropped in the middle of
even the most abrasive techno set,
it never fails to elicit a euphoric

One word typifies Larkins

breathtaking opus syncopation.
This is the sound of machines bent
out of shape to do our disco bidding,
manipulated to find the rhythmic
patterns hidden between the zeroes
and ones. People often obliquely
refer to the funk found in techno.
If you think youve never quite
discovered it, Soul Man has it, big



Aux 88


Direct Beat 1996

With their roots in funk bands in

early 80s Detroit, Aux 88 knew all
about what moved a dancefloor.
Equally influenced by the electro
sound coming from New York (the
likes of Afrika Bambaataa), as by
Parliament/Funkadelic and their
citys growing techno legacy, they
released their first electro cuts in
1993, but hit a high watermark
with this perfect fusion of booming
808 bass and intricate microfunk
melodies, contributing to the Detroit
electro sub genre that the likes of
Drexciya would make their own.

100% Pure 1995

DJ Skull


Raw Form Anger

Djax-Up-Beats 1995

Chicago birthed acid, but from the

early 90s onwards, Saskia Slegers
Djax label provided US artists with a
platform in Europe. Following Mike
Dunn, Phuture and Robert Armani
to Djax was Ron Maney aka DJ Skull,
who delivered a particularly primal
take on Chicago jack. Anger sees
Skull at the height of his powers
thanks to Acid Wiss L. A brutal, epic
take on acid trax, the sound of a 303
being tweaked to infinity has rarely
sounded so inspirational.



London Acid City

Routemaster Records 1996

Ken Ishii



R&S 1995

Back when Belgiums R&S had its

primary focus in techno, Japans
now-veteran producer Ken Ishii was
among its fearless vanguard. Extra,


As the faraway producers of Detroit

techno were being spoken about
in hushed reverential tones by
people youd probably never see
on the dancefloor, the free party
brew crew were packing into East
London warehouses, rattling to the
no-nonsense sound of acid techno.
Included on the seminal comp Its
Not Intelligent...And Its Not From


Neil Landstrumm
Inhabit The Machines
Peacefrog Records 1996

The Secret Life Of Machines

Amsterdams Steve Rachmad
has penned many an electronic
masterpiece but few can equal the
lofty parapets attained by the lead
track on his classic, just reissued
1995 album. A studied Detroit
techno tribute, the highly emotional
melody, synth layers and airy vibe
lift it far beyond mere imitation. In
fact, Sterac is another example of
the Detroit formula being updated
and rendered afresh, making it one
of the best records of its type to not
emerge from the Motor City.

Of all the post-Drexciya projects

that Gerald Donald is involved with,
Dopplereffekt is the most intriguing.
Its black-clad members flirtations
with totalitarian imagery coupled
with the fact that its impossible
to discern whether they are taking
the piss or being ultra-serious make
it fascinating and thats before
the music is taken into account.
Before Hells Gigolos reissued much
of their catalogue, the Infophysix
EP was the essential guide to
Dopplereffekts sound .


Anthony Shake
Life Of A Planet Raider
React 1996

Put it down to poor promotion and

distribution, ill health or just bad
luck, but whatever the explanation,
Anthony Shakir never enjoyed the
same profile in Europe as some of his
Detroit peers. Its a shame, because
Shakes amalgamation of hip-hop,
breakbeat and dreamy melodies on
his Frictional releases are some of
the most innovative records to come
from the citys techno explosion.
Rush Hour deserve praise for issuing
the Frictionalism compilation in
2009, but so do React for including
Planet Raider on their 1996 Detroit
collection, True People. A typical
Shake track, its warm pads and bass
are underpinned by dense off beats
and if you listen carefully, a sample
of a saxophone.

The release that pinpoints

Landstrumms root as an early
techno innovator, while signalling
his potential to push forward into
uncharted electronic territory,
Inhabit The Machines flashes
minimal, bleep, hardcore and
junglist sensibilities in a hail
of hardware energy, carving
Landstrumm as one of the UKs
bravest producers.

Miss Djax


Mars 303

Djax-Up-Beats 1996

One of the most important DJs and

producers of hard techno in the
mid-90s, Miss Djax (Saskia Slegers),
with her label Djax-Up-Beats,
came to define a very specific, fast,
acid-propelled, relentless techno
groove. With everyone from Felix
Da Housecat to Armando and Ron
Trent cutting tracks for the imprint,
it packed a punch, but seemed to
fade from view around 2000. But this
monstrous beast, an unstoppable
onslaught of acid fire and thundering
drums, should be remembered as the
deadly calling card of a true techno

Top 100 most important techno records



Space Invaders Are Smoking Grass


A member of uncompromising
Dutch collective Unit Moebius,
who started Bunker Records from
a squat in The Hague, I-f an
abbreviation of Interr-Ference is
its most far-reaching member,
running record shop Hotmix in
the 90s and spreading the gospel
of machine music since via labels
Viewlexx, Holographic and Murder
Capital, and his radio show on
24-hour internet radio station The
Cybernetic Broadcasting Systems,
now Steeped
in techno, electro and Italodisco, his biggest brush with the
overground was this primitive 808
workout of buzzing analogue bass
and vocodered lyrics about Atari
computer game villains getting high
and invading earth.

Jeff Mills


The Bells

Purpose Maker 1997

The Bells sounds if were honest

like a novelty doorbell; albeit one
with an angry bailiff banging on
the door beneath it. But then that
relative simplicity is why it works so
well, for whilst Jeff Mills has made
hundreds of elaborate cortextwisting tracks, The Bells is as close
as hes ever come to something your
milkman can whistle. Many peoples
first exposure to The Bells came as
the highlight of Mills peerless 1996
mix CD Live At The Liquid Room,
and its been hammered ever since
not just by Mills and fellow techno
wizards like Laurent Garnier, but also
half-bit indie DJs who know about
techno too, actually.

Carl Craig


At Les

Planet E 1997

69s Desire, Paperclip Peoples

Throw, Innerzone Orchestras

Bug In The Bassbin Carl Craig

has produced so many classics
under so many different aliases
that it would be easy to do a Top
100 techno list consisting of his
tracks alone. Yet its under his own
name that he produced his two best
albums 1995s Landcruising
and 1997s Songs About Food And
Revolutionary Art, of which At
Les is the soaring emotional peak.
With its sombre melodic motif and
fluttering breakbeats, At Les feels
like the wind blowing through the
deserted buildings of downtown



KMS 1997

Kevin Saundersons contributions to

techno are immeasurable. Dig deeper
than the most obvious examples
of his production genius (like the
more house-geared Inner City, or
darker Reese), and youll uncover
this sliver of perfection from his
more electronic-sounding alter ego
E-Dancer. Sounding Detroit to the
bone (though Saunderson was born
in Brooklyn, NYC, hes been located
in the Detroit area for much of his
life), it demonstrates his peerless
approach to track construction, full
of crystalline, delicate melodic layers
and a fat bottom-end designed to
do the damage to the feet while the
head is lifted into, well, the heavens.

Aril Brikha


Groove La Chord


The Aztec Mystic


Underground Resistance 1999

A little younger than the

elder statesmen of Detroits
Underground Resistance crew,
Rolando Ray Rocha made an
entrance like no other. After just
a couple of releases for Mad
Mike Banks seminal techno
imprint, he delivered the Knights
Of The Jaguar EP. On one side
was the looping, minimal groove
Ascension. On the other was
something radically, genreshiftingly different. Jaguar was
orchestral, tribal, arpeggiating
and wildly ambitious. Before it
arrived, techno and house were
considerably more delineated, but
afterwards the landscape shifted.
House DJs played it at minus six,
while techno DJs would pitch it
up and use it as a thunderous
crescendo among tracky, loopedup interludes. A pivot point.



La Real

Counterbalance 2001

The late 90s and early 00s were a

time when UK techno veered into a
bleak, unimaginative loop cul de sac.
Thankfully, there were exceptions,
like La Real. Beginning with lithe
breakbeats and a synth riff that
could have been borrowed from
Kraftwerks Trans Europe Express,
it suddenly kicked into a kicking
tribal groove that showed up all the
one-note loop merchants for the
amateurs they were.

Fragile 1998

Probably the best Detroit techno

track not actually from Detroit,
Groove La Chord is a simply sublime,
kinetic groove. Built on a train of
ever-rolling percussion, and a subtly
changing, airy synth motif, its only
one of Iranian-Swede Arils many
classics, as revered by the Detroit
godfathers as he is by their many
followers in Europe and beyond,
as evinced when we witnessed him
playing live at the Motor Citys
Movement festival in 2011.



Downwards 2001

Looking for an antidote to loop

techno? Get into Penetration.
Originally released around the
same time that every producer
was trying their hand at the loopy
sound, this collection shows why the
Birmingham producer is the master
of all things grainy, dense and
industrial. While Get On Your Knees
boasts a lithe undercurrent, there is

top three

Ricardo Villalobos
Easy Lee Playhouse
This record was a game changer for
me, the first time I heard it was at the
PS1 summer series events thrown by
the MoMa in New York in 2003. Both
Richie Hawtin and Magda played
it that day, and everyone became
fanatical over the album. It changed
my perception of what techno could

Audion Kisses Spectral

I bought this record on vinyl

in an indie vinyl/CD shop in the
East Village in New York, called
Other Music in 2004. I picked it
up on recommendation and was
completely floored when I played
the track at home. It was in my
crate for at least a year!

Soul Capsule Waiting 4

A Way Perlon

This record represents my summer

of love in 2007, when I moved
from New York to Berlin. Outside
of touring, I rotated most of my
free time between Bar 25, Club Der
Visionaere and Panorama Bar, and
this track was the theme song for
Berlin that summer.


no escaping the inherent bleakness

of Thirst or the claustrophobic Its
A Mans World.


Kirk Degiorgio

New Religion 2001

DeGiorgio had already proven

himself as a consummate producer
under his As One guise check out
1994s Reflections album for one
of the most winsome and forlorn
takes on Detroit techno but
Nairobi, released on the major
label-sponsored New Religion,
sees him focus on the dancefloor
with devastating results. Carl
Craigs broken percussion remix is
impressive, but its all about the
pulsing acidic bass and bleeping
tones on the original version.

Chicago jack and electro means

that the Legowelt project sounds
highly distinctive, yet is also highly
unpredictable. Its impossible to
predict what Wolfers will do next
and that is a large part of Legowelts
charm. Fittingly, Kinski, named
after the maverick German actor,
is full of surprises. A Crazy Plan
and Cherri Meets The Professor
are warm, blissed-out ambient
soundtracks, while Against The
World sees glorious synth melodies
unfold over a splurging bass. The
highlights, though, are Nomios
The Nomium Syndrome, an
unforgettable mix of tripped-out
Italo synths and a pulsing electro
bass and Fizzcaraldo. Named after a
demented character Kinski plays in a
movie of the same name, its a warm,
acid-soaked groove that makes all
the revivalists sound redundant.



Wireless Internet
Record Makers 2002

Octave One



Concept Music 2001

Originally released as Blackwater 10

years after their sublime I Believe
appeared on Techno 2: The Next
Generation, the follow-up to the
compilation that codified techno
as a genre, Blackwater achieved
huge crossover success when it
was recorded with vocals from Ann
Saunderson (now ex-wife of Kevin
Saunderson) and strings by Urban
Soul Orchestra, hitting the UK charts
and clubs around the world. Turned
by the family affair of the Burden
brothers into a heartstring-tugging
widescreen epic, its simple rising and
falling melody, classical refinery and
gospel-style delivery concerning the
unstoppable power of love ensured
it appealed to everyone from true
techno heads to big room house DJs.



Klaus Kinski EP
Bunker 2002

Despite operating under a variety

of guises and releasing a large body
of work, its his Legowelt records
that Danny Wolfers is best-known
for.The Dutch producers ability
to seamlessly fuse Italo, acid,


Arpanet is one of Gerald Donalds

most fascinating post-Drexciya
projects. Apart from providing a
warning about the proliferation
of mobile internet technology, it
alternates between brooding synth
tracks like Illuminated Displays,
the wiry electro funk of Wireframe
Images and the low-slung,
menacing ebm basslines of I-Mode.
Released just as electroclash was
enjoying its 15 minutes in the
spotlight, Wireless Internet is a
stark reminder of just how cerebral
electro can be.


Ricardo Villalobos

Playhouse 2003

Before he became one of the

poster boys of minimal techno
with a decidedly original, leftfield
take on the genre (after years of
releases for Perlon, Ladomat and
the like), before he became one of
the most abstract artists to achieve
relative mainstream popularity, the
Chilean electronic enigma coined
this weird, unsettling epic. Despite
lulling us into a false sense of
security with its chugging, clunking
stripped bare 4/4 kicks and forward
motion, Dexter opens out into a
melancholic, metallic melody, a
floating, enveloping fiend of dark
matter that seems to slip free from

its beat moorings as the track

collapses and reforms. Like Aphex
Twin or Squarepusher, or Radiohead
at their most mournful, but pushed
reluctantly onto the dancefloor, this
bleak headphone masterpiece must
be one of the oddest and best
club tracks of all-time. Anyone
questioning why hes so influential
should investigate the album this is
culled from, Alcachofa.


establishing itself as a champion

of deep, dub techno when Demon
dropped in 2005. The work of local
lad Andy Stott, Demon offered a
rude awakening for those getting
used to Modern Loves esoteric
releases. Centred on a raw, noisy
bassline that was equal parts Regis
and Phuture 303, Demon is one of
the most elemental techno records
of the past decade.


Mathew Jonson

Gui Boratto

M-nus 2004

K2 2005

If Doc Scott made minimal techno,

you can bet your last testicle that
Decompression is exactly what
it would sound like. Marrying the
minimalist mechanics and futurist
ideals of mid-noughties techno
with the twisted sonic palette of
vintage tech-step drum & bass,
Decompression was a brutal, slowburning sucker punch of demonic
sci-fi sounds and devastating bass

Mid-2000s minimal saw dancefloors

cheering the appearance of a hihat, such was the spartan nature
of most tracks. Brazilian master of
emotion Gui Boratto showed the
true power of less is more, though,
with the anticipatory excitement
that resulted from this pairing of
skeletal drums and minor tweaks
to a masterfully warm sustained


Nathan Fake


The Sky Was Pink (James Holden

Border Community 2004

Norfolk hardly has Berlin or Detroits

techno credentials, meaning one
of 2004s biggest tracks came
completely off the map. James
Holdens remix of East Anglian
electronica producer Nathan Fakes
The Sky Was Pink was completely
out there in other ways too;
sounding as rough-hewn as if it
had been spun from a loom in an
era when clinical minimal ruled the
roost; analogue fuzz reaching a
crescendo as vast and fiery as the
sunsets that inspired it. Fake had
been clearly influenced by Four Tets
earlier albums, yet The Sky Was Pink
saw him leading down a path Kieran
Hebden would later follow on There
Is Love In You.

Andy Stott


Demon In The Attic

Modern Love 2005

Manchesters Modern Love label was


Theo Parrish


Falling Up (Carl Craig Remix)

Third Ear 2005

This track deserves to be in the most

esteemed of techno company, to be
listed alongside seminal moments
by Derrick May or Kevin Saunderson
despite its relatively tender years. If
its not a classic already, such status
is most certainly in the post. Craig
is on some of the form of his life on
fellow Detroiter Parrishs filthy funk
phenomenon. It pulses, building to
an almost unbearable fever pitch.
And then come the keys, the jazzy,
vamping electric piano lending a
sense of analogue soul to the digital
madness. It is utterly epic. That it
appeared on a British label, the
peerless Third Ear, should be a source
of immense, even Olympian, national



Mouth To Mouth
Spectral Sound 2006

Reserved for the more nose-bleeding

of Matthew Dears output, Audion
became a representative of the more

uncompromising techno emanating

across the Atlantic during the mid00s. Barely able to keep within the
10-minute mark, each slamming
journey is a slog to be reckoned
with. Most resounding is Mouth
To Mouth; a blistering swarm of
metallic clicks, percussive shuffles
and surging builds that pumps like a
runaway stream train.


Figs in the cold light of day and

youd be forgiven for thinking
that it sounds inescapably crude;
particularly against the warmer
and more romantic 4/4 sounds
that reign today. But locked in the
sleepless narcosis of the minimal
techno revolution, and all the
transcendental DJ marathons that
it entailed, the Canadians insistent,
expertly weaved missile became an
exhilarating and unstoppable
communal force. Released on the
mnml mssh Richie Hawtins then
untouchable M-nus label, Bay Of
Figs reigned supreme on the DC10
and Fabric dancefloors.

Paul Woolford pres

Bobby Peru
Erotic Discourse
2020 Vision 2006

Despite being claimed, and played

by, many a house jock, Erotic
Discourse is essentially techno
through and through. Though Leeds
man Paul Woolford has dabbled with
the form consistently through his
career, this melon-twisting monster
actually has more in common with
the futuristic sounds hes playing
now than anything else. Like a
box of malevolent springs let
loose in a steel echo chamber on
dabblers, snapped to the simplicity
of a thudding 4/4, its the ultimate
statement track. Its distinctively
metallic sound went on to be hugely
influential, with its emphasis on
originality, unique sound design and
fresh sonics embodying the essence
of what techno is about.




Kompakt Extra 2006

A respected producer of impeccable

(but never outstanding) techno
and electro since the mid-90s,
Frenchman Oliver Raymond suddenly
found himself waving in a new dawn
of melodic, deliciously atmospheric
techno with 2006s Domino.
Released on the uber-stylish label du
jour in Colognes Kompakt, Domino
oozed musical depth and melodic


Delsin 2006

One of the first outings from the

mysterious man in the red mask,
Usage arrived at a time when
grayscale, hiccupping minimal
house was de rigeur. Spewing forth
gurgling 303-soaked bass, steely
drums and the dramatic, sweeping
synths that would become the
mysterious producers trademark,
Misc Usage sounded revelatory and
like nothing else at the time, like a
voodoo version of Detroit techno.

Omar S

The Blood Of Our King

Sandwell District 2008

While fellow Sandwell District

producer Function delivered his own
take on Sahkos bleeps,Juan Silent
Servant Mendez reinvented the
darker end of Detroittechno. The
beats that underpin both Disciple
To Matter and Doom Deferred
are slightly offbeat and dense, the
embodiment of contemporarysounding rhythms, but the billowing
chords recall classic Sean Deason and
Kenny Larkin. When combined, they
make for a near-perfect future-retro


Psychotic Photosynthesis
FXHE Records 2007

A Detroit iconoclast from the same

dusty-fingered mould as Theo
Parrish and Kenny Dixon Jr., Omar
S effortlessly moves from gritty,
soul-inflected house to clanging
techno. Released as a one-sided 12,
Psychotic Photosynthesis is his
masterpiece, revelling in his citys
history of electronic soul with a
stunning, ever-shifting interplay of
melody and mood.


Lucio Aquilina
Magic M

Before minimal started to bore

the pants off every clubber and
his dog, dont forget it blossomed
into the most musical dancefloor
sound of the 00s if not ever for
a short while. Probably the most
melodic example is Lucio Aquilinas
masterpiece Magic M on Cocoon,
with that clicking shuffle; that
oily, dark matter squelch and that
majestic cascade of chiming bells



Bay Of Figs

Blood On My Hands (Ricardo

Villalobos Apocalypso Now Mix)

M-nus 2006

Skull Disco 2007

Listen back to the menacing,

air raid attack techno of Bay Of

The hedonistic Chilean techno

messiah, Ricardo Villalobos reshapes



Silent Servant

Misc Usage

Cocoon Records 2007


Marc Houle


the gothic avant-garde dubstep of

reclusive UK producer Shackleton
to create an instant game-changer.
It was an unlikely marriage, but,
in many ways, it was an inevitable
one. Both Villalabos and Shackleton
were fixated by intricate, snaking
percussion, a hypnotic and
understated approach to melody and
deep, dubwise basslines and both
were unconcerned with the status
quo.In this intricately textured-butloose-limbed union of percussive
techno and dubstep darkness,
Villalobos eroded the walls between
the two genres forevermore;
punching through the wall that
he had already etched around by
dropping Skreams otherworldly
Midnight Request Line everywhere
from Londons Fabric to Berlins
techno dungeons.




Desolat 2007

Previously known as one half of

deep tribal house outfit Deep Dish,
when Ali Shirazinia dropped this
impossibly dark, minimal builder,
it felt like a bolt from the blue.
Influenced by nights at Cocoon Ibiza
and DC10, its solid bass and drum
undercarriage supported a weird,
deliberately out-of-sync, popcorning
electronic rhythm that seemed to
ascend and pan around, displacing
time; a perfect audio evocation of
the wonky powder that was flooding
dancefloors at the time. It inducted
Dubfire into the world of techno
where hes plied his trade ever
since, and remains a monstrous club



Wax 2008

Although he may not like to admit

it, Rene Shed Pawlowitz had a
large part to play in the swing from
minimal back towards classicsounding house and techno.In
2007/2008, the Berlin producer
launched the Wax and EQD projects.
Presented on anonymous handstamped vinyl a format that
recalled the early, heady days of
rave both projects also owed a
large sonic debt to music from that
time. While EQD was inspired by
breakbeat techno, Wax focused on
deeper sounds. The untitled A-side
sounds like early deep house by
Larry Heard and the B-side is littered
with bursts of techno chords, but
its Pawlowitzs sense of rhythm
that make this release unique. A
is powered by lithe metallic beats,
while the stepping dub of B springs
to life midway through thanks to a
firing burst of percussion.


Daniele Papini
Church Of Nonsense
Alchemy 2008

Essentially a remake of 2004 Music

Man Records release Evolving by
Ignacio (aka Steve Rachmad), Italian
producer Daniele Papini found
himself with a hit on his hands after
distilling it to its essential elements:
a kick-drum, some rolling percussion

Top 100 most important techno records

and a rising gut-churning bassline
that expands to almost unbearable
proportions before dropping back
down again to repeat the process.

this trio of tracks under the name

Double-Jointed Sex Freak. Each a
study in dubbed out atmospherics,
hissing snares and nervy energy, our
pick of the bunch is the heads-down
jack of the 10-minute long Part




R&S 2011


Radio Slave feat

Danton Eeprom

Grindhouse (Dubfire Terror Planet

Rekids 2008

Unquestionably the moment where

the minimal techno phenomenon
peaked, Grindhouse represented
both a pinnacle and the point of no
return for the then-hugely popular
sub genre. Geared towards the mega
dancefloors of Ibiza, though based
upon a sound originally forged
in the sweaty engine rooms of
Berlin, Grindhouse, in its Dubfire
incarnation, sounded massive,
ugly, dangerous, frightening.
Its druggy, relentless percussive
energy, gauze-swathed vocals out
of earshot, menacing War Of The
Worlds sound design samples, and
finally, ascending, evil riffs, evoking
the mangled paranoia of a bad trip,
sounded just like its title. Surely one
of the most unlikely, dark records
to ever command mainstream club
floors, it provoked an anti-minimal
backlash but remains a true classic.



Cosmin TRG


Liebe Suende
Rush Hour 2010

Romanian-born Berlin-based
dubstep/garage producer Cosmin
Nicolae turned a corner in 2010.
With a slew of releases on Rush
Hour, TRG swiftly became Cosmin
TRG and syncopation made way for a
ghostly succession of skeletal 4/4s.
More refined than its rambunctious
younger brother, Cosmin TRGs
new eerie and ethereal sound,
which bottom-ended the vintage
classicism of Detroit and Chicago
with acres of brooding sub-bass,
crossed a bridge between garage
and techno. A pre-cursor to todays
wave of panel-beating bass-heavy
techno from the likes of Indigo
and Blawan, the significance
of Liebe Suende shouldnt be

M-nus 2008

Say what you will about the

monotony of minimal techno toward
the end of the decade, few will deny
it garnered some of the most mindmelting moments in dance history.
One that stands out is Signs. Living
up to his monikers namesake with
its broken heartbeat, the digital
whispers, hollow industrial pipes
and demonic squeak of a hook serve
up an irresistibly jazzy combination.


Boddika & Joy


Swamp 81 2012



Too Far

Delsin 2011


One of our coverstars this issue,

no-one knew quite what to make
of Burnley beatmaker Blawans
productions when they first began
to make an impact. What was
certain was we had a true original
in our midst, and Bohla, off his
debut EP for R&S, after releases for
Hessle Audio and others, sounded
like nothing else. A broken crunch
n shatter of shuffling, raw drums
and glowering, blistering acid
lines, Bohla took dancefloors
by surprise, and in its clanking
industrial toughness, the seeds of
todays new techno movement can
be seen germinating.

The spectre of industrial and

experimental electronics looms
large over contemporary techno. In
most instances its merely window
dressing to mask a dearth of ideas.
In the case of Rabih Beainis music
however, the pervasive gloom is like
an extra layer of gold. Lifted from
his debut Morphosis album, Too Far
is the most intoxicating expression
yet of his murky techno, with the
tortured vocals chased through
the gloopy rhythm like Donald
Sutherland frantically scouring the
back alleys of Venice in Dont Look

Essentially a remix of Tronco Traxs

1998 camp Henry Street Music
classic Walk 4 Me, an anthem
at New Yorks Sound Factory,
young London hype man Joy
Orbison made the leap from his
usual smooth garage-influenced
productions to team up with
Intra:mental man Boddika for
this acidic banger on Leofahs
vinyl-only, 100-limited run label.
Causing rabid excitement as a rip
on YouTube for months before it
finally dropped, the stern vocal was
beefed up by rapidly bubbling bass,
industrial strength production and a
scything open hat to become one of
clublands most sought-after tunes.

Suburban Knight
The Groove Transmat
Sexy dark techno before dark was a

Lil Louis
Blackout FFRR
Louis made some of the sexiest music
and this is a banger for unbridled
aggression on the dancefloor as well
as in bed.


Levon Vincent

Inner City
Good Life 10 Records

Novel Sound 2009

Was a hit and still a hit. A house song

with a techno heart, one of the few
techno tracks with vocals. Very sexy.

Double-Jointed Sex Freak

Despite coming from New York,
Levon Vincent proved his heart
belonged to the dark, brick and
metal-work interior of Berghain with


Berghains most celebrated resident, Berlin techno lord and
DJ/producer Marcel Dettmann lives, sleeps and breathes
his genre like few others. Hes also passionate, warm and
opinionated, as DJ Mag finds out

Words: richard brophy

arcel Dettmann embodies techno.
The chisel-jawed DJ releases
brutal, stripped-back tracks and
dispenses pounding marathon
sets at his Berghain residency.
Scratch beneath the surface, though, and it is
obvious that he also exudes passion. He is the
opposite of monosyllabic cool and is fired up by
our conversation, emitting a wow here and cool
there whenever we discuss a producer he loves.
He admits to being totally obsessed with techno
and has no way of switching off.
Its my life and I cant even have one month of
holidays without it after three weeks I have to
start playing records again, he says.
Like many inhabitants of the former Eastern
Germany, Marcels life changed irrevocably when
the Wall came down.
I was 12 at the time and was more interested in
sports, especially judo. I was young and into fairy
tales, and then I gave it up for girls and music
(laughs), he recalls.
With the end of communism came freedom to
travel and access to music. Marcel explains
that under the regime, it was hard to get
music. There was a good show on the radio, but
we couldnt buy records. The first one I bought
was Speak & Spell by Depeche Mode on some
label that was only in East Germany, he laughs.
Luckily, Dettmann had a guide to this (b)rave new
world: Norman Nodge.
We grew up in Fuerstenwalde, close to Berlin.
Norman is five years older than me, and I got
this music from him, Marcel explains, recalling
the first time he heard Nodge DJ. It was in a
basement in 1992 to 50 people, and he was
playing Chicago house, Nitzer Ebb and techno. At
the time I was into synth pop. I thought, What is
this? For me, techno was cheesy gabba, and then
I heard this raw, minimal stuff and I was blown
away. There were some sounds that caught me, it
wasnt really musical, but there was something
about it, he adds.
Nodge also gave Marcel his first DJ gig when he
was just 16. Twenty years later, they remain close
friends. Nodge is a practising lawyer with three
children, but also spins unflinchingly purist
techno in the bowels of the worlds greatest club,
Marcel held a residency at Berghains first
incarnation during the late 90s. When the club


opened in its current location, he ensured Nodge

was involved. As Dettmann sees it, he is returning
the favour.
Since those early days, Dettmanns passion
hasnt waned. He remains a fan of Luke Slater and
Robert Hood. I like every track these guys do,
he says. I got the new Nighttime World album,
and wow, its awesome, but Im also inspired by
drone stuff, Italo or bands from the 70s, he
Apart from Nodge, the other big musical influence
on Marcel was Hardwax, where he worked for six
years until 2010 when his international DJing
made it impossible to devote enough time to the
I bought my first record there in 1993 and I
have learnt a lot from Hardwax, he says. It
was always my dream job, and when I started to
produce, a lot of the guys had the same attitude
as me. I am still really close to the guys who work
there, Marcel adds.

means of production

By the late 90s, Dettmann was no longer content

to spin other peoples records and started
tinkering with an early version of Ableton.
Using the software was due to necessity. I had
no money to buy drum machines because I was
spending it all on records, he recalls. Despite
this, he says Ableton is the perfect production
tool. I love Ableton because I like having an
idea, recording it and then listening back to it in a
years time. Sometimes I work on music and I have
no ideas, and then out of one track or concept
come 10 tracks.
Marcel does not have a big catalogue and his MDR
label is hardly prolific, but he has released an
excellent artist album, something that few techno
DJs have achieved. Released in 2010 on Ostgut
and recorded over the space of a year, Dettmann
moves from eerie, skeletal abstraction to
sensuous deep house and pulsing dubby techno
into visceral minimalism.
I was really happy with it, he says modestly.
When you DJ, youre focused on finding a
dancefloor track, but an album is special, you
have to open your mind, Marcel adds. You need
to have a base for an album and Home was the
inspiration for nearly every track on it.


Marcel agrees that techno has failed to produce

many great albums, but rates Surgeons 2011

work, Breaking The Frame because

its not for the club and the
new Shed album I was like,
How did he do that? Shed is
the man.
Apart from shaping his
tastes, he feels that
Hardwax and Berghain have
acted as beacons for techno,
refusing to go with trends and
I have seen so many things come
and go. I was a synth pop kid, so it
was funny to see electroclash in the early 00s,
and after that, minimal. All these sounds went
down and techno comes up again, he says.
Speaking of trends, what about the proliferation
of hand-stamped anonymous techno records that
have appeared in recent years are they not
also a trend and an even more evolved form of
marketing than trashy electroclash?
I do these hand-stamped releases for MDR, but
thats because I am too lazy and it costs too much
money not to do it, he says. The records get
pressed in the plant, stamped and released. Its
all about the music. Anyway, I get the feeling if
its real or not. For example, this L.I.E.S label, I
know its cool and real. Its a good way to release
music, its totally punk, I like this attitude.

that the guy who travelled from Buenos Aires

and stood in the queue for two hours will bring
thats really special, Marcel claims.
What about the countless tales of people
travelling to Berghain, only to get
refused by the clubs seemingly
random door policy does this not
go against the underlying principle of
dance music being accessible to all?
Its a sad thing, but its a really tough
job to be a bouncer and decide who
is to come in, Marcel says, quickly
adding that, Of course its terrible
and I feel really sorry for anyone
who didnt get in. The bouncers try
to get people from all walks of life
into the club. One week they might
say, we have too many people from the
country in tonight, lets get some punks
in. Berghain is a mixture of people and
its really important to have people
from all walks of life imagine how
boring it would be if it was just people
who wanted to know what records you were
playing? he believes.

If Im playing
a really long
set, Ill bring about
300 records and a
lot of CDs. Ill have a
proper breakfast and bring
snacks with me. Its a real
commitment, but you can play
records at Berghain that you
couldnt get away with
anywhere else.

Its an attitude that

prevails in Berlin and
which has attracted
countless ex-pats to
reside there. While Marcel
says the city is
getting more
expensive, he
still feels it is
I speak to
US artists like
Levon Vincent
who live here and
they love the
attitude and the
fact that its in the
middle of the world.
I love London, New York
and Paris. Berlin is a big
city, but it is unique.

hardwax and berghain

For anyone visiting Berlin with an interest in

techno music, Berghain and Hardwax are the
main attractions. For me, Hardwax and Berghain
are totally Berlin, it was through them that I got
to know the city, and for me they are the vibe and
attitude of Berlin, Marcel says. However, he does
not feel the hype has had an adverse effect on
the club.
So many times native Berliners come to me and
say that the tourists are destroying Berghain, but
Id find it very boring if the same crowd always
went to the club. Just think of the special energy

On the subject of the clubs music policy, Marcel

believes that the owners are still 100% behind
its underground approach. The GEMA controversy
notwithstanding the club has to pay a lot, but
most artists wont get paid by GEMA, itll go to
David Guetta his residency at Berghain remains
his main DJing priority. Marcel treats the gig in
the same way residents did in the past, sometimes
playing for up to 12 hours. The key to doing it
properly, he feels, is to look at it as a real job.
10 or 15 years ago, club residents played three
times a night, he observes. If Im playing a
really long set, Ill bring about 300 records and a
lot of CDs. Ill have a proper breakfast and bring
snacks with me. Its a real commitment, but you
can play records at Berghain that you couldnt get
away with anywhere else.


This last observation is one of the reasons why

some claim that its impossible for Berghain
residents to recreate its atmosphere elsewhere.
Does Marcel feel that his DJing has less resonance
when he plays at other clubs?
It depends on where youre playing, every place
is different and has its own magic energy, comes
the diplomatic response. In most other places I
wont play for 12 hours, because the clubs dont
stay open that long, but sometimes if I have been
to a club before, Ill ask to play all night: 4-5
hours is perfect.
Twenty years after he discovered techno, it
remains an integral part of his life. Bearing in
mind that much of the current wave of techno is
inspired by the 90s, does he feel that in 2012,
techno is still futuristic?
Marcel cites modern-day producers like Shed, A
Made Up Sound and T++ how do they make
their rhythms? as flag bearers for techno
innovation. Meanwhile, MDR is set to release
the first album by Enter Code Request, one of
Dettmanns friends. It reminds me of Shed
because of its crazy rhythms, but also early 90s
intelligent techno, he explains. But of course
techno is still the soundtrack to the future, he
answers, his voice getting slightly shriller. If I
listen to a track by Jeff Mills from 20 years ago, it
still has the same feeling for me, like its from the
year 2040 and is the soundtrack to a movie that
doesnt exist yet.



Techno temptress Cassy has come a long way since

her Vienna youth days of jamming with DJ friends.
Bouncing around with such labels as Perlon, Ostgut
Ton, Playhouse and most recently Cocoon Records,
the lady keeps on staying on top
Words: fina charleson


Jeff Mills is a true techno original. A founder member of Underground
Resistance but now fiercely independent; a radical producer with a
genuine manifesto that extends to his productions, art and performances;
and a lightning-fast DJ with skills to put most others to shame. With a
sumptuous new boxset and photography book looking back over 20 years
of his label Axis, there could be no better time to interview the isolationist
astronaut himself to discuss the positives and negatives of technology, the
art of photography, what he thinks of laptop DJs, and much more
Words: paul clarke

n 1909, Italian poet Filippo Tomasso

Marinetti published the Futurist manifesto.
A veneration of technology, and the role art
could play in driving humanity forward, the
Futurists fetishisation of the machine
would strike a chord over 70 years later with
a DJ in Detroit called Jeff Mills, who had been spinning
electro, hip-hop and disco alongside embryonic techno on
the citys WJLB radio station under the name The Wizard,
and would also explore a synthesis of art and political
ideology as a founder member of Underground Resistance
alongside Mad Mike Banks.
So it made sense to some that Mills would take part in an
exhibition to mark the 100th anniversary of the Futurist
manifesto at the Pompidou Centre in France. Even more
so, considering that the piece he exhibited wasnt simply
a soundtrack of the galvanised techno hed made his
name with after splitting from Underground Resistance,
but an audio-visual installation featuring archive footage
of the First World War amongst other images, confirming
Mills credentials following exhibitions of his
sculptures, a collaboration with the
Montpellier Philharmonic Orchestra and his
scores for silent movies such as Fritz
Langs Metropolis as a Renaissance
man as much as a Futurist.

People dont regard

techno as art and we
have a lot of work to do
in terms of convincing
them there is an art to this To others of course, the idea of
being elevated to the
music Im driving towards techno
same status of high art as
the point where it means more Futurism or the Renaissance
seems a little ridiculous.
than just dance music. It doesnt And
were not just talking
have to say nothing, and you about elitist
art critics, or
cant say it says nothing parents complaining about
that bloody racket their kids
if theres someone trying listen
to, but also many of the
to refine notions of what hundreds of thousands of people
electronic music can be. whove seen Jeff Mills DJ across the

globe but who regard

techno as nothing more
than the soundtrack to a
night of dancing and drugs. Which,
even though hes wrestled with
plenty of weighty ideas throughout his
career, remains one conundrum hes yet to solve.
People dont regard techno as art and we have a lot of
work to do in terms of convincing them there is an art to
this music, he ponders. Rock and jazz are considered art
because they have a voice that tries to say something,
whereas theres this perception that techno is just music
for dancing. But the structure of techno means it can say
something, and Im driving towards the point where it
means more than just dance music. It doesnt have to say
nothing, and you cant say it says nothing if theres
someone trying to refine notions of what electronic music
can be.


Jeffs ideas about what techno can say were formulated

in his own manifesto penned when he formed Axis
Records to release his music in 1992, excerpts from which
can now be read in the lavish new book and box-set
Sequence, released to mark Axis two decades, in which
Jeff describes his intention to create a different kind
of record label.
Axis is the aura of all things, he writes. Like many other
record labels past and present, it was created to touch
others. Though one area where Axis differs is its
realization that all things are not necessarily good,
comfortable or easy. I understand that an experience of
interacting with something that appears strange and
bizarre at first glance, could eventually be the comfort
someone was looking for later.
Although its taken 20 years for Jeff to publish these
words for people to read, those ideas have always been
present for people to hear in his music, perhaps most


notably on the Waveform Transmission Vol.

1 album originally released on Tresor in
1992, now remastered and re-released on Axis. For
the avant-garde collages of stark loops in tracks like
Jerical and D.N.A did originally sound strange
and bizarre even to the most ardent techno
disciple two decades ago, yet are now recognised
as landmark moments in technos evolution.
For a lot of people, it really changed the way they
thought techno could be, he explains. Before that
even though it was instrumental it was still
structured in a song format where you had an
introduction and something that sounds like a verse
and feels like a bridge. People became open to the
idea that techno is a way of listening to sound if
something makes you think of moving ahead or
moving forward, then it fits into that category. Music
to most people is notes and chords, and this music
doesnt fall under that category. That is the most
beautiful thing to me and a sign of how much is
possible with it.
Its technos many possibilities that are mapped out
in the 30 tracks Jeff selected for Sequence. The
tracklisting went through many different
configurations but I eventually leaned towards the
tracks that were more expressive and had a story
around them than the more dancefloor tracks, he
reveals. That makes more sense as techno gets
older. I wanted to make sure that all these stories
were being told, so each one points towards a
different concept I was working on.


Stories told in detail in the 320-page book

accompanying Sequence, in which Jeff describes
the concepts behind various releases such as the
Cycle 30 EP, where grooves inscribed into the vinyl
represent a 30-year time cycle, similar to the rings in
a tree trunk, or how the sleeves of the Very 12
were infused with perfume so DJs could smell it in
their record box. Each page offers a snapshot of his
thinking at the time, quite literally, given that
Sequence also features plenty of photography,
both of the record sleeves and of Jeff himself,
alongside images of many of the visual arts projects
he has worked on throughout his career, such as the
Mono sculpture inspired by 2001: A Space Odyssey
he exhibited at Sonar in 2002. Yet whats almost as
fascinating as what these images depict is the
relationship Jeff perceives between still
photography static by its very nature and the
sense of motion inherent to both techno and film.
I feel the same about still photography as I do
about black and white, he says. People dont
experience things in stills we watch the world in
motion. So stills allow you to see not the image but
into the image. It allows you to escape time and it
tells more of a story than watching a movie because
you have ideas about what happens before and after
Does he accept, however, that there is also a
contradiction between writing about a remorseless
focus on the future in a book which looks back at
works produced 20 years ago?
Its a commemoration of an anniversary, he

Technology is teaching
us that we can have
everything we want, so
people wont just want
to listen to a DJ theyll
want to know what being
a DJ is actually like. To
experience what its like
to mix in front of 5,000
people will be more
interesting than just
being in the audience.
People want more out
of life, so the definition
of techno might change
more towards being a
feeling than an actual

counters. There are certain things that point

towards the future from where we are now, but the
idea of looking back came from the idea that there
were a lot of things Id spent a lot of time and money
on that people didnt realise were happening at the
time. I thought it was important to show how we
were doing things in 1994 or 2004, and what
peoples impressions of what techno should sound
like felt like then. It was important for people to
understand how far techno has come, and then
people can look ahead at what could be possible.


Indeed, when discussing Waveform Transmissions

Vol.1, Jeff can now ascribe a prescient quality to the
record produced when he was living in Berlin
that has only revealed itself in retrospect.
The [Berlin] Wall went down in 89 but I think the
shock and realisation only set in later when people
began to understand and feel comfortable with the
possibilities of change, he says. It was a very
difficult time, but people were feeling that things
could be better, which fits with the explosion of
technology that had happened.
I think people were ready for this. People were
thinking democratically then, and it took a lot for
technology to catch up, but then it surpassed
peoples expectations. Now there seems to be this
race between technology and what people want.
People are becoming smarter we know whats
happening on the other side of the planet within
seconds and technology has raised that. Weve
got to reach the point where people will either drop
out or technology will transform them.
Technology will definitely change the way we
experience music, he continues. Technology is
teaching us that we can have everything we want, so
people wont just want to listen to a DJ theyll
want to know what being a DJ is actually like. To
experience what its like to mix in front of 5,000
people will be more interesting than just being in
the audience. People want more out of life, so the
definition of techno might change more towards
being a feeling than an actual sound.
Not that this is necessarily a utopian dream. For just
as the Axis manifesto acknowledges that all things
are not necessarily good and Futurisms more
extreme ideals were perverted by fascism Jeff
talks darkly about how technology is driven by
money and corporations that view happiness as a
commodity. But its not like were being fed by
something we have no control over. Its what people
want and its going to change the way we live.
If theres one arena in which Jeff believes
technology has destroyed as much as its developed,
its in the actual physical act of DJing. One of the
worlds most visceral and energetic DJs as seen on
2004s Exhibitionist DVD, which showcased his
dizzyingly quick cutting between three decks Jeff
gives relatively short shrift to the current generation
of laptop DJs.
A large part of DJing was discovering your personal
timing, he states. By timing, I mean that it took
time to think of something, then get it from your

record box and mix it in at the right point. Thats

been lost now. I dont think this new way of DJing is
better it certainly doesnt sound better and
people arent really presenting music in a more
interesting way.


For the presentation of music is of equal importance

as the music itself to Jeff. His Sleeper Wakes
project, a series of concept albums about space
travel which led to a performance art spectacular
premiered on New Years Eve 2009 in Japan, featured
actors and visuals surrounding the audience whilst
Jeff DJed, something he describes as truly creative
and amazing.
Contrast that, he says, with the clubs hes regularly
booked to play in Ibiza and where you would think
the production would be amazing, especially as its
not cheap to get into a club. All it would take is a
little more lighting, video and theatrics, but it isnt
set out like that and I can only assume thats
because people dont want it.
He also acknowledges that Ibizas hedonistic
atmosphere isnt always conducive to cerebral
conceptualism. People arent there to confront
ideas, theyre there to relax and escape from their
jobs. But, he continues, what better place to
escape [to] than space?
By which he means the outer edges of the galaxy,
not the club on the outskirts of Ibiza Town, since
science fiction has long absorbed Jeff. He claims
that Sleeper Wakes was intended to materialise
aspects of science fiction and as well as his scores
for Metropolis and Fantastic Voyage, many of his
records refer specifically to astronomy and the stars,
particularly the records released on the nowdormant Axis sub-label 6277, many of which were
inspired by regions of Mars. But whilst hes
fascinated by the prospect of commercial space
travel within our lifetimes, he also believes that we
currently come as close to stepping into space
whenever we step into a club.
We didnt have to structure clubs to be dark and we
didnt have to have lights flashing above us, or
sound that has to be so powerful, he elaborates.
These things happened because humans have
always had this obsession with space. Thats entirely
natural I dont see how anyone could look at a sky
full of stars and not be amazed.

as important as it used to be in the end its just

me and the sound.
That makes him sound almost monomaniacal, and
there is something undeniably obsessive about his
approach to his art. He has never released another
artist on the main Axis imprint, saying that he didnt
want to assume the ideas of others when trying
to build something. He also masters everything
within certain parameters and states that the
concept always comes before the music, yet
maintains that this strict adherence to his manifesto
actually engenders creative freedom.
When you have a concept and need to find a sound
that sounds like mist, for example, thats actually
much easier than just banging around on a keyboard
until you find something that just sounds cool. I
work better when I know what Im creating for.
He deliberately constructs records like puzzles, it
seems, where my music is the key to something
Rather than making albums in the same way so,
always putting the drums up to maximum each
sound is considered individually and positioned so
that they feel different. I stay within certain groups
of notes for each album, so only certain sounds are
prominent and I hold back certain sounds because I
dont want to overload it. Thats why every album
has a certain character and feels like a certain
And if theyre equations not everyone can figure out,
his music sounding as impenetrable as algebra to
some, that is no longer Jeffs concern.
Ive spent so much time caring about what an
audience wants and there are so many DJs that care
about what the audience wants that I feel that Im
able to not care now, he says. I make music for the
people but I cant concern myself with what they
want because that is always changing. Ive heard so
many people say that Ive lost it, and it can get easy
to believe that. When you want to make new things
you cant be afraid that people wont like it.
But some people do understand and want new
things and want to be pushed to create something
themselves. Thats always been my main objective
that I can walk into a club or put a CD on and hear
something I never ever thought possible. Thats the
only legacy I can leave.
Jeff Mills: a man with a true manifesto for change.


Yet despite being one of technos most revered and

recognisable figures, Jeff often seems as isolated as
an astronaut from the scene he helped create.
Techno is divided between people that need to get
involved and people that want to get involved. Some
people really need it because theyve got something
to say, and need to bring the sound to other
peoples attention because it gives them the sense
that theyre expanding the culture of techno. Then
there are people that want to play it for the money
and the appreciation of the audience, that makes
them feel wanted. I feel I fall on the side of the
people that need to do it because the audience isnt


Marsel van der Wielen


ver the past 15 years, the role of

labels has changed irrevocably. The
sheer volume of electronic music
released nowadays means that it is
extremely difficult for imprints to
forge an identity, or more crucially,

act as a filter.
Even in the vinyl sphere, the number of labels has
increased, with hundreds of releases appearing weekly.
Its a far cry from when Marsel van der Wielen set up
Delsin in 1996. Back then, the best labels had buy on
sight status and acted as guides for DJs and trainspotters.
Yet despite the digital revolution, not much has
changed on planet Delsin. The Amsterdam imprints
track record in the past few years is enviable,
cultivating new artists like Conforce and Delta
Funktionen who have released EPs and accomplished
debut albums on the label and releasing material by
the current European techno royalty, including
Redshape, Morphosis, Mike Dehnert, A Made Up Sound
and Claro Intelecto.
Everything is going very smoothly last year was a
good year and this year is looking good too, says
Marsel in his laid-back tone.
So how come Delsin has succeeded where so many
labels that started during the heady late 90s have
foundered or shut down? Much can be explained by
Marsels involvement. Although he sounds relaxed and
is a music fan at heart, he takes the label very seriously.
For starters, he works full-time on Delsin and its sublabel Ann Aimee and sells their releases directly online.


With an enviable, diverse roster and spotless catalogue,

Delsin could just be the most forward-thinking label in
techno. DJ Mag talks to label founder Marsel van der Wielen
to learn how theyve endured and what the future holds
Words: richard brophy

About 10% of the labels sales goes through our

website and we sell some releases by related artists like
Conforce and Redshape. I also buy releases from Clone,
Rush Hour and Clone to sell online, he explains. The
Delsin releases appear on our website about a week
before our distributor Rush Hour sells them. I need to
be careful to work out the strategy to make sure
everyone is happy, he adds.


Operational issues aside, the other reason why Delsin

has remained such an important outlet is due to
Marsels A&Ring, which he modestly describes as
This is an understatement; while Delsin has a
reputation for being one of Detroits European
outposts, the reality is that it has released deep house
classics (Newworldaquariums timeless 2000 record,
Trespassers); widescreen techno from Dimension 5,
Future Beat Alliance and Brian Bonds Strand project,
Detroit electro from Dynarec, Stinkworx and Optic
Nerve, glitchy, abstract releases by CiM and Marsels
own Peel Seamus project, and more recently, the

droning freeform sound of Morphosis and dub from

the introspective and abrasive ends of the spectrum,
from Claro Intelecto and Mike Dehnert
You need to keep the A&Ring fresh, interesting
and up-to-date, Marsel feels. Does this explain
why he put out a stylised dub techno album by Claro
Intelecto? I just want to have good quality music on
the label I was very happy with the Claro album. Its
not innovative, but its quality, timeless music, he
Albums have featured heavily in Delsins catalogue over
the past few years; since 2009, it has put out eight
long-players, all presented with lavish artwork and
each one boasting a very high musical standard.
We did albums in the past, but there is a gap in
the market and I am focusing on albums to
differentiate us from other labels the artists are
ready for it, Marsel says, adding that his own
background helped to inform the labels path. I come
from the home listening side of things and I was always
more into artists than having a favourite DJ. Electronic

music has a functional side, but there are also a lot of

people who like listening to it at home, he adds.


Central to Delsins focus on album projects

is the development of long-term
relationships with artists, which he
describes as an investment. Listening to
Traces, the debut album from Dutch producer
Niels Luinenberg aka Delta Funktionen, it sounds
like the investment paid off.
It came together very quickly, almost
automatically with Niels, Marsel says. All the
Delsin artists are loyal to me and Im loyal to
On the subject of demos, Marsel says that part
of his job entails listening to new work on
Soundcloud. While he says that most of the
music he receives has adequate production
standards, it mainly lacks an identity.
Most of the demos sound like really textbook
Detroit techno, it doesnt make any new
contribution to something that already exists. My
rule is, if I have any doubts about a demo, I leave it. I
like having artists with their own sound, like
Newworldaquarium or Redshape they do sound
different from other artists and their approach
stands out, he says.
In the same way, Marsel feels that Delsin may have
used Detroit as a starting point, but that its good to
have a broad range of influences. He also feels that
the label shouldnt be associated too closely to one city
or scene, even though it is based in Amsterdam. Again,
this has a lot to do with Marsels own background (he
comes from the country, a place near Utrecht), but also
with the time when Delsin was set up.
It coincided with the growth of the internet, and techno
is international music, so I didnt want to be too closely
connected to one city. Its good to have people like Aroy
Dee, Steve Rachmad and Newworldaquarium around me
in Amsterdam, but were not representing the sound of
the city. Delsin is based here almost by accident and there
are only about four or five Dutch artists on the label,
Marsel explains.
But despite insisting that all he needs to run the label is
an internet connection, he admits that Holland has the
infrastructure that many European countries lack. Some
of the last independent distributors, like Clone and Rush
Hour, are here, and there are clubs where I can
put on a label night, he admits.

from the artist to the listener the music itself is the

After more than 15 years running Delsin, Marsel says he
has no plans to change his approach. Maybe I should
have done things differently, like Serge who shut down
the Clone label and set up all the sub-labels, he muses,
but then quickly changes his mind and says that Delsin
is fine as it is.
The label is approaching its 100th release and its owner
is planning more albums, EPs from Dehnert, Claro
Intelecto, Conforce and French producer Marcelus, as
well as something special to mark its centenary.
I want to get new tracks from artists who Delsin
worked with in the past, people like CiM and D5,
producers who arent active anymore. Many artists have
a natural life cycle and dont produce anymore. I see it
with my own project. I should set a few weeks aside and
concentrate on my music but running the label is my
job now, its a very nice job!
It sounds like its still the best job in techno.


Delsins recent highlights in Marsels



I approached him after his first single, but if you

see an artist growing on another label, you dont
step in and get involved. I always felt he should
have been on Delsin. Then he started sending me
tracks under a different name and eventually we
released the album as Claro.


Selections 1995-2011

I was always a really big fan of Beltran, so it was

really nice to work with him after all those years.
Hes someone Ive always admired and I feel that he
fits on Delsin because it is a soulful label.


Its a really difficult task to pick the highlights of

the past few years, but I was really happy with
Silhouette. Its a harder-sounding record and Im
very proud of it.


Delta Funktionen

Delsin is also unusual because its

vinyl sales havent collapsed
due to digital downloads. Marsel
believes that the format thats
really in trouble is the CD. On average,
Delsin sells 700-800 vinyl copies per
release although this rises to 1,500
for big releases like the Marcel
Dettmann remix of Delta Funktionens
Silhouette while average sales of
CDs, which are cheap to produce,
hover at about the 400 mark.
I see vinyl going down a little
bit and digital is doing well,
but the growth in digital
isnt taking away
from vinyl,
which is
more a
thing now, he
believes. Ive never
been an MP3 hater or
100% pro vinyl; for me its
about the music, what goes

Claro Intelecto


Take 10

The UK techno don, now residing
in Amsterdam, talks us through
his top 10 tracks from the technoid
Words: richard brophy

o borrow the title of the wellknown Detroit compilation, Dave

Clarke is one of technos true
people. The refreshingly straighttalking DJ/producer set up Magnetic
North in the early 90s as a forum for his own work
and releases by other emerging techno artists like Russ
Gabriel, Cristian Vogel and Woody McBride. Rightly or
wrongly, as a producer, he is still best known for the
Red series, the second of which contains one of the
most distinctive techno tracks of all time the ominous
chord-led Wisdom To The Wise.
Clarkes strictly underground electro, ghetto and techno
tastes coupled with his hip-hop mixing style meant
that, musically, he was at odds with all the other big
name DJs who came from the UK during the 90s, and his
propensity to tell it like it is means that his famous claim
that I may be established but Ill never be establishment
still rings true.
Clarke relocated to Amsterdam a number of years
ago and says, Its a happy place to live, and even
though I dont speak the language, all my friends
are Dutch... I find everything here quite easy.
He also remains critical of UK dance music and feels
that the scene has become totally commercial and
even from the point of view of travel, its not the best
country to be [in] if youre flying a lot.
However, he reserves most of his ire for the development
of EDM in the States. As a scene, its missing something,
with its commercial approach its pushing towards a feeling
that it will implode. You have semi-underground people
putting out music that they wouldnt have put out before
and there is a sense of people cashing in their chips, he
Despite Clarkes championing of digital DJing, he believes
that the disappearance of the record store means that there
has been a decrease in the quality of music being released.
Its all fake digital charts organised by fake digital PRs, he
asserts, adding that he continues to do his White Noise
radio show because its my way of contributing to the
Clarke is also busy in the studio, working with Mr
Jones under the Unsubscribe remix project. They
have reshapes of Phil Kieran, Boys Noize and Octave
One due out soon and may start making their
own material. Clarke continues to DJ all over
the world, but has found the time to do this
Take 10 chart for DJ Mag. As he says: This
is a total bastard, its sort of impossible. I
could have been smart-arsed and pretended
Im into pseudo-industrial music that only 13
people with beards liked, but I have kept it as a
techno chart.
So, without further ado


01. Cybotron Techno City

I have to include something from Juan Atkins. He has

been an absolute inspiration to me over the years and
Techno City was one of the first tracks that inspired
me to get involved with techno music. Ill never forget
hearing it for the first time on the John Peel show; I was
in my dads Mini and he was driving through Camden as
Peel introduced it in his dry northern tones. It came out
at a time when people were figuring out how technology
was going to affect their lives. At the time you were
lucky if you had a talking watch, so to hear vocals on this
was amazing. The whole thing is so sparse and yet so
inspirational it captures what techno is about.
I have great memories of playing Techno City at DEMF
in Detroit when the festival still cared about music from
the city, and I remember mixing it into one of my Red
tracks. Believe it or not, I also have a picture of Juan
on my fridge at home! To be honest, picking one Juan
Atkins track is ridiculous because there are so many
Clear, Off To Battle and all the Model 500 stuff.

02. E-Dancer Powerbass

Its got singing on it, which may seem unusual for

people who like my music. For me, Kevin Saunderson
was the absolute master of techno drums, he was totally
at the top of his game. Powerbass is one of his hidden
gems, and like with Juan Atkins, there are probably
about 30 Saunderson tracks that I could have included
in this list.
Powerbass has a really cool, powerful vibe about it.
It was originally released (in 1991) at around the same
time when Moby was still making decent techno and has
the same kind of phased claps.

03. Blake Baxter When A Thought

Becomes You

When I was in Iceland recently I had a night off and

I heard one of the other DJs play this tune. There was
a period of time when Blake Baxter was releasing
incredible music. Its not easy for techno artists to
make music with great lyrics, but this has the line He
who cries the loudest, shows the most pain/He who
keeps it all inside, dies in vain. Blake also has this great
chocolatey silky smooth voice.
The bass drum is quite hollow and its not a thumper
of a tune, but the lyrics combined with the spooky
arpeggiated synth means that the track and the whole
message behind it is so powerful. Blake was always
trying to push things as an artist and sometimes youd
think that your needles were damaged, but he was
distorting the kick and bass on his records. Thoughts is
one of my favourite productions of all-time.

04. X-103 Minnia (The Queens Theme)

Again, it was really difficult to pick just one Jeff Mills

track, so I thought that Id choose something a little bit
different, even though I am keeping this list a stricty
techno one. Queens Theme is a really eerie, 110bpm
track from a release (Atlantis) that was full of near
150bpm heavy bass drum tracks. This offers some
respite, but it has a spookiness to it that I love. Theres
no doubt that Mills music from this time had a big
influence on the hard techno that followed. Theme is
something that I listen to now and again. I might play it
to finish off a four-hour set.

05. 69 Desire

Out of all of Carl Craigs productions, I have to pick

Desire, which is a beautiful smooth track. I like all of his
releases from that period because they have a certain
graininess to them and his music has a real character.
There are so many Carl Craig tracks that I could have
chosen, like Filter King, from the same period (1994).
I wasnt a fan of his albums from this time, but Desire
was a big track for me at the time, especially on radio.
You know what? Trying to pick all of these tracks is
actually torture for me.

06. Speedy J Rise

I was never a massive fan of Plus 8 it had some good

cuts like Gravitational Arch Of 10 but Rise is just
immense. I still play it, its that fifth wave of techno, if
you like, because Im trying to be chronological with the
chart. Rise is quite simplistic, but also quite complex.
It feels like it is a pounder, but its actually quite melodic
and it just builds and builds. This is what I like about
techno it seems simple but its actually quite complex
once you get closer to it.

07. Mazzula Sat-ur-dee Night

OK, now we go in a completely different direction.

This guy has come from nowhere and its only a matter
of time before he gets signed. This is the most bizarre,
crazy fucked-up electro stuff, really eccentric. There are
some lyrics hidden in there somewhere, but its really
quirky electro.
(Plays the track): OK, the lyrics are I got the feeling
everythings not all right/people fighting on a Saturday
night. I think hes from the north of England maybe
this is what he sees every weekend? Anyway, its very
leftfield. I have to include new music because if I was to
make a top 10 with just classic techno, I would look like a
complete revisionist.

08. Subdermic Electric Cabaret

I played this track so much, it was in my Top 10 of 2010.

Its just incredible, like the bastard son of LFO. Let me
play it for you...
(Puts on track): I have no clue what he is saying, but
this is deep shit and it has some great chord structures.
It sounds like it was inspired by LFO and came out at
the end of last year. Like Mazzula, I found this through
Soundcloud. I really miss the social aspect of MySpace
I used to get all these messages from Jellybean and Man
Parrish but Soundcloud has been a great way to find
new music. I fell in love with this track immediately, it
just sucks you in.

09. The Exaltics Science Of The Naked

Men (Clatterbox Remix)

This is another electro choice. I wanted to include

both the Exaltics and Clatterbox in the chart and this is
the best way to do it. Exaltics are producing out-there,
mind-blowing electro and Clatterbox is mental, totally
edgy. When you put them together, you get this. Its
been out since 2011 and Ive included the Clatterbox
remix. I tried to incorporate it into my Fabric mix last
year, but there wasnt enough space. Its 114bpm and
just oozes atmosphere it sounds different to pretty
much anything else. A lot of DJs, especially German
ones, are scared of playing electro. They just want to play
monotonous 127bpm techno maybe theyre worried
theyll clear the floor if they play electro.

10. Marc Romboy vs Paris The Black

Fu Dark N Lovely (Kenny Larkin

Choosing this is a great way of making sure a lot of

artists are included in the chart. Fuck knows what hes
singing about, but as its Paris, its probably something
perverted. Its a brilliant track though, with light
percussion that doesnt hit you in the face. Romboy is a
producer without a genre, he is like a lighter version of
Abe Duque. Having Paris on vocals and getting Larkin
to remix it is a great combination and I had to include it
on the Fabric mix. With this chart, Ive paid homage to
the past and pointed to the future, to what inspired me.
Im trying to give a ladder for those who came after me
to climb up; most people tend to pull up the ladder once
theyre finished.


xperimentation is at the heart of electronic music. The

rhythm boxes that Roland made to accompany solo guitarists
were co-opted by inventive young men, pushed beyond their
limits into the snarls of acid. Broken drum machines, subquality samples and even childrens toys modded into new
sounds have all pushed dance music in ever more imaginative directions.
But as hardware studios become scarcer, with bedroom producers able to
create everything they need in perfectly synced and quantized
boxes, electronic music has become cleaner, crisper, and
perhaps in the process shed some of its soul. Sometimes, its
the ghosts in the machine that are most inspirational,
letting everything get ahead of you to spit out noises you
never meant to make.
Thats the approach favoured by Australian Rick Bull,
who under his Deepchild moniker has spent two
decades fashioning wayward technology into
musical sense. And for Rick, the most exciting results
always come when you dont know exactly whats
going to happen.
Im not sufficiently skilled enough to know how to exploit
either my analogue or digital sources, he laughs when we
ask where he sits on the hardware/software debate. I
love my old analogue machines and synths because
they regularly misbehave. I love my digital stuff
because I still dont know how to use it properly. I
let them fight it out in the mix. To quote Leonard
Cohen, Theres a crack in everything thats
how the light gets in.

Deepchilds new album is a
cultural tapestry,
threading together
the sounds of
Saudi Arabia,
Australia and
Berlin into a
dazzling whole.
We spoke to him
about nomadism,
and finally
coming to


Though his latest album of floor-focused techno

may mark him down as a Berlin native, named as
it is for Neuklln, the area of the city he calls home,
Ricks Aussie drawl distinguishes him as one of the
many foreign pilgrims drawn here over the last
decade by cheap rents and a liberal musical
culture. Modern Deepchild is certainly more at
home here than in Australias sun-flecked
dance scene, but a dip back into his extensive
back catalogue reveals a southern hemisphere
sound that dabbles in analogue jazz and beachfriendly breakbeats.
In a sense, the earlier albums were
explorations of the sounds Im smitten by
now, but a little less in a geographical
context. I was a techno guy, working out
how to explore these sounds and
influences within a more temperate,
over-by 2am setting, he explains. For
me, theres always been something
compellingly pertinent in the way in which
techno speaks for a sense of displacement.

Words: tom banham

Its a sense of displacement that comes from

living a life between cultures. Before moving to
Australia, Rick grew up in Saudi Arabia, a culture that was
deeply mediated, encoded and censored. So when he first
discovered the freedom and lawlessness of machine-made
music at the hands of Orbital and LTJ Bukem, it stunned him.
Electronic music was hyper-real. It was sexually ambiguous. It
was politically dangerous. It was post-human, volatile,
displaced, viral. It was music I could live within and own.
Profoundly alienating, wildly different, he recalls.


Ricks been producing ever since. His experiments in

multi-tracking have evolved into an as-live-as-possible
workflow that melds the anarchy of analogue boxes with
the ease offered by modern digital studios. The through-line
definitely remains a love of music with a certain degree of the
edges rubbed off, he explains when we ask how his approach to
music has changed over the years. Fingerprints, smudges,
imperfections, inadequacies I can safely say that these are present
in everything Ive released.
These days, the less of a conception I have of a record, the better. Too
many years of hyper-obsession and not just banging it out have not served
me well, he laughs. These days, my process tends to be more quick and
dirty render out a few thousand loops over several months, open up a

new working file, bash

loops together, see if they
work. Delete. Repeat. Delete.
Render. Cross fingers. Play tracks live. Release the work or
dont. Keep working. Forget your work. Do it again.
The latest fruit of this fertile workflow, Neuklln Burning drops on
Thoughtless Music in October, and is the first Deepchild full-length since he moved across the
world. Its a record that channels the many influences hes picked up in his nomadic career,
from the Sufi music of his Arabic youth to the sounds of Berghains main floor mixed with field
recordings from US tours. It also feels like his most complete work to date. So has the move to
Berlin finally brought this nomad to rest? He smiles. It feels like coming home.



In a two-decade career hes created a global movement,

been instrumental in defining the sound of Detroit and
inspired more copies than Xerox. But through it
all, Robert Hoods beaten his own drum, to his
own inimitable rhythm
Words: tom banham

echno can be a lonely pursuit at times.

For all the moments of adulation by
crowds of giddy fans theres days
spent locked up in the studio, alone
on planes or just sat in hotel rooms
waiting for events to begin. Even
when youre up on stage, more often than not youre
alone, in a way that few other musicians experience. No
band, no orchestra and, unless youre a regular on the
festival main stage, not even an array of glitter cannons
and LED screens to fall back on.
Of course, this set-up also has its benefits. Unless
theres a particularly intrusive label involved, youve
often got complete creative control, never having to
worry that the drummers going to turn up with a song
hes written about an octopuss garden. Youre free to
experiment, to turn out an LP of aquacrunk under some
ludicrous pseudonym, or an EP of trance covers of
Wagner compositions. And yet despite this, so many
electronic producers squander the chance to be
individual, choosing instead to follow the pack aping
the hot new sound or slavishly trying to copy the
innovators of the past.
Its something Robert Hoods fought for more than two
decades. Since leading Detroits second wave as part of
Underground Resistance, hes crafted some of the most
innovative and above all unique techno records ever
committed to wax. Across a plethora of pseudonyms
and a discography thats touched on jazz, gospel,
Motown and the minimal techno he helped pioneer,
Roberts always trod his own path.


I cant be a follower, is his succinct take on the

matter. You have to take what youve experienced, and
just springboard off that. If youre unable to channel
that, then you end up following someone else. And if
theyre lost? Youre lost. Listening to those measured
Detroit tones, that could have rolled off the General
Motors production line, you get the impression that
Robert Hood is a man who knows precisely where hes

The Resistance

This sense of purpose was vital in ensuring Robert

forged his own sonic identity in a city dripping with
musical influences. Underground Resistance came in
the wake of technos birth at the hands of the Belleville
Three, an explosion that positioned Juan Atkins,
Derrick May and Kevin Saunderson at the centre of the
techno universe and produced a legion of producers
happy to emulate this Detroit sound. But although
Roberts quick to admit that they were an ever-present
inspiration, he stresses that, from the outset, the
Underground Resistance approach was unique.
Theirs was based more in fantasy, whereas with
Underground Resistance it was about rebellion. We
considered ourselves to be terrorists, you know? he
says with a smile. Ive learned a lot from watching
Derrick play and listening to Juan. I studied them. But I
also studied [Italo band] Kano, I also studied Heaven
17. Ive been a student of music my whole life, and now
the best thing I can do is to be an originator, not just to
be a follower and try to duplicate what theyve done.

Certainly no one could accuse Jeff Mills, Mike Banks or

Robert Hood of being followers. Since Underground
Resistance split in the mid-90s, theyve forged three
unique takes on Detroit techno, from Mills cantering
warehouse music to Banks organic and instrument-led
cuts. So how did the three manage to align such
distinct visions?
We each knew what we were bringing to the table, is
Roberts simple answer. Jeff had his industrial
leanings, I had my soul-ish, stripped-down leanings
and then Mike had his more melodic, musical leanings.
Separately, when youre in your own studio or youre
making a drum pattern by yourself? Hey, this is what
youre doing. But when we come together as X-101,
X-102, for these projects, we talk about it and discuss
what it is. Were getting in this spaceship and were
travelling to this planet today. When you get in your
own individual spaceship, its up to you to target your

Transistor Rhythm

To stretch a metaphor a little, the central console of the

Robert Hood spaceship is an array of drum machines
and rhythm boxes, centering on the Roland TR-505
the first machine he bought when the electronic virus
took hold in the late 80s. With nothing else to make
music on, his experiments were restricted to rhythm
and programming, trying to come up with new ways to
make music with only limited tools. Although he
admits it was frustrating at the time, this constrained
creativity sowed the seeds for his embrace of
minimalism in the wake of Underground Resistances

Three stripped-back Robert Hood

Robert Hood Minus

Five minutes of nothing happening to jaw-dropping

effect, the ever-moving arpeggios of this highlight
from Internal Empire can still be heard in the
techno that fills Berlin every weekend.

Robert Hood After Hours

The second installment in the Nighttime World

series brought together funk, cinematic and
ambient influences to show that Robert wasnt only
about minimal muscularity. This marriage of jazz
and techno still produces chills.

Floorplan Funky Souls

This first release under his more soulful moniker

showed that Robert could do sample-based house
music just as effectively as techno. A loop that
never ends and a bouncing drum line thats been
copied ever since.

split, as he realized that less could be much more.

Ever since Internal Empire exploded onto the techno
scene back in 1994, showing that techno didnt
need to be about who could be quickest or
loudest, but rather who could get people to lose
it on the dancefloor, the minimal approach
has fathered countless bastard offspring
over two decades of cross-pollination. And
although Robert recognizes that his vision
is a long way from the strands of minimal
that enrapture festival crowds and
shift enormous units on Beatport
these days, he isnt bitter, least of all
about the success of that other son of
Detroit (or just over the river in Windsor,
Canada) and minimal evangelist, Richie
Richies idea of minimalism is not going to be the same
as Robert Hoods idea of minimalism, he smiles,
diplomatically. Ill just say that within the last 10 years
or so, it has taken on a cleaner, more polished sound. I
dont want to say its gotten away from the groove
because there is a certain groove that someone like
Magda has, there is a certain industrialised rhythm and
thats fine. Berlin and Germany as a whole may see it
from a different point of view than I do.
When pressed on what exactly that point of view is, he
describes it as more of a soulful groove, before going
on to explain the music he grew up with, that informs
his own sound Detroits Motown heritage,


Parliament-Funkadelic and the array of

new wave and electro records played by
The Electrifying Mojo, the seminal Detroit
radio show host that introduced the sounds
of the B-52s and Kraftwerk to those fertile
young minds in Michigan. For Robert, minimal
techno isnt about the coldness of machines but
rather a way of adding to Motown and taking it
somewhere else, taking the soul of Motown into the
Its really not about trying to strip down a track to
bring out the best groove possible. Its that you know
when you have enough, he laughs. You have this
driving bassline, and you have these hi-hats that are
singing a melody. Even though theyre making a
repetitive pattern, they seem to sing a melody. And
then theres a groove inside a groove, and if you listen
close enough and long enough, you will hear a hidden
groove there. A second and third melody, sometimes.
Its so easy to put on a record, and you have this build
up with the snares and then they drop out. And you
drop the beat back in and the crowd goes crazy, he
adds, dismissively. But Im more concerned about
those one or two guys in the back of the club whove
been listening long enough they get to that point
where they lose it. They get inside that groove and they
lose themselves. Theres an art to it. You cant just put a
stamp on it and say, Hey, this is minimal, just for the
sake of being minimal. Its deeper than that. Its
emotional and its spiritual.

Spirit of the South

Its an apt analogy, considering Roberts new role as a

minister in Alabama, where he lives with his wife,
having moved away from Detroit in the wake of its welldocumented collapse over the last few decades.
Alongside his pastoral work, he somehow manages to
fit in a hectic touring schedule and extensive time in
the studio, where hes recently put the finishing
touches to a new Floorplan album, as well as the latest
full-length under his own name Motor: Nighttime
World 3. As with the previous installments in the
Nighttime World series, Roberts produced a concept
album of sorts, this time soundtracking the rise and fall
of his home city and its connection to the fortunes of
the motor trade.
Its a record thats been four years in the making, a
collection of bits and pieces here and there that
didnt fully take shape until Robert saw Julien Temples
2010 film Requiem For Detroit on a flight home.
It inspired me to go back and recreate, thinking about
Detroit, thinking about The Electrifying Mojo, thinking
about my grandfather travelling to Detroit to seek a
better life. All that came into play and it just took off
into something else, he explains when DJ Mag asks
about the inspiration behind the new album. The


documentary just caused me to ask, What tracks

are going to fit into this concept? and it just took
on a whole other life. It became something new.
Inspired by seeing this story of the city where he
grew up, where his grandfather had come from the
cucumber fields of the Deep South to start anew in the
car plants of Ford and General Motors, Robert went
back into the studio and began to refashion the tracks
he already had. Seven were binned and the rest
re-imagined as the soundtrack to a city fallen on
hard times, plagued by racism, corruption and
the exodus of its citizens. The track titles map
the fortunes of the citys black population, from
the influx of migrant workers from the south in
opener The Exodos through the industrys
boom years Better Life, Black Technician and
Drive (The Age Of Automation).
But the albums latter half takes a darker bent, as
Robert tackles the problems of a city inexorably tied to
the auto industry thats seen its stock plummet over
the last 30 years, leaving a ghost town in its wake. Its a
city where crime is rife, where 47% of adults are
functionally illiterate and unemployment soars above
national levels. The collapse of this once great city is, as
the album describes it, a Slow Motion Katrina.
But Roberts not sounding the death knell, rather
trying to inspire creativity and the belief that the
people of Detroit can triumph over whatever adversity
they face. He knows more than most about overcoming
hardship his father was murdered when he was six
but hes keen to stress that hes always embraced the
positive and believed that he could create a better life.
From those ashes and that adversity, I had to learn

how to make the best of it. These are the cards I was
dealt, and so I said, Life is what I make it. The keys are
in my hand. No matter what adversity I face, I cant sit
around and feel sorry for myself and have a pity party. I
cant say, I dont have this, dont have that, I dont
have a dad. I cant dwell on what I dont have. What I
should do is count my blessings.
This is the power I have, so let me reach inside this
Internal Empire that I have and pull it out and build on
it, display it to the world. Show that through vision, I
can build new planets, build new worlds, I can build this
Minimal Nation and not have to settle for a
substandard way of life. So we have to look on the
inside for what possibilities there are where there are
no dreams, people will perish.

t the age of four Catherine Britton

aka Cassy left Kingston-uponThames with her parents and jetted
off to Vienna, where little did she
know, 24 years later, shed become
a techno tycoon. Since then shes
spun around the globe and resided in such cities as
Paris, Amsterdam and Berlin, and has now traced
herself back to Vienna for a short while.

Shes imprinted even more on the techno map after

this years successful Cocoon Ibiza residency and
helming one of the Cocoon Heroes mix CDs (the other
was mixed by Joris Voorn).
The compilation practices the techno gospel she
preaches. Twisting through punchy slaps, chiming
synths, deep warbling waves and a few ripples of
Balearic ambience, current techno and bass
heavyweights Pearson Sound, Adam Marshall, Mr. G
and Paul Woolford & Psycatron are all featured.
I have a very strong techno background and I love it,
so its a nice chance to mix tracks or music I dont get to
put on a CD so much.
DJ Mag nabs some exclusive time with Cassy whilst
shes in NYC, DJing in-between her tight-scheduled
Cocoon Ibiza residency

Cocoon have just released your Cocoon Heroes mix

CD. How did you find the whole process?
I was super-stressed out at first, because I was
travelling too much, my studio wasnt set up and I got a
new house in Vienna. In the end, it just happened quite
naturally and organically, I planned out which tracks I
wanted to use and it came together really well. The
mixing desk is quite a primitive set-up at the moment,
it took me about two months to produce, with all the
planning and execution.

How have you found your Cocoon Ibiza residency this

summer and working with fellow residents Sven
Vth, Gary Beck, Carl Craig, Maya Jane Coles, etc?
Its my fourth time playing there. Last summer I only
played once, and the summer before I played twice. Im
getting to know people more and vice versa, I feel more
at home, more confident, more relaxed with what Im
doing. I love playing on the dancefloor and the energy
it creates. The other residents are great. Sven Vth is a
very special character, who is constantly full of energy,
and he really dedicates himself to what hes doing. Hes
aware of more than just the music, hes aware of the
people. So its interesting to hook up with him and to
get to work with him. The rest of the guys are superexperienced; theyve been there for a very long time, so
theyre very supportive. Theyre all so sweet and cool.

Whats the techno music scene like in Ibiza at the

I think its different. Everyone is a little bit more aware
of whats going on, there are more parties and there
are a lot of really talented people on the island. Every
year, techno played in Ibiza gets better in my eyes. So I
guess its very strong, even if people might not think
its strong, or not how they expected it to be, but I have
a feeling its more about music and less about whos
who theres more interesting people on the island
this year than last year.

You had quite the well-travelled upbringing. How

was life as a little Cassy?
Id say it was very good, but it was also very particular.
It was very strange; I was completely different to all the
other kids in Austria, but it made me into who I am and
it taught me a lot, I guess. I got to learn two languages
and grew up in a completely continental European
culture, so that was all very unique and special and Im
very lucky. But it was also very hard, being the only one
looking different or being different or speaking another



Techno temptress Cassy has come a long way since

her Vienna youth days of jamming with DJ friends.
Bouncing around with such labels as Perlon, Ostgut
Ton, Playhouse and most recently Cocoon Records,
the lady keeps on staying on top
Words: fina charleson
language, or with a name that didnt sound German,
you know, you cant have it all, I guess! I had more
knowledge of things than other kids, because I had
already lived more by the age of four than other kids. So
its a bit difficult levelling with the people youre
hanging out with and you always have to pretend to be
someone youre not from an early age, otherwise youre
not going to have any friends. There are many
advantages and disadvantages to it, but its definitely
interesting, as it teaches you a lot of stuff for the rest of
your life.

At what point did DJing become an aspiration for

Very late, I was 28. I hung out a lot with DJs and their
friends, and my DJ mentor, Electric Indigo, eventually
said that I should start playing, as Im so interested in
music, and Id get to come along to the gigs and have
trips paid for. I always enjoyed playing records at
parties, but I never thought that DJing could be my
thing, I just never considered it and I thought that
everyone who wanted to be a DJ was super cool and
super annoying especially boys! So I just got into it
when I discovered how interesting it was, which helped
carve the feeling for it. It took me a while to be certain
if it really was for me; I really tested myself. When it
became something serious, I went for it 100%.

What was your first experience like of DJing in front

of a crowd?
My first set was in Vienna, which was extremely scary.
You have so much power over people with the tracks
you play. You wonder whether or not the music you play
is going to make them leave the dancefloor, dance, go
to the toilet, buy another drink, or kiss a girl or kiss a
boy Its very powerful, considering how much time
you have.

Was it difficult entering the profession as a female?

It was at times, but Im a person who is quite
confident about what I know when it comes to music.
Im quite frank and sassy, definitely a girl on top. On the
one hand, its difficult for people to be with me,
because I dont get easily scared. But on the other
hand, its good, because you stick to who you are and

what you like doing, so I guess I have some form of

natural will power. In some ways its made me
insensitive to how men like things to be done, as I
always stick to what I want to do. Thats what art, music
or life is about; to be yourself and to be an individual,
and not to conform to other people if you dont want

If you got the chance to, what would you say to your
former DJ self?
I guess my advice would be to stay completely openminded, in the sense that everything is a work-inprogress. Its about enjoying what youre doing and
being totally yourself; not for any other reasons. Even if
its hard at times, its important to stick to your guns,
and having the right people next to you and around
you to support you, and you support them back. Youve
got to have very good friends and people you can trust
so you dont get lost in any bullshit.

Youve got your own label, Cassy, hows that coming

Im actually starting on a project now, which will take
a few months. Ive got a few other people working with
me too, so it wont just be myself, which makes things
easier, because I travel so much. Ill be taking some
time off to work on it. I want to produce some stuff on
my own label again.

Are there any techno labels youd recommend?

I really love playing stuff you can buy at the record
store Hardwax, which I used to work at, in Berlin.
Theyve got a lot of techno, especially English and fresh
German techno, techno from Detroit a lot of dubstep
producers are now starting to produce more techno, so
its very interesting to check out their website and see
what they have to offer.

What do you think about dubstep and bass music?

I really love listening to it and the quality of the sound,
the freshness of it and how organic it is. I get superinspired by it. There are so many great labels like Hessle
Audio, Hotflush in fact, there was a Hessle Audio
compilation released last year, which I still listen to. I
really love it; all the artists are so good.

Would you say techno has changed much over the

years? Could it ever go mainstream?
I dont think techno has changed at all. Ive discussed
this with quite a few of my colleagues, techno has
always been so varied, ranging from 90bpm to
160bpm, it can be super intellectual, experimental, or
raw. Techno is not about people adhering to
fashionable styles; its unique, raw and strict in quality.
It has stayed the same because of its reliability, purity
and obscurity. It could be polished into something
more mainstream, like Aphex Twin, who is techno in my
eyes. I guess techno could also be used in a movie or in
commercials, I think music that can touch people is


Spanning over 30 years and still pushing forward into the
bleeding-edge, techno is arguably electronic musics most
significant and influential genre. We look at where it came
from and what makes it what it is.

Words: allan mcgrath

echno. The word inspires whole
galaxies of sounds, locations, legends,
moods and ultimately definitions.
Ben Sims reckons it is best defined
with the concise combo of machine
funk, before pointing to soul, groove
and Detroit as what lies at its heart.
With typical Gallic flair, Laurent Garnier once described
the genre to us as the electronic condensation of
jazz. A romantic way of putting it, but again just a
reminder of how subjective the sound is theres little
thats jazzy about sparse, mechanical warehouse
grooves or the minimal machine flutters that gripped
DC10 a few years back.
Then, for anyone that cut their rave teeth at squat
parties with the Liberator DJs in the late 90s, techno is
probably better summed up by rampaging, strippedback beats and raging 303 acid lines. Or the phrase
fuckin avin it. Everyone has their own experiences,
their own definitions. A man at the centre of todays
techno world, Berghains Ben Klock believes that
defining the genre would be the end of techno and the
word itself conjures up too many clichs the essence
of techno has to be experienced moment to moment.
Maybe hes right, but if anything, all this just points to
how epic and expansive technos 30-year journey has
been thus far.
Trying to trace the exact origins of the word techno are
just as problematic as defining it. A camp vaudevillian

husband and wife duo, British electronic pop act

the Techno Twins coined one of the first known
usages of the word when they formed in 1977, while
Andreas Baumecker from Berlins Barker & Baumecker
references the 1984 opening of Frankfurts TechnoClub
a new beat, synth pop and industrial club run by
German DJ Talla 2XLC.
The music played there was mostly electronic body
music, synth pop and electro funk from the likes of
Nitzer Ebb, Front 242, The Klinik, A Split Second, Skinny
Puppy, Depeche Mode, Yazoo and New Order, he
recalls, adding basically everything that sounded
electronic and had a dance beat. Early
productions of Sven Vths OFF project were
tested there as well.

Juan Atkins


Any discussion of technos formative years is

impossible to entertain without focus on
Detroit and specifically the legendary Belleville
Three of Juan Atkins, Derrick May and Kevin
Saunderson. Bonding over the visionary
European electronics of acts like Kraftwerk
as well as the psychedelic funk of George
Clinton and so much beyond, the young trio
were soon drawn to create their own hybrids
drawing on both an innate soulful groove and obsessive
Ben Sims

Barker & Baumecker


Kevin Saunderson

Pure techno is the foundation of

the now expanding and growing
commercial world of electronic
music. Techno is the test-bed
of ideas that will find their
way into the musical trends
of tomorrow, like how the 909
hi-hats of Derrick May and early
Detroit records made their way
into modern day pop music, or
how early Aphex Twin records
paved the way for successful
electronic artists like Skrillex
richie hawtin

futurism. As far back as the early 80s, Juan Atkins was

forging a new electronic template through his defining
proto-electro as Cybotron (alongside Richard Davis, aka
3070), before exploring a more driving, but equally
futuristic sound as Model 500 in 1985.
Like a classic strings and piano symphony played by a
cyborg orchestra, Derrick Mays 1987 classic Strings Of
Life as Rhythim Is Rhythim was another space-age bolt
from Detroit, while Kevin Saunderson was soon to take
the sound overground through the soul-drenched
optimism of his Inner City band.
Between them, the Bellville Three put the sound of
Detroit on the global music map asserting it as the
spiritual home of techno in the process. In the
immediate years that followed, acts like Mad Mike
Banks politically-charged techno collective
Underground Resistance and Jeff Mills upheld the
legacy of Detroit as a techno stronghold to behold.
The integrity of Detroit techno can never be
underestimated, but its myth (burnt-out, impoverished
city creates an underground musical revolution) has
arguably been over-romanticised over time; even if the
industrial cityscape undoubtedly influenced the sound.
Belleville itself, after all, was a relatively comfortable,
pretty middle class suburb some 30 miles from the
rundown heart of Detroits core.
It might be more easy for certain people to imagine
that Underground Resistance was a revolutionary
collective born out of the ghettos of Detroit, but that
wasnt the case at all, believes Jeff Mills. Neither was
the concept of Detroit techno.


Indeed, Detroit was a central

stronghold but it was not
alone. In reality, techno
was a global movement
that was fast spreading
into a number of
international colonies. In
the same way that the
sounds of Kraftwerk
arguably the original techno
forefathers had spread across
the Atlantic to influence and
inspire the Belleville Three, the early Detroit and also
Chicago techno sounds were soon travelling and
mutating across in Europe. In Belgium, a darker rave
techno sound was emerging under the guidance of the
legendary R&S label. Over the way in Germanys
Frankfurt, Sven Vths Omen Club was belting to a more
synthesised and coldly cosmic techno-trance assault
personified by Vths Harthouse label. In Rotterdam,
there was the emerging sound of gabba and all the
165-plus bpm intensity that that entailed.
In loads of places in the world, something similar
started blossoming, a lot also in Germany, in Holland,
in Belgium, in Detroit, and all of those places sort of
influenced each other, believes Chris Liebing, himself

Jeff Mills


a regular at The Omen in its

heyday. I would not say that
there is one place where
techno came from, and that
this place is Detroit. No,
there are loads of places
like Berlin, Frankfurt,
Amsterdam, Rotterdam,
Gent, Dsseldorf, many
places where people started
to do new kinds of music with
electronic sounds. Their
motivations were obviously different and
so was the music.
And while techno might not have been a
political force like punk, it had a capacity to
unite, bring down barriers and liberate minds
wherever it travelled. Something it holds to
this day.
Techno was always about ordinary people
interfacing with other ordinary people, says
Martin Dust from The Black Dog. No us and
them bullshit. Or rock god clichs. Techno is one of
the least elitist genres out there!
Chris Liebing


Wherever techno went or morphed, its

mutations were united by a singular spirit. On
the surface, this may have been a raw
electronic intensity and 4/4 beat. But for many
of technos most defining characters, one thing lies
at the heart of all that drives the genre an
obsession with the future. The UKs longest-serving
techno ambassador, Amsterdam-based Dave Clarke,
feels techno was always about soundtracking the
future in an edgy, industrial but funky kind of way.
While house music became an embodiment of the
human condition emotion, soul, sensuality techno
represented a cyborg distortion from Y3K. And to this
day, wherever techno takes it influences from be it
soul, funk, synth-pop, R&B or even classical it always
seems to reshape them into an alien electronic form or
space-age boogie.
It was the futurist aspects that were most interesting,
admits Jeff Mills. Techno would occasionally be
presented as unscripted prescriptions and predictions
of the future. Visions about the world of tomorrow.
No technology, no tomorrow, no techno. As Dave Clarke
puts it, technologys ability to unlock these unknown
futures is what gives techno its most literal meaning.
Techno is about technology, techno music has solely
driven the main changes in music technology, and as
technology is constantly speeding along, so techno will
also change with it, it is a symbiotic relationship.
A Guy Called Gerald, however, also points out that true
musicality can never be replaced by technology alone.
Constant movement of ideas in sound technology can
never be boxed to be used for the sole purpose of a
person with no original ideas of their own, he notes. I
feel the musicality and the drive for technical
achievements has dissolved into a system of mass
production. The actual music seems to have no use
other than to make it possible to get booked as a DJ.
The music became shallow and cheap. The main
objective seems to be to make easy-to-use loop tools
with set peaks and falls.


Amongst the tidal wave of uninspired copycat

producers, there remain the innovators who have
consistently harnessed technology to push the
boundaries of techno in the most artistic and avantgarde sense. Some 30 years since its formative
beginnings, techno continues to shift itself into new
forms be it Marcus Intalexs dark soul sci-fi grooves
as Trevino, Blawans broken funk or the raw groove


Dave Clarke

intensity of the
many Hardwax
labels. At the
same time, the
techno sound continues to
bleed into other genres from
all angles. Look into the deeper strains of dubstep and
Autonomic-influenced drum & bass, or even Skrillexs
mentalist machine trickery and modern pop (think
Joey Beltrams Mentasm hoovers popping up in Lady
Gaga records), and its influence is impossible to ignore.
From the edge-bleeding brutality of his Plus 8 label
through the techno uber-geekery of his seminal Decks
FX & 909 album in 1999 (four decks, a 909, an effects
processor, 38 tracks and 60 minutes), to his ongoing
M-nus legacy, Richie Hawtin has watched this
development in full.
Pure techno is the foundation of the now expanding
and growing commercial world of electronic music,
believes Hawtin. Techno is the test-bed of ideas that
will find their way into the musical trends of tomorrow,
like how the 909 hi-hats of Derrick May and early
Detroit records made their way into modern day pop
music, or how early Aphex Twin records paved the way
for successful electronic artists like Skrillex today.


Such words are perhaps refreshing, coming from a man

held up by many as the messiah of the underground
techno community. But hardly surprising to anyone
that understands the true breadth of the sound.
I dont believe that anybody owns the trademark of
the most original, purist, underground techno, and I
dont think it helps to try as hard as possible to be
underground, says Chris Liebing, adding that even the
earliest Detroit techno was both accessible and
Rather than po-faced purism or linear regurgitations,
the techno genre is again revelling in the spirit of
adventurism and cross-pollination that inspired its
genesis. British techno veteran Surgeon has
championed this spirit more than most in recent years.

With maverick, genreDerrick May

merging mix CDs like 2007s
industrial odyssey This Is For
You Shits on Warp and his post-dubstep/
techno fusion for Fabrics series in 2010, he
has provided a vital conduit between technos
heritage and tomorrows torchbearers.
I remember an old Mike Banks interview where he
described techno as being like a virus, mutating and
changing; you cant pin it down, he tells us. I think
thats its strength. As soon as its pronounced dead
(Ive lost count of how many times Ive heard that
techno is dead) it will appear elsewhere in a slightly
different form.
Theres this big group of young, mainly British,
producers who arent necessarily coming from a strictly
techno background, but are undoubtedly making their
own strain of techno: Blawan, Lone, Objekt, Pariah,
Randomer, Midland and so on... witnessing this is
inspiring; its about whats happening right now, not a
bunch of old farts sitting around saying, Its not as
good as it used to be.
Hear fuckin hear.

hen Planet Rock

came through, that
motherfucker fucked
me up, says Detroit
DJ Eddie Flashin
Fowlkes, sitting in the sun-drenched studio in his
home in Grosse Point Park, just outside the city.
It tore a new asshole out of me. If Planet Rock
cant make a motherfucker dance, they got issues,
man. Its got a bit of everything in it: a bit of the
hood, a little bit of Euro, a little bit of rap.
Former Music Institute resident Eddies been
in the business of making people dance since
the early 1980s, when he first started DJing.
He produced his first tunes in the early 1980s
too. And, lately, hes been having a production
renaissance, summed up nicely by his new
Unsung Hero EP, out now on his own Detroit Wax
label. Its a nice slice of soulful, funky techno
Eddies signature sound and, also, the kind of
thing he plays when hes DJing.
That style of soulful house and techno is what
youll hear him play on tour with fellow Detroit
techno maestro Juan Atkins when they hit the
road this month. That cut into ice-cold classics
such as Planet Rock.
Juan and Eddie have been DJing together since
the days when the only way to segue two
tunes together was by using a tape
player and your moms

I started playing records when I was 11,

remembers 49-year-old Eddie, who released his
first-ever production Goodbye Kiss on Juans
Metroplex Records label in 1986.
My mom used to love listening to Aretha
Franklin, Donny Hathaway, all that stuff. I grew
up around that. I called it soul sorrow music.
Where Eddie lives now isnt too far from where
he grew up. And not far from where his pals Juan
Atkins, Kevin Saunderson and Derrick May lived
and hung out too, when they were all teenagers in
the late 1970s and early 1980s.
We loved listening to stuff on Prelude Records.
And European bands like Depeche Mode, says
Eddie. When Planet Rock came out in 1980, that
had a sample of Kraftwerks Trans Europe Express
in it and it was that funk and Euro sound that
stuck in Detroit.
By the time Jesse Saunders released On And On
in 1984, his first 12-inch house tune on his own
Jes Say Records, Juan had already started making
music as Cybotron.
We all started to make music at that time, but
most of us didnt really know how to do it,
says Eddie. Juan had all the info. He had his
Metroplex label and we
all picked production

names for ourselves for our first releases.

Derrick called himself May Day. Juan became
Magic Juan.
I chose Flashin cos I liked to do scratching
back then, flashin back and forth, remembers
Eddie. That was in my younger days, though.
The flashin has gone now. So you can call me Mr
As well as old classics, Eddies got a load of new
tunes in store for this tour. He is, at the moment,
particularly excited about a tune called Helpless
by Decaff featuring Roland Clark. Also Osunlades
remixes of Argys Upon Ourselves featuring
Bajka, out now on Ichiban.
I buy my tunes online these days, says Eddie.
Most of the time I dont know their names. I just
listen to them and if the bassline is funky, and it
can keep that going, then I buy it.
Eddie never plays his own tunes. Even though hes
got classics such as Warwick (Global Cuts, 1993),
his chart-hitting Let Us Pray (Bold Soul Records,
1995) and his liquid-techno-soul remix of The
Martians Red Atmospheres to his name. Not to
mention his 1992-released Black Technosoul
album that came out on Tresor.
The only thing programmed when I made music
in the early days was the drums, says Eddie.
When I made Goodbye Kiss, I played all the
keys the bassline, the chords, the strings,
the lead. Derrick would physically take our
releases to Chicago for the Hot Mix Five to play.
And here in Detroit, the Electrifying Mojo played
them on the radio. Jeff Mills pumped all
our shit too, on a local station called
It wasnt until Kevin Saunderson made
Big Fun, says Eddie, that their sound
was put on the map.
Juans Cybotron record was the
flagship Detroit sound back then,
but Kevins Big Fun, with that
James Pennington sample, was
the first techno hit, he says.
Everything changed after that.
The rest, as they say, is history. But,
these days, Eddies more concerned with
future music.


Detroit techno soul originator Eddie

Flashin' Fowlkes is back. DJ Mag
catches up with him
Words: claire hughes


Tigas Turbo Recordings
is diverse by nature with
releases that join the dots
between funk, techno and
electro. And now hes putting
out a grassroots techno
compilation. DJ mag finds out
Words: claire hughes

ll my ideas and
inspirations come from
other peoples
records, says Tiga
Sontag, the 38-yearold DJ/producer and
owner of Montreal-based Turbo Recordings.
Thats the DJ mentality. You cant control it. Like
when someone tells a joke, you laugh or you
dont. Its the same with a record. You find it, and
it creates a reaction or it doesnt.
The spirit of his latest inspiration, mainly UK
techno, he says, is distilled into a compilation
made up of 10 exclusive tracks and called New
Jack Techno, out this month through Turbo. The
producers whose tracks are included on that
compilation Nautiluss, Gingy & Bordello and
Duke Dumont, to name a few are a far cry from
the output of Turbo artists such as raw techno
soul quartet Azari & III or, from further back in
the labels chronology, the Rick Jamesinfluenced, electro-funkster, white suit-wearing
duo Chromeo. But the thing about the music on
this new compilation tracks made by relatively
fledgling artists and all the music on Turbo, is
that it all has a distinctive, raw-ass edge to it. Its
that steel thread of knife-sharp cool that makes it
characteristically, well, Turbo Recordings music.
I think a lot of the techno coming out of the UK


at the moment is very

creative, very modernsounding, says Tiga.
I wouldnt have said that 10 years
ago, and I dont know if Ill say that
next year, but theres something about
whats happening now with British
techno thats really exciting.


The reason, Tiga thinks, is something to

do with the path that British electronic
music has blazed in recent years. Maybe its
because the generation of young British
house and techno producers making music now
grew up at a time when grime and dubstep were
defining the electronic musical zeitgeist.
I think grime and dubstep really broke down a lot
of barriers musically, says Tiga. And the result is
a new wave of young techno producers such as
the kind of DJs and artists you get playing and
performing at Londons Boiler Room who are
programming beats and patterns that are a lot
more interesting than whats been happening in
recent years.

Out is the standard 4/4 and militarist techno,

says Tiga. And whats coming through instead is a
sound that serves as an antidote to that rigid
format. Outside of the strict borders of techno
and house, producers such as Untold and Pariah
(see cover feature), says Tiga, sum up what he
thinks is exciting about whats going on with
British electronic music at the moment. But I do


The New Jack Techno producers

tell it like it is


I used to buy techno and house records at Tigas store DNA in

the early 1990s. The first time I met Tiga, I bought a double
cassette mixtape from his store of NYC, Chicago and
deep house. Thats why it meant so much to me to
release my Mixed Numbers EP on Turbo this
year. It kind of gets back to where things
started off for me.

think a lot of the young techno artists making good

music now like the producers on the New Jack
Techno compilation are actually referencing a
lot of the quality old techno that got me into all
of this in the first place, says Tiga, whose affair
with electronic music was triggered in 1990,
after hearing Joey Beltrams Energy Flash for the
first time.
Artists such as Luke Slater, Steve Bicknell, Slam
and a lot of the releases that came out on Soma
in the 1990s are as much inspiration for this
new wave of producers as more recent types of
music, such as grime and dubstep. The music
released by those early techno producers, as
well as Jeff Mills and Surgeon, was what I used to
love back then too. I loved my techno hard,
fast, stripped down and funky. I still do.
If Energy Flash whetted Tigas appetite for
electronic music, it was hearing Jeff Mills
play at the Limelight in New York, in 1992,
that gave him a full dose.
After that I went to Love Parade, remembers
Tiga. Then, in 1993, I went to Tresor in Berlin. That
was pure techno, in a bunker. That got me hooked.


Anyone who associates Tiga with perfectlycoiffed hair, black eyeliner and snaky-hiphugging jeans might struggle to imagine him
head bent over a mixer, skip cap pulled down
over his eyes wearing a baggy t-shirt and a
serious Im mixing techno face. His productions
are equally schizophrenic in style: take his tech
house stomper Pleasure From The Bass and then
sit it alongside his co-produced Sunglasses At
Night and youd think they were made by two
different people. This split personality applies to
the label output, too.
There are some people who have bought all of
the Azari & III releases who might go and buy
New Jack Techno and absolutely hate it, says
Tiga. When were choosing what to release, we

think about that all the time. But I dont care.

For me, its about releasing music that I find
When Tiga says we, hes talking about him and
his younger brother Thomas, whos been working
with him on the label for the past five years.
Tiga started Turbo in 1998, with his own house
and techno Live: Montreal Mix Sessions
compilation. He was already running a Montrealbased record store called DNA at the time, selling
dance music in a city that, back then, didnt have
much of a club scene to speak of.
Included on Tigas Montreal Mix Sessions comp
was Black Strobes Paris Acid City, Steve
Bicknells Lost Recordings V.3 and Plastikmans


The New Jack Techno producers

tell it like it is


The first Tiga record I ever bought was Burning Down. It was around the
time I first started DJing in London. Turbo has helped define techno by
becoming a figurehead of quality. But to me, the term techno represents
the more industrial, and sterile-sounding side to dance music. The only
thing that has changed is, rather than the guys from Detroit ripping off acts
like Kraftwerk and Ultravox in the 1980s, it has switched to European guys
now ripping off the guys from Detroit from the 1980s. Go listen to anyone
playing the Boiler Room to see what I am talking about.



The New Jack Techno producers

tell it like it is


Turbo has helped introduce techno and house to a wider audience

definitely. I had the title track of my EP Different Paths on my page, very briefly, and they found it at the label and sent
me a message, then released it back in June. It meant a lot to me,
because I think Turbo is the entry point for a lot of people getting into
techno who were maybe into more housey stuff. Its an enabler for people
to start digging.
Spastik; all the kind of stuff he sold in the record
store. Mixes from John Acquaviva, Jesper
Dahlback and Adam Beyer followed on Turbo. In
2002, he put out Tiga & Zyntherius Sunglasses At
Night, an electro cover version of Corey Harts
1983-released tune, which got picked up by DJ
Hells International DJ Gigolo Records and kickstarted his production career.


Not long after that, PIAS Recordings signed Tiga,

releasing Pleasure From The Bass in 2004. A
debut album (Sexor) followed, and when it
became clear that production work was taking
centre stage in his career, Tiga had to draft in
help for the label.
It can sometimes be a bit push and pull in the
meetings we have, when we decide what to
release, says Tiga. In the short term, the more
focused a label is, the better it does. So, when a
label emerges and theyre known for a certain
sound, and thats what they deliver, they will do
well for a period. But with Turbo, its always

worked in the
reverse. Weve never
focused on one thing.
But were still here.
Turbo released Russian techno DJ/producer
Proxys Destroy in 2006. A year later, the first ZZT
release Tigas collaboration with Zombie Nation
came out on Turbo. Cari Lekebusch, Moby,
Zombie Nation, Jori Hulkonnen and Sei A have all
since released through the label. And then, in
2011, Turbo introduced the world to Azari & III.
Theyre actually from Toronto, says Tiga. So its
nice to add that local element to the label. And
next up, he says, he plans to focus on talent
closer to home; possibly by putting out a
compilation album featuring box-fresh cuts from
Canadian artists. Hell give some attention to all
of this after hes finished recording his third
production album.
Ive been working on that this week, says Tiga.
I was in New York in Matthew Dears studio
recording some stuff for the album. Therell
probably be a track with Jake Shears on there.
As ever, this new album will be diverse. And,
unlike the New Jack Techno album, it wont

include any straight-up

I dont think I could ever make a pure techno
tune, says Tiga. When I go into the studio and
I always work with an engineer when I do I
might have the intention of making a techno
tune, but something else always comes out. I get
a creative flourish, and I find myself wanting to
sing, or add a strange sample.
It was a studio session based on those intentions
that resulted in Tiga producing his bootleg
version of Nellys Hot In Herre, with its devilfunk bassline and camp lyrics.
Like his production ethics, with Turbo Recordings,
you never quite know whats coming next. Whats
interesting about New Jack Techno, apart from
the music thats included on it, is that it suggests
things have come full circle, even though Tiga
says that wasnt his intention.
Thing is, it was techno that inspired Tiga to start a
label back in 1998. And, in this camera-click, split
second in electronic musics story so far, Tigas
finding his inspiration back where it all started
Im not a nostalgic person, though, he insists.
I dont feel any more connected to things from
the past than I do to the next inspiring tune Im
going to hear.


The New Jack Techno producers

tell it like it is


We both kind of stumbled on the Turbo

Recordings discography when we were
discovering techno for the first time. Interest in
early Tiga records led to an appreciation for the
Dahlbacks, Jori, Roman Flugel etc. Its a great
label because its always balanced the no-holds
barred party stuff with weirder stuff like the
Turbo Mind Vacuum series.


Beck to the
After a fortuitous endorsement from Richie Hawtin, the career of
Glasgow techno master Gary Beck snowballed. Now, with a sizeable
body of work for M-nus, Cocoon and Drumcode, hes about to drop his
debut album for Soma
Words: claire hughes

e might look like the honorary sixth

member of boy band The Wanted, but
stacked behind Scottish DJ/producer
Gary Becks popstar looks, theres a
body of work that has earned him his

techno stripes.
His debut production album Bring A Friend, coming
soon on Slams Soma Records, takes in all his techno
sensibilities: shape-shifting from hypnotic, bass-heavy
cuts to minimal soul. Fluid, driving, atmospheric tunes
such as I Read About You sit alongside the militaristic
stomp of Hopkins. The album, Somas 100th release, is
a future techno opus that adds weight to Garys string
of releases on labels including Drumcode, Sven Vths
Cocoon, Richie Hawtins M-nus, Speedy Js
Electric Deluxe and his own Bek Audio.
And while hes one of British technos
brightest young stars, he can remember
all too clearly when it wasnt like that.
Everything changed for him, he says, one
wet afternoon in Glasgow, back in 2007.
I was in the opticians, picking up my new contact
lenses, when my phone went, says Gary. I
noticed it was a foreign number, so I answered
it and the person on the line said they were
Richie Hawtin. At first I thought it was a wind-up. But
he insisted it was him, and said that he loved my track
Consumed, that Id sent him at M-nus, and that he
wanted to sign it.

Presents Sounds From Can Elles DJ Mag covermount

mix CD, Gary started getting requests to do gigs and
remixes. He started spending more and more time
at his studio in his mums place, surrounded by his
collection of hardware, keyboards, drum machines and
percussion instruments.
I worked my arse off to try and develop my sound,
he says. And whether Im making techno or more
techy house stuff, I do think you can tell when a tune
is mine.

hawtins influence
Garys currently working on some tech house tunes
with Nic Fanciulli. And hes also excited about some
tunes that Mr G has made for Bek Audio. When it comes
to techno, Gary isnt a purist. He got his first taste
of dance music in the late 1990s, at The Arches, in
Glasgow, when he heard John Digweed DJing. After
that, he started spending hours browsing the shelves
of Glasgow record shop 23rd Precinct, building up his
own house and techno collection.
His DJing reached a new level, he says, after witnessing
Richie Hawtins set during his Dex N Fx tour in 2000.
It was just like nothing Id heard. He was making a
track live out of five different loops, and layering on
loads of effects. It seemed incredible to me at the time.
The energy he created on stage too was incredible.
Even the way he looked: with his bald head and his
glasses. He had a real presence.
When Gary DJs he plays all his own stuff, quite often
playing music he has no intention of ever releasing.
He uses Traktor but also plays with vinyl, too. He plays
regularly, all over the world; at clubs such as Berghain
in Berlin, Cielo in New York and all over the US and
I just love the feeling of DJing with vinyl, and the
skill and challenge thats involved in being able to mix
properly, he says. Ive always loved that aspect of
DJing. But its just a shame that vinyl decks in a club
are always so shit.

full-time techno
Before that, Gary had been juggling DJing and making
music with working as a recruitment consultant in the
oil and gas business.
At that time, I spent my days booking people to
work offshore on oil rigs in South Africa, Nigeria and
Aberdeen, says Gary. It was really boring. It was shit.
All I could think about all day was making music. I made
my first release in 2005 and I worked in that day job for
two years after that.
Garys first release Stick To The Reggae was a heavy
slice of tribal techno laced with dub delay. He
made it one evening after work, in the studio
he set up in his mums house. Under
instruction from his friend Andy Graham,
who makes music as Sei A, Gary posted
the tune to US label Worship Recordings.
Andy had already had some releases on that
label, but I was surprised when they said they
wanted to sign it, says Gary.
From that moment, I knew I had to work
towards giving up my day job.
After his surprise phone call from Richie
Hawtin, Garys dream about ditching the
office job came true. Just months after
Richie put Consumed out on his Richie Hawtin



Danny Avila is the Madrid-based young firebrand tearing up main room floors from Ibiza
to the US and beyond. With residencies at Pacha, Space and Blue Marlin, productions in
the pipeline and a mentor in Fedde Le Grand, hes living the dream. We snag him to talk
about his big room covermount mix, his beginnings in DJing and where hes heading
Words: helene stokes

panish teenager Danny Avilas

dramatic shift into the DJ limelight is
the stuff of dreams. Since grabbing
the Best DJ Newcomer award last
year at the Vicious Music Awards,
his career has gone into hyperdrive,
with a 2012 summer of love in Ibiza seeing him whip
up explosive, energy-tastic scenes at his residencies at
Pacha with Tisto, Space and Blue Marlin. His weekly
mixes for Germanys Big City Beat radio are a no-holdsbarred introduction to his progressive style. Danny is
so hot right now, hes also been picked up to present a
weekly DJ mix show on Americas Sirius XM Radio.
He was just 12-years-old when he bought his first mixer
and began to realize his passion for electronic music.
By the time he was 14, thanks to his father working in
clubs, hed hung out in DJ booths with the likes of Erick
Morillo, Martin Solveig, David Guetta and his mentor
Fedde Le Grand.
I was so surprised and so impressed by him. I didnt
know that a DJ could rock it like that and at that level,
he recalls.
A background in skate and snowboarding at a
competitive level perhaps instilled an ability to keep a
level head as the tornado of excitement whirls rapidly
around him.
Hell be visiting the USA for the first time this month,
with a tour that follows the release of his first single.
DJ Mag spoke with the wunderkid in his hometown of
Whats it like to be back in Madrid after rocking
Yeah, I could be in Ibiza for a few more days, but to be
honest I prefer to be in Madrid and relax for a few days
with my family, and chill and sleep well.
Thank you for doing the mix. Did you have fun
putting it together?
Thank you, it was a pleasure. I was really, really
excited, and actually its the first mix CD that I did, so
Im really happy that I did it with DJ Mag.
How did you put it together? What was the vibe you
were trying to create?
I personally think the secret of DJing is to play
different kinds of music and to go to clubs and be able
to play tech house or more big room, but personally my


own style is very energetic and a progressive kind of

electro stuff. Thats why I did the mix [with these kinds
of tracks].
Congratulations on an amazing start to your career!
Thank you, its been a great year and I have to say
thanks to a lot of people that Im really grateful to.
Youve been working hard towards this point
Yes, its been very, very hard, because actually in the
studio its very important to have my own music, and
I really want to show people that Im producing good
music, and so Ive been very busy in the studio in the
last month.
What was it like winning the Best DJ Newcomer
It was great, last year I was nominated and just the
fact of being nominated was incredible, and so to win
this award is the next level.
Its amazing that you were able to see behind the
scenes of clubs at such an early age, because your
father is involved in clubs, isnt he?
Yes, because I discovered my passion for music,
especially electronic music, when I was 12, on my own,
but my father was working on some clubs and hotels in
Marbella. So that helped me, in the way of being in the
booth with DJs like Erick Morillo, Guetta or Fedde Le
Grand, or whoever was playing. It was [those moments]
that I knew what I wanted to do with my life.

Youre getting a lot of support and a lot of love from

the crowds and you obviously have a lot of energy
yourself. Do you think that rubs off on the crowd
and vice versa?
Well, it makes you feel so good when you have big
support from the crowd, and it also makes you feel
more confident. But I think the secret is, be yourself
and dont think that you are more important than
them just because you are a DJ. Because DJs wouldnt
be that big if they didnt have so much support from
their fans.
Had you been going to Ibiza before your gigs this
No, I went for the first time last year in July. I was
invited by one of my friends who had a house there. I
had my first gig in Ibiza in September of last year, and
now I have three residencies. I just love Ibiza and Im
extremely happy to be a resident with Tisto [at Pacha]
and also Space and the Blue Marlin.
Whats it like to play with Tisto?
With Tisto? I would say two words just amazing.
Its so great, Tistos crowd are so into the music.
Youve got some exciting gigs coming up
Its been crazy, I think I did 25 shows in total this
summer and Ive loved every single one of them. Im
also on a tour of the USA in September, and also I have
the radio show on Sirius XM, it just started. I put a lot
of effort into this. I wanted to do my best mixes for

How do you DJ, what are you using?

Now Im using the Pioneer software Rekordbox. Cos
its so good and so fast and so easy. I used to export
all my music from my laptop to my USB stick or my SD
cards. I have a lot of USB sticks, because sometimes
one of them doesnt work, so I leave two at home and
one at the hotel, to make sure I can play my gig that

What advice would you give to other DJs wanting to

get started?
I personally think you have to believe in yourself at
the first moment, no matter what age you are, where
you are or what music you play or productions you
make. You have to work very hard to make the dream
come true.

What about your studio and your own productions,

hows that going?
Yeah, I have it at home and now Ive just finished a
track, which is coming out after the summer, and Im
very happy with it. Im also working on some other
projects with some other artists, but I cant really tell
you too much about that.

Theres so much happening for you already, what

kind of plans do you have for next year?
I dont know what Ill be doing next year. I want to do
the same thing Im doing now, having fun playing and
making people happy with my music. My dream would
be to play the Winter Music Conference. I just hope that
I will be able to keep on living my dream.

Danny Avila bigs up

the tunes that hes
snatched for his
first-ever mix CD


Its my first release. I

worked very hard in the
studio and Im so happy
with the result. Just loved
the track since the first
second, I think its a good
track to start the mix.




I love dubstep and I

always play it in my sets.
This track is not real
dubstep, but it has some
dubstep flavours.

Such an energetic one.

Electro bassline and an
explosive vocal. Ive seen
Swedish House Mafia
playing it at Ushuaia Ibiza, 10.FIREBEATZ
and the crowd goes nuts.



I was in the studio with

Fedde Le Grand when he
was bouncing this track.
I was so amazed, because
the melody is so original
and unique. Such a great
collaboration of two of my
favourite producers and



The curious thing about

this track is that I play
the original version when
I have to do more tech
house sets, and this remix
when I play more big room
stuff. The vocal is so funky,
and a great vibe. The drop
is just AMAZING!


What a banger. I really
love 1:45 [minutes in]. I
play it in all my sets.



Its such a clubby track,

really love the small vocal
cut saying haha.


Deniz is also one of my

favourite producers. Very
talented and a great guy.
His music is so great and
this track is something
very fresh and new, thats
why it gives your sets a
special sound.


Wow! This track is

something between techy
and big room. I didnt
expect that drop when I
first listened to it! Super


I like to play this track

with the We Are Your
Friends acapella. Such a
great combination.


I think the best part in

this track is 1:00 [minutes
in]. Because its like a
drop, so I can mix it with
other tracks, creating my
own live mash-up.


I think these girls are
some of the most talented
artists in the world.
They have such a big
connection with the crowd
every time they play. This
vocal is so beautiful. I had
goosebumps the first time
I played it.



Bong. Its like the

second part of Tung.
Tung was released about
one year ago, so I decided
to play this one!


Its one of my favourite

melodic tracks, so
energetic and makes the
people jump! I like to play
it in the last 30 minutes of
my sets.


I first saw Dillon Francis

playing four months
ago in Madrid and I
was so impressed, so I
started looking into his
productions and I found
this great moombahton


Last year we held our annual DJ Mag Tech Awards at BPM, Europes biggest DJ event,
with a judging panel of the great and good of dance music. This time, weve decided
to really shake things up and embrace the future. For 2012, we have a new panel
you, the DJ Mag readers. Youve cast your votes on some of the hottest equipment in
town. Now, lets see who reigns supreme

he annual DJ Mag Tech awards are upon us, but this time weve
decided to embrace technology, with the whole process contested
online. Each shortlisted manufacturer supplied a video of their
equipment in action, leaving the voting to be completed by the
viewers of the worldwide web in our new Facebook voting system.
With over 100,000 votes cast, the new-style awards definitely proved a
hit with everyone who got involved. It just shows that not only is this an
important part of the scene for the DJs and producers, but it is also an area

that is of great relevance to anyone who has a vested interest in the dance
music scene.
The culture has changed and evolved rapidly in just a few short years and
so has the technology. Your votes have been counted its time to find out
who triumphed in the DJ Mag Tech Awards arena. Over the next few pages,
discover which bits of kit have claimed the coveted crown for 2012


The Tech Awards

As we have dispensed with our industry panel,
we thought it would be good to get the views of
former judges, as well as the DJs and producers
who use the technology, on why the DJ Mag Tech
Awards are so important to the scene


The DJ Mag
Tech Awards are
important to me,
as Im always
looking at whats new in technology, whether for my
productions or for my DJ sets.

The DJ Mag Tech Awards play an important role in

presenting new technologies that push boundaries
and open doors for DJs and producers to experiment
with electronic music and other media. Taking steps
towards progress is the true definition of techno and it
should be recognized.

The head honcho

of Axtone Records
and one-time
member of
Swedish House
Mafia offers his

The techno
doyenne has
always embraced
the tools that
allow her to create
simply sublime
electronic music

James Zabiela

James is well-known for his love of technology: he is always ready to push

the boundaries and incorporate new elements into his sets
The DJ Mag Tech Awards are obviously something I follow with interest.
Of course, it displays the healthy competition between manufacturers
that helps to push things ever forward, and in the last few years, things
have certainly advanced. Theres now more choice than ever in terms of
choosing the weapons for your DJ set-up or live rig. But most importantly,
the Tech Awards are a celebration of all the hardware/software that allows
myself and many other DJs/acts to perform. It allows us to create, edit,
mix, remix and above all, have fun in what we do. The Tech Awards rejoices
in the technological revolution and salutes the geniuses who give us these
magical toys, and its to them, I take my wireless-midi-controlled-animalshaped hat off!


Tech Awards
judge Kutski
is an ardent
fan of music
Here, he gives
his spin on the
importance of
the DJ Mag Tech
of DJing have
never, and will
never change
its about
the music we
play. However, like any art or craft, the better and
more varied tools we have presented to us, the more
creative the possibilities are. The latest generation
of superstar DJs today may never have mixed on
vinyl, and as negative as this is generally perceived,
I think its exciting that there is a new blank canvas
untarnished by the technical restraints older DJs
began with. DJing is no longer just playing records.
There are now countless ways you can broadcast your
sound, from total in the box computer systems,
to midi controllers, time code, CD players, MP3
players... Even apps on your phone that allow you to
DJ at a competent level.
In all this excitement and noise, it can be hard for
hardware and software manufacturers to reach their
desired audience to showcase the next potential
evolution in the industry. Likewise, with so many
boxes of flashing LEDs, it can be hard for consumers
to find the right product for their needs... especially
as none of this stuff comes cheap! This is why Ive
always been involved in the DJ Mag Tech Awards. Its
the much-needed nexus point where each year all
the manufacturers can come together and showcase
their latest and greatest creations, while consumers
get to see the products in action and side-by-side
comparisons to decide for themselves which are
worthy of their hard-earned cash!

TECH awards 2012

Innovative New DJ Product



SC3900 & Engine for



Top-notch build quality, and the sound

quality youve come to expect from Rane,
with digital effects onboard.


A fantastic deck with spinning platter

that is a joy to use, and above all,
loads of fun!


Only some of the buttons are MIDI

assignable, with the rest locked to Serato,
and its a lot to pay for a two-channel


The waveform information on the

built-in display could have been more

A digital mixer designed for Serato with its

own digital effects and onboard USB
soundcard. Will suit turntablists and
scratchers with a decent-sized budget to
spend on a new mixer.

A great deck that could possibly rival

the dominance of the CDJ2000 as a
top-of-the-range player.


The innovations just dont stop, which groundbreaking bit of kit

will be crowned king for 2012?





Traktor Kontrol F1


Well-made compact controllers

that dont cost the earth.


Behringer continue to
dominate the budget market,
but do so by offering quality
products at a price that cant
be grumbled at.




It can be added to any DJ set-up to bring

cutting-edge plug-in-style FX without
needing an additional laptop, and is also
a great addition to any studio production



The Kontrol F1 allows DJs to

perform in Traktor as they would in
Ableton. Adding this to your set-up
opens up a whole new world of

The RMX1000 is the perfect addition to

any DJ set-up to expand the FX
functions, and a great way to achieve
laptop-style FX and sampler capabilities
without needing a laptop in the club..

Lack of digital or pro DJ link connectivity.

No built-in soundcard.


CMD DJ Controllers



Great controller with a multitude of

pads that makes performing with
the new Traktor Remix an absolute







Ultimate Media Player Incorporating

CD Decks over 600

The ultimate players for the ultimate club experience. These decks
can play music from any source vinyl, CD, digital and beyond.








A great deck that could possibly rival

the dominance of the CDJ2000 as a
top-of-the-range player.

A fantastic deck with spinning platter

that is a joy to use, and above all, loads
of fun!




A great-sounding multimedia player

that covers all bases for the modern DJ,
which could prove to be the new
industry standard in the DJing world.


Pro series design at a fraction of the

cost of Pioneers top-flight decks.

Price: its not cheap and two will set you

back a whole heap of cash.


The silver colour way is not to

everyones taste.

The CDJ2000 in conjunction with

Rekordbox is determined to be the new
industry standard CDJ deck. The fact it
can also be used as a controller for DVS
systems makes it very appealing as

Camped somewhere in the middle

between Pioneers entry-level players
and their more premium decks, the
CDJ850 is capable but not quite there.






MixDeck Quad


Nice sized for easy transport, with

high-resolution jog-wheels and a
generous amount of external inputs
and outputs.






The plastic construction and feel of the

CDMP-7000 is not conducive to a
professional look.


The build quality and feel of the unit lets

it down slightly.

A solid all-in-one mix station, including

CD-style controllers and a mixer. For
anyone who is looking for features and
flexibility without breaking the bank.

A mix station in a compact package,

with enough features and flexibility to
keep most people happy. However, this
unit feels as though it has been built to
keep the price down, rather than built
for quality and performance.



Large jog-wheels and a CDJ feel add to

the flexibility of this controller that can
be used as a CD player, DJ controller or
a digital vinyl control system.



The waveform information on the

built-in display could have been more



TECH awards 2012

Ultimate Media Player Incorporating
CD Decks under 600

This highly contested category is tighter than ever, with an

impressive line-up of decks that offer fantastic value for money.







Compact, all-in-one DJ controller that

doesnt need an additional laptop or
computer to run.


Midi-controlled, soundcard,
amazing scratch control, USB
playback of MP3 and Wav, three
effects, loops memo and D-link.


The display could have been slightly

more detailed.


A well-put-together unit that can be

used by anyone for serious DJing
performances, and the ace up its
sleeve is that it doesnt need an
additional computer. This is truly turn
up and play technology.

What DJs get for the money is

one of the best specced mini
decks on the market.











Good build quality and more

features than you can shake a
stick at.



The Pioneer CDJ deck for those on a

budget, with USB storage device and
Rekord Box support to get ready for gigs.

RMP-3 Alpha


A tidy little player with

great Midi implementation
that looks good and will
offer you control over a
multitude of audio sources.

No auto loops, high rotary

obstructs loop buttons.

The smaller, non-weighted jog-wheels

and lack of features found on the other
CDJs may leave some people feeling
serious deck envy.

A great deck that takes its

styling from Pioneers
top-of-the-range player, but
offers the DJ a chance to get
involved at a price that wont
break the bank.

The CDJ player for DJs who want USB

and Rekordbox support, that dont have
rich parents and are unwilling to rob a
bank to support their musical habit.




Bit of an unknown
quantity in the UK DJing
A do-it-all player that looks
good, with a nice simple
layout for operation.






Ultimate Club DJ Mixer

Let battle commence. Tough one to call, but its not called
Ultimate Club DJ mixer for nothing




DJM 900



Hi spec-ed, dual USB mixer. Two DJs

can use the one mixer to play off
different computers at the same time.


At over two grand, this will put a

serious dent in your pockets.

The high quality audio card with Traktor Scratch

integration, tight interfacing with CDJs, new effects
and a sexy new X-Pad are enough to make mouths


Superior-sounding mixer with total

MIDI control that really gives DJs the
tools to get busy when using Serato
Lives software. In the league of the
super-rich, though...



Its hard not to love almost everything about this

mixer, except the price tag, which will hurt most
The replacement for the industry standard
DJM-800 is packed with great new features, and
seamless integration with CDJ2000s and Traktor
Scratch make this a highly desirable piece of



Allen & Heath




A fantastic-sounding mixer with a huge

arsenal of FX and input options to make
mixing more of a creative affair.
Only a single USB connector some of
the competitors in this price range have







An all-singing, all-dancing six-channel

mixer for less than most two-channel
mixers cost. Probably not for the
chin-scratchers, but a possible winner
for anyone short of a few bob or two.

A digital mixer designed for Serato with its

own digital effects and onboard USB
soundcard. Will suit turntablists and
scratchers with a decent-sized budget to
spend on a new mixer.

The build quality may be an issue for

those who hold this factor in high

A great-sounding mixer that employs all

of Allen & Heaths experience and
heritage in this market place. Excellent
build quality and a wealth of sound
manipulation options make the XONE
DB4 a true contender for best club mixer.



Six channels and faders, with a built-in

soundcard, digital effects and a
contactless cross-fader.







Top-notch build quality and the sound quality

youve come to expect from Rane, with digital
effects onboard.
Only some of the buttons are MIDI
assignable, with the rest locked to Serato,
and its a lot to pay for a two-channel mixer.



TECH awards 2012

DJ Software

The one to watch, here we look at the best digital DJing

software on the planet! This is going to be close



Scratch Live

Free with hardware
controllers designed for ITCH



Excellent sound quality with a fantastic DVS

system that has many fans all over the world, this
is all about DJing skill with no auto syncing to
make life easy.

Sync buttons, sample decks and free upgrades for

life make for happy controller owners.


Installation issues often arise, there is no support

for using ITCH as a DVS and features found in
Serato Scratch can take an age to come to ITCH, if
they arrive at all.


Lack of auto sync or beat matching.

Scratch Live takes the skills of DJing and puts
them into the digital domain. One of the most
popular DVS systems on the planet, the new
updates make this a killer piece of kit.

Seratos famous software developed especially for

use with hardware controllers, with a few added
features, such as sync buttons. But ITCH will only
work with a compatible hardware controller
attached to a computer..








Live 8






Warp functions make this ideal for

DJs wanting tight mixes, with all the
benefits of a studio-based


Seems to be moving away from the

DJ crowd and focusing more as a
Live 8 is great for DJing and live
performances, but no real updates
for a while. Works great with Serato
Live in its Bridge mode.



This bit of DJing software has

come of age now it has had a

Loads of options on deck set-up,

the new sample decks are
amazing; auto beat matching and
recognition is far tighter. Works a


Not as robust as some of the

big boys.


So many possibilities almost too

much choice.

This is a good alternative to NI

Traktor or Seratos Live. The
new upgrades give Mixvibes
Cross pro level performance
and it is without doubt great
value for money.

One of the industry standards

when it comes to digital DJing
software, lots of fans and now with
the new Remix upgrades. Simply






DJ Controller over 600

The new breed of controllers offering professional

performance for todays digital DJs


Native Instruments


Traktor Kontrol S4




Oozing with quality, this controller has a

fully featured four-channel mixer and is
hugely customisable.

Excellent controller that really turns digital DJing

into a satisfying experience.



The tension controls on the jog-wheels are

quite awkward to use.

The Kontrol S4 is a pro package that has a lot of

appeal for all levels of DJing, and at around 650,
its well priced, considering that a full pro CDJ
set-up can cost as much as 3000. The S4 is the
complete answer for DJs using Native Instruments
Traktor software, and is worthy of gracing any DJ
booth, be it bedroom or pro.

This is the perfect choice for anyone

wanting to customise their DJ controller
to create the ultimate, personalised DJ
battle weapon.








Lots of lovely features like the

strip-search, high resolution platters, long
pitch control faders and the FX Kommand
Console make for a lovely Traktor





A purpose-built controller for Serato Itch with the

build quality people have come to expect from
Pioneer and proper jog-wheels.


Its very bulky and isnt going to be particularly

portable for gigs unless you have a car at the
ready, and the value for money factor isnt
particularly great.
Pioneers first foray into the world of hardware
controllers has had mixed reactions due to some
amazing features and some not-so-great ones.

Its a big unit that will be heavy and

awkward to lug around to gigs, and that
colour scheme isnt going to win any
A fully featured four-channel Traktor
controller with dedicated effects control
unit that works seamlessly with the
software to give tight and responsive




Kontrol Surface 1974 (KS-1974)



New version of the original SmithsonMartin touch-screen controller for

ultimate performance and showmanship.


Even though it has been condensed into a more DJ-friendly size, it still
could be considered a gimmick.
An interesting take on the controller, utilizing touch-screen technology.
Looks good on stage if there is a lot going on, but will it actually take off in
the clubs?






TECH awards 2012

DJ Controller under 600

Its not all about the big guns. These cut-price wonders will
make any budding DJ feel like a seasoned professional.

Allen & Heath





Traktor Kontrol F1

Full-sized four-channel controller for

Serato with high quality components
and lovely jog-wheels that just beg
to be scratched.


Great controller with a multitude of

pads that makes performing with
the new Traktor Remix an absolute


There is only two-channel support

with Serato Intro and some of the
buttons on the control surface do
not work with this version of the


Traktor Kontrol S2


No built-in soundcard.
The Kontrol F1 allows DJs to
perform in Traktor as they would in
Ableton. Adding this to your set-up
opens up a whole new world of

A controller that manages to be

almost great, but is limited by the
pairing with Serato DJ Intro and not
Itch as standard.




Its lighter and more portable than

the S4.


Extremely well-thought-out and

customisable controller with onboard
soundcard, that packs a shed-load of
professional control features into a
very portable package.


A booth output would have been nice,

and MIDI mapping can be a real
headache in some software for the
less technically minded.
A controller that manages to provide
everything a DJ needs in one small
box, it works with a range of software
and is completely customisable to
keep the tweakers and tinkerers well
and truly busy.








The lack of external inputs other

than for a microphone is a letdown,
and losing some of the functions of
the S4 means more time spent
using the keyboard and mouse on
your computer.




A smaller, more portable version of

the incredibly popular S4 controller
with all of the major features, but
less of a dent on the wallet..

An amazing bit of kit. It even gives more

expensive controllers a run for their money.


Rather a lot of plastic, but at the price, can

we really complain?



A feature-packed controller that works well

as an entry level starter, but can even
tackle the demands of a pro DJ.



DJ mixer under 600

Bringing club-style features to affordable functional

mixers for DJs everywhere.







Solid steel construction and high

quality components combine to
create a great mixer without the
usual eye-watering price.

A decent mixer at a decent price that

focuses on features that are likely to
be used, rather than to fill space in
the marketing material.

A decent quality mixer that offers a

good range of features without
breaking the bank.

This mixer may not have quite the

same reputation or durability of the
comparable Allen & Heath or
Pioneer mixers.








High quality 24-bit internal

soundcard, MIDI mapping and a
digital matrix function for ultimate
routing flexibility of audio and MIDI


Its not particularly pretty to look at,

and lacks the professional finish
and feel of some of its competitors
in this price bracket.
A mixer with a decent amount of
features and some clever touches
that is let down a little by its styling
and overall finish.




The build quality reflects the price,

and this mixer isnt likely to last in
club installs or against the
machinations of hardcore scratchers.

In terms of features versus

price, the DDM4000 takes
some beating and is a
tweakers dream come true.




High spec two-channel mixer with

onboard soundcard, digital effects
and MIDI capability.



The microphone controls

are tied to both channels at
once, the sampler doesnt
record from the master
channel and there is no
support for USB control over
the MIDI functionality.
Lots of features, decent
sound quality and a
generous amount of inputs
and outputs make this
mixer worth looking at for
many reasons







The baby of the Pioneer mixer range still

manages to punch above its weight, with
the sound and build quality everyone has
come to expect.


A few niggles can be found on this mixer,

such as poor placement of the cue and
headphone control knobs and the lack of
an additional mini-jack for headphones.
A Pioneer mixer with everything that
comes with the brand name, at such a
reasonable price that the few niggles can
easily be forgiven.



I took a course at Point Blank.

It was awesome! Claude VonStroke
Enrol now for Oct! Tours every Wed and Sat.

Call 020 7729 4884 or email

TECH awards 2012

Audiovisual Product

Visually stunning, this is where sound and sight merge in high

definition. Welcome to the world of the VJ





SVM 1000







Seratos newest version of their popular

VJ software, incorporated into both Live
and Itch.

Awesome integration of
audio and visual effects,
bright colourful
touch-screen, built-in
visuals and no
compromise for regular
audio jocks.

Mix video files and music files

together with FX, all from this
DJ-friendly controller.

No standalone version for VJs not

interested in the DJ element of the

Not bad, but still not quite as pro as

some of the competition.


A decent attempt to fuse together

visuals and music in a format that
DJs will already find comfortable.

Tight video integration with Seratos

DJing software makes this a breeze to
use and very effective for DJs who
want to control their own visuals.

Some effects dont work on

copyrighted disks.


No single product
compares to the
SVM-1000, but the price
tag is hefty.








Dual View System (DVS)

Multi-touch interactive



New version of the original SmithsonMartin

touch-screen controller for ultimate
performance and showmanship.


Decent VJing software, made to be used in a

live performance scenario, with full midi
control. Most of the features seen in the big
video systems, without the price tag.



An interesting take on the controller,

utilizing touch-screen technology. Looks
good on stage if there is a lot going on, but
will it actually take off in the clubs?

Even though it has been condensed into a

more DJ-friendly size, it still could be
considered a gimmick.

The software throws up unsuspecting bugs

from time to time; constant updates needed.
Amazingly feature-packed, extremely easy to
use and midi control.




Tech verdict

DJ Soundcard

Which audio card will kick it when it comes to the quality of

sound and performance in this hard-to-call category?

Native Instruments


Scarlett 2i2

Audio 2 DJ



Ultra-compact DJ soundcard, great sound quality

and performance.

High-speed USB 2 connectivity,

Focusrites famous pre-amps
and four top quality plug-ins
included in the price make this
audio interface a serious


So small you could easily misplace it after a drunken

night on the decks.


The only minor gripes we could

find are the lack of digital
connectivity and no MIDI
Focusrite have an awesome
reputation in the studio world
and this audio interface is
amazing value for money.




SL 4





A very high quality soundcard

with dual USB connections, so
two DJs can use the same box at
the same time.




A feature-rich soundcard that can
now be used on any DJing and
production software, and not just
Serato Scratch Live.


A compact system for a basic set-up, offering great

sound and value for money.




Audio DJ 10


New flagship audio card featuring loads of

ins and outs, improved sound quality and


Only one USB connector two would have

been perfect.
One of the best soundcards on the market
for DJs and producers.




Stunningly beautiful to
look at, and the
world-famous Apogee
converters sound as
good as the box looks.


None other than PC

users are not included
in this party.
Beautifully crafted
with the audio quality
that has made Apogee
famous, this is a lovely
piece of equipment to
own if your budget will
accommodate it.



TECH awards 2012

Studio Production Software

The software that helps to put together those dancefloor

killers. Which will come out on top?


Reason 6.5




Great new features, improved

interface and workflow mean
that Cubase is even easier to

Reason has grown up into a

pro application. The new
features make it a serious
production tool even
better now, as third party
support is coming to town.



Arguably the best cross

platform solution for making

This is the one-stop-shop

for producers, especially in
the dance scene, and the
new additions have pushed
it into the pro production


Cant use VST plug-ins.

Still uses a dongle.









Live 8

Industry standard
production software. Great
performance, easy to use.



Komplete 8


Absolutely massive
collection of everything one
would need to produce killer
dance tunes, and the price
per product value is


Sample-warping magic means Live is

fast for creating dancefloor killers,
edits and mash-ups.


Massive install times if the

regular Komplete 8 is


Logic Studio Pro 9 is a very

powerful package that
gives instant gratification
when producing tracks.
Easy to use, its not too
intimidating for beginners

Simply amazing, this is a

great collection of plug-ins to
die for, at a price that will
knock you off your chair. A
do-everything package that
has improved on the original
Komplete boxsets surely
it cant get better than this?

Only for Apple Mac


Seems to have lost its way the

more its pushed into the DAW world, a
few DJs have given up on it.
Used by quite a few DJs, it is a great
tool for studio production as well as
live performances.






Studio Production Equipment



All the tools to give hands-on control to the studio producer

and live performer.




Two in, two out audio interface that fits hand-in-glove

with Reason and offers tight integration and great



For users who are only looking for the audio interface,
there are cheaper alternatives that offer better quality
as well as features.


A complete production system from Propellerhead that

includes a high quality audio interface along with
Reason Essentials.


Top-notch build quality, light and

portable, with a huge range of quality
sounds, it is little wonder Maschine
has such a large fan-base.





CMC Controllers
69 to 104 each,
depending on which
controller is


Whats not to love about Maschine?

Not many hardware controllers come
close to Maschines mixture of
features, quality and value for money.
For once, believe the hype: this is a
Groovebox to die for.





Saffire 6 USB




Its light, ultra portable and

looks, feels and sounds just
like a real MPC, as well as
keeping the MPC workflow.





An audio interface that will more than

hold its own in the studio, as well as
on the road, with top-notch sound and
a build quality to die for.

All of the killer features and

the control interface that have
made the MPC world famous
in a cut-down portable version
designed to interface with a

Focusrites famous pre-amps with two

inputs and four outputs in a box that
can be thrown in a bag and taken on
the road.

The only real letdown is the

fact that there is no internal

The only minor letdown is that USB

connectivity is limited to 1.1 rather
than high speed USB 2.






Small, flexible and highly

integrated with Cubase, with a
great build quality and finish.
If all six controllers are purchased,
the price really starts to add up.
A highly innovative modular DAW
controller system that can be
added to over time and
positioned to suit everyones
tastes, needs and whims.







TECH awards 2012

Digital Vinyl System

Vinyl may be on the decline, but here we look at the best software/hardware
combination for recreating that old school hands-on DJ experience.


Cross Pack

Virtual DJ



A cheaper alternative option to

get in on DVS action, using Mix
Vibes reliable Cross software
with vinyl or CD timecode.


A DVS that will work with virtually

any audio interface, with free
updates for life.


The interface and general

performance isnt quite as slick as
some of the other choices out

DJ Trim Scratch Starter Kit


While Virtual DJ doesnt have the

same kudos as some of the other
DVS systems, the latest versions
have an impressive list of features
that make it worth checking out.



A full-blown DVS system,

new-and-improved with version
2.5 Traktor gets remixed, with
brand-new Remix Decks, coloured
waveforms and improved beat
detection, masses of FX
samplebanks, hot cues and



Isnt quite as slick as the competition.

Still no support for VST plug-in

effects, and this latest version is
processor-hungry enough to trip
up older computers.
The new features and
improvements to Natives
premium DJing software takes
Traktor to a whole new level that
will excite existing Traktor users
as well as tempting newbie DJs.

Still not as detailed as some of

the big boys, but it is getting


Traktor Scratch A10




Mega cheap, simple to set up DVS system.



For anyone thinking of making the switch

and using DVS, this is a cheap option to dip
your toes into the water.

The new version software

gives Mixvibes Cross pro level
performance with a huge
feature set and great value
for money.



Scratch Live



Excellent sound quality,

fantastic back-to-basics DVS
system that has many fans
all over the world. This is all
about DJing skill, and now
the Bridge and SP6 sample
player take it to a new level





Lack of auto sync or beat

Scratch Live takes the skills
of DJing and puts them into
the digital domain. One of
the most popular DVS
systems on the planet, the
updates make this a killer
piece of kit.





DJ Tools incorporating FX

Taking DJing to infinity and beyond, here we check out the tools
to enhance your DJing performances.

Mixed in Key

Mash Up


Rekord Box


Instant remixes can be created

by this handy DJ-friendly


The original pioneering

software to allow DJs to prep
their sets before the gig.



A handy bit of software for

creative DJs, it makes creating
custom-style remixes and
mash-ups a breeze.

Doesnt mix for you. Is that

actually a gripe?
A smart piece of software that
allows DJs to prepare their
music and get the most out of
Pioneers range of CDJ








Denons answer to Pioneers Rekord Box

software that allows DJs to prep their sets
before the gig.


RMX 1000


It can be added to any DJ set-up to bring cutting-edge

plug-in-style FX without needing a laptop, and is also a great
addition to any studio production set-up.


Doesnt mix for you. Is that actually a

A smart piece of software that allows DJs
to prepare their music and get the most
out of Denons new range of CDJ players.

Lack of MIDI support really lets

down the Kaossilator2 and
limits its usefulness.




Lack of digital or pro DJ link connectivity.

A pint-sized box with

touch-pad control. Decent
effects unit to add to your

The RMX1000 is the perfect addition to any DJ set-up to expand

the FX functionality, and a great way to achieve laptop-style FX
and sampler capabilities without needing a laptop in the club.







Mini Kaos Pad 2

Brightly coloured box of fun
that takes idea of the Kaoss
Pad and shrinks it down to a
pocket-sized box of tricks.




TECH awards 2012

Best Music App

Technology on the go, pushing the boundaries for DJ/

producers to record and perform. Welcome to the future.





A musical sketchpad with effects,

audio recorder and Maschine-style
pads that will export quickly and
easily to the full-blown Maschine



The navigation and user interface will

take a little getting used to for
Maschine users.



The price is a little on

the steep side when
compared with other
similar apps currently


Deluxe Edition




A proper
turntable-style DJ app
with effects that is lots
of fun and costs very
little to own.


Four-deck mixing with sample

decks, high resolution
jog-wheels and wi-fi MIDI





This Moog emulator for

the iPad has found
support with more than
a few hardcore
hardware heads, giving
the nod to the sound
quality and character
of this synthesizer.

for iPad

A Maschine-style sketchpad for

creating and recording musical
ideas on the go, with a decent set of
features, sounds and a great export


An authentic-sounding
Moog with MIDI support,
as well as onscreen



The single stereo

output means that
djay is not really a
replacement for a
proper DVS when


CrossDJ Remote

There isnt much to not like

about this controller.


Painless set-up and a decent set of

features, including loop triggers and
hot cues.

A totally integrated four-deck

controller for Traktor, complete
with wi-fi for the iPad or

One of the best virtual

turntable-based DJ
apps around
perfect for trying out
ideas on the go.


Probably more useful for having fun at

a party than using in a DJ booth at a
proper gig.




A controller app that turns an iPhone

or iPad touch into a controller for




No performance would be complete without a trusty set of

phones, so lets not forget this essential DJing tool







Very lightweight and comfortable

headphones that look good and
perform well.

Lightweight and uber-stylish

headphones, with a decent
bass response that doesnt
muddy the sound clarity.



The headband doesnt have

any padding, and these
headphones do not fold up.


The Reloop RHP-20 headphones

are a great alternative for DJs
looking to get a good set of
headphones for a fraction of the
price of other brands and models
with similar features.

A set of headphones that are

lovely to look at, with a sound
reproduction that is very good
and a build quality that
means they will last a long



Super cool compact

headphones; lightweight, with
replaceable parts.





Feel a little bit too plastic-y.

Good quality headphones
with very loud, undistorted

Allen & Heath

XD 253




HDJ 2000



Lightweight and very durable, thanks

to the clever design, as well as being
able to handle high volumes without


The lack of a replaceable cable could

mean headaches in the future.
Fantastic-sounding headphones that
look the business as well as being up
to the rigors of life on the road.



Great sound, low distortion, highly

flexible and very well-built. Unbeatable



Quite expensive for the average

Superb quality headphones, the
HDJ2000s have become the
headphones of choice for many DJs.




TECH awards 2012

editors choice award

It is always going to be
a difficult task when it
comes to any process
where there is a public
vote to determine what
can be considered the
best. Sometimes it
comes down to a plain
and simple popularity
contest. There are times
when a piece of kit is
technologically far
more advanced than
the obvious winner,
but hasnt quite caught
the imagination of the
mainstream public. It
is with this thinking
that we have decided
this year to award
one standout product
with the editors
Choice Award. This is
recognition for a product

that has excelled, and

whilst it may not have
captured the hearts of
the public in this vote,
its definitely worthy of

Catch the beat!

Get hands-on at this years BPM show

After the phenomenal success of the 2011 BPM
show, 2012 is set to go one step further. BPM is
Europes largest event dedicated to DJ culture,
which runs over three days at Birminghams
NEC on Saturday 6th to Monday 8th October.
The three days of BPM will be packed with kit
demonstrations, talks and DJ sets from an allstar line-up of superstar DJs and producers.
Previous years have seen sets from James
Zabiela, Radio One hard dance supremo and
all-round nice guy Kutski, Paul van Dyk and DMC
world DJ champions to name a few. Attendees
will be able to drop in on the various workshops
and panels that will take place during the course
of BPM. Reloop will be hosting a digital DJing
competition, and Pioneer will have their usual


main stage stand full of delightful bits of kit and

a soundtrack supplied by some of the scenes
biggest DJs.
DJ Mag will once again be in attendance, and all
the winners of this years Tech Awards will receive
their awards live at the show.
Advance tickets for BPM are priced at 10, but
you can also pay 15 on the door. Every DJ who
purchases their ticket for BPM 2012 in advance
will also be eligible for a host of free goodies.
For more information about tickets and the
BPM show, visit:


funk it up
We get that Sofrito feeling

Matthias Tanzmann takes on
the world

Top September nights



We lose ourselves at
Hideout 2012

We let our hair down at

Haughton Hall



The on-the-pulse guide to the deep, down and dirty gyrations of global clubland

Wheels in Motion

In:Motion flexes its musical muscles with the biggest line-up to date

hile Bristol has long been revered as a hotbed for UK-born dance
music, the scene steeped in soundsystem culture hinged
traditionally on bass music over the years, ruling as the nations
second city for d&b and dubstep.
Over the past 12 months, however, the groovier, more melodic styles of the 4/4
emerged as another dominating force, much down to the pioneering force of the
Futureboogie imprint alongside house heads such as Julio Bashmore, Waifs & Strays
and former d&b junkie Eats Everything.
None of this should go without raising a glass to In:Motion. The South Wests saving
grace for the citys house music enthusiasts, annually residing down in the depths of
Bristols Motion Skatepark since 2010 in a similar vein to Manchesters Warehouse


Project for four months at a time, its catalysed the fresh wave contributing to the
citys ongoing facelift.
Launching on 29th September, this years In:Motion season is destined to be the
deadliest yet. Running until December, big names like SvenVth,Seth Troxler, Fatboy
Slim and Josh Wink share the bill alongside more subterranean talent such as Ben
UFO, Huxley and Paul Woolford thanks to promotion teams such as Cocoon (30th
November), Futureboogie (23rd November) and driving force Just Jack, which will
launch the series on 29th September with Jamie Jones and Dyed Soundorom/Dan
Ghenacia b2b. Thats not to say the original sounds of Brizzle have been forgotten,
though. Breaks, d&b, hip-hop, bass and all its dubby derivatives have found a place,

WHEN? Saturday 29th
September Tuesday 1st January
WHERE? Motion, Bristol
HIGHLIGHTS? SvenVth. Jamie
Jones, Seth Troxler, Dyed
Soundorom & Dan Ghenacia, Josh
Wink, Claude VonStroke, Eats
Everything & Justin Martin,
Scuba, Paul Woolford, Disclosure,
Todd Edwards, Lee Scratch
Perry, Mosca, Huxley, Public
Enemy, Grimes...
HOW MUCH? 16.50+


Bite-sized party nibbles to whet your appetite...

LPG closure
London Pleasure Gardens goes
into liquidation
Newham Council announced London Pleasure
Gardens would enter into a voluntary
administration process on 3rd August.
The company operating the LPG site a
30,000 capacity event location built on
industrial wasteland at Pontoon Dock in South
East London ran into financial difficulties as
a result of insufficient funding.
The Gardens, which played host to the well-documented failure of Bloc 2012 early last month, were originally
scheduled to launch in April this year; however, delays meant the official opening didnt take place until 30th
In April early this year, the location was far from ready to open, so therefore the whole project had to be
slightly rushed, said Make, Moore & Grooves Dan Perrin who, while not directly involved with the logistical
direction of the project, took charge of bookings for the site. Their initial intention was to build slowly
towards bigger events through a series of industry, cultural and community events, but this was not possible
in the time available.
Following Blocs cancellation at 9pm on its first day, which resulted with the liquidation of the events
holding company Baselogic last month, LPG struggled to retain the promotion teams booked for the rest of
the summer while limping to satisfy its projected financial forecasts, resulting in staff redundancies. Adding
to this, while the London Organising Committee of the Olympic and Paralympic Games (LOCOG) projected
the footfall for the site to be around 30,000 a day due to the sites accessibility as an official pathway for
attendees of the games, only a small percentage of this was realised, Perrin explained to DJ Mag.
On 2nd August, Secretsundaze announced it would pull its Go Bang! party planned for August Bank Holiday.
The resignation of a director at LPG Ltd promptly followed; then the decision to go into administration.

Rainy City rave

Line-up for Warehouse Project 2012 announced

Club colossus Warehouse Projecthas served the billing for its 12-week stint at
its new home at Victoria Warehouse, Trafford Park. And, yes, as usual, its MEGA.
Entering its seventh year of sonic supremacy over the Rainy City of the north,
this seasons all-star cast features names old and new to the series, starting
on Friday 28th September. Bugged Out!, Hospitality and Crosstown Rebels will
return for another bout of bass-ready trouble, while Hot Creations (presents
Paradise), Red Bull Music Academy (RBMA) and DHP Concerts join the ranks
with WHP debuts. As usual, therell be regular curation from individual artists,
with TEED, SBTRKT and Laidback Luke joining seasoned regulars like Annie Mac,
Pete Tong and The Chemical Brothers throughout the autumn/winter months.
And, of course, the end of season finale (line-up TBA) will take place on New
Years Eve to make sure this epic series of parties receives the gargantuan
celebratory culmination it rightly deserves.


If you only attend one live gig

this month, make it this

with Hessle Audio (5th October), STB (19th October), Funk
From The Trunk XL (20th October) and Tokyo Dub (26th
October) hosting events.
High Contrast, Netsky and Nicky Blackmarket will be there to
jiggle internal organs alongside the Hospitality crew on 6th
October. Plus, digital dance pop icon Grimes is live on Tuesday
13th November, as are hip-hop giants Public Enemy as part of
their 25th Anniversary tour on 28th October. Better get those
wheels in motion, then. Make some plans.

Still proffering their unique breed of neon pagan

pop, Brooklyn trio Yeasayer arent your average
synth band.
Their foppish hairstyles and oversized plaid shirts
to one side, third LP Fragrant World (out now) might on paper be just another album from a band that
manipulate the modes of pure pop for their own avant-garde devices think Teengirl Fantasy, Gang
Gang Dance, Laurel Halo but theres more to them than meets the eye.
Their main interest may be subverting the norms of accessibility chewing up and spitting out heady
doses of wonky electronic melody sure, but does it end there? Does it f**k!
Working with talented visual artist Yoshi Sodeoka to create psychedelic, hyper-digital vignettes to
accompany each track and hiding them in corners of the web for fans to find is only part of it. Next in
the saga is their wildly experimental live show, which stops at Londons Shepherd Bush Empire (27th),
Glasgows Arches (28th), Manchesters The Ritz (29th) and Dublins Button Factory (30th) this month.




The promotion teams bringing funk to

the UK club scene


WHAT? A funky warehouse party with

more limes than a Bacardi advert
WHERE? Various secret little spots
across London
WHEN? They throw three or four parties
a year, whenever they feel fit
WHO PLAYS? Aside from resident DJs
and bands (Sofrito Soundsystem, Family
Atlantic), Owiny Sigoma Band, Prince
Fatty and Poets Of Rhythm have all
played over the years
WHATS NEXT? Ears to the ground

here are so many secret

house and techno
warehouse parties on in
London on any given
weekend that choosing one is enough to
make us wanna stay home. Imagine the
case, then, if there were NO parties doing
your sound. Then what? Friday nights,
youd be spent playing darts, drinking IPA,
down The Legion even before you reach
your prime. No beats to stomp the week
out to. No exhilarating party vibes. No
For Frankie Francis, the man behind
Londons legendary Sofrito parties,
however, this was never an option. His
clandestine little soiree was born not
because London lacked choices; but
because the party he had in mind back in
2006 was a little out of the ordinary.

different eras and continents. The

emphasis is very much on putting the
music firmly into a clubbing context. We
love the old music, but often the old
pressings dont sound so hot on a big
system, so we remaster a lot of stuff for
optimum sound in the club.

We felt that the kind of music we were

into wasnt very well represented at the
time, so began to throw parties away from
the normal clubs and venues, Frankie tells
DJ Mag. As word got out, the parties got
bigger, but weve always aimed to keep the
vibe the same.

Bringing the original sounds of high life,

salsa and Latin disco, old and new, to

grubby warehouse spaces splattered with

Sofritos vibrant trademark iconography,
the likes of Owiny Sigoma Band, Prince
Fatty and Poets Of Rhythm have played
over the years alongside resident band
Family Atlantic (album is due this autumn)
to conjure a carnival vibe tucked away from
the glaring eyes of mainstream society.
Tired of standard tunnel parties? Get that
Sofrito feeling!




Borne of a passion for African, Caribbean

and South American funk, soul and
disco, Sofrito started out as a warehouse
session for those in London with a
flavour for something more exotic than
your average dusty warehouse party.
Since, its grown into a label of the same
name, a DJ collective (Softrito
Soundsystem) and a party concept
synonymous with authentic dance music
culture; the capitals leading light for
serious movers and shakers requiring a
dose of sticky warm funk.
Its not a retro type thing, Frankie
points out. More of a different way of
presenting music that comes from


Bestival is the only way to end our summer because its the
ultimate non-stop, hedonistic, knees-up, morris dancing,
tequila shooting, insane raving, Mr Motivatoring, Stevie
Wonder loving festival out there. Simply the Bestival!
Bestival takes place 6th-9th September at Robin Hill
Country Park, Isle Of Wight with Stevie Wonder, New Order,
The xx, Friendly Fires, Soulwax, Justice, Orbital, Totally
Enormous Extinct Dinosaurs, SBTRKT, Azealia Banks, Kevin
Saunderson feat Inner City (live), Grimes, Little Dragon,
Drums Of Death, Gold Panda and many more...

VS .




Set to the unique backdrop of Port Lympne Safari Park,

The Zoo Project Festival will be an unforgettably intimate
gathering. Guaranteeing the Ibiza Zoo Project experience,
plus a huge selection of amazing artists and stage hosts,
The Zoo Project Festival promises three days of uninhibited
animal madness under the last of the summer sunshine.
Get ready to feel the Zoo love.
Zoo Project Festival falls on 14th-16th September, with
Julio Bashmore, Eats Everything, Pearson Sound,
George Fitzgerald, Youandewan, Blackhall & Bookless
and more


















The honchos pulling the

strings of the circuit.


What Evoke means to the
major players

Mark Knight

Forget the snobbery

about playing at
regional club shows,
I shit you not, this
club is amazing!


Feel good factor

Hell-bent on bringing real clubbing back to Essex, Evoke

is Chelmsfords big-room answer without the stiletto

ssexs rep has taken quite a

beating of late. With the
fall-out of a certain
television show drawing
added attention to the modes and
manners of a typical Essex boy or girl,
its a trying time to be one (this
correspondent should know).
Crass stereotypes aside, nobody can
deny that people in the county town like
a good party. Its just a shame that up
until recently, these good times were
restricted to 2-for-1 deals down the
local Wetherspoons. Over the past six
months, however, this has rapidly
started to change. Hooga home to
Gist, Discreet and Hold Tight has
invested in a Funktion One soundsystem
to bring high-end house, techno and
bass to its snug 300-capacity confines.
And, now, since 4th July, a big-room
alternative has been granted in the
form of Evoke a 2000-capacity venue


that has already played host to Mark

Knight, Danny Howard and Judge Jules.
Certainly an improvement on your
average night out in Essex, eh?
Essex isnt known for a thriving
underground music scene, says owner
Steve Webb. That said, with London so
close, there are a huge contingent of
clubbers that venture into the capital
every weekend, and have been craving a
great club closer to home. We have
excellent security and the promotion
and quality of the club is attracting
really nice, friendly, stylish clientle.

This is exactly the kind of reputation

many establishments in Essex have
developed, and certainly not what Evoke
is about, he concludes. Our
competitors in town are all offering free
shots and drinks deals to try and
entice customers, but Evoke doesnt
promote this kind of binge-drinking
culture. Evokes door security are
friendly and polite, but dont tolerate
any nonsense, we have staff who talk
to those in the queue, and are very
strict on who is allowed in.
Looks like the only way IS Essex...

Over the coming months, Annie Mac,

Pendulum, Robbie Rivera, Prok & Fitch
and Richard Dinsdale feature on a
schedule that will bring a combination
of straight-up club events and student
nights to what Steve calls a stylish and
high-quality venue striving to steer
clear of the binge-drinking culture
associated with the Essex club scene.

Its really exciting to

be part of a new era of
clubbing in Chelmsford
Evoke is
state-of-the-art and as
a DJ it offers
everything we dream
of and more from the
LED lighting and huge screens through
to the soundsystem and layout I really
look forward to playing there every


I absolutely loved
Evoke! A huge club
packed to the brim with
lighting, a thumping
soundsystem and an
amazing crowd who
know their music.



s 3HOGUN 5&/

s 3EP
s 3EP
s 3EP
s 3EP
s 3EP
s 3EP
s 3EP
s /CT
s $EC







, /6 9U*x - J"



Chattin Breeze



We asked the crew about a

time they got tangled up...






Recently I ejected
an old Sasha cassette
from my L-reg Citroen
AX tape player. When
I pulled it out, all the
tape went
everywhere. It took
me an hour to untangle the tape and get it
back in the cassette... How I love TDK!

or a movement that has

only existed for less than
30 years, an incredible
amount of water has
passed under dance musics bridge.
Artists, scenes and genres blow up,
explode and evaporate quicker than
Beardyman can tongue a snare rush, so
those that have stood the test of time
deserve credit where its due.
Hence why weve decided to doff a cap
to Tangled, Manchesters longestrunning club night, gearing up to
celebrate its 19th birthday with Hernan
Cattaneo, Rennie Pilgrem and Micron
DJs this month.
Starting out as an after-party run by
Steve Barnet, Phil Morse and Terry
Pointon back in July 1993, the night is
no stranger to the peaks and troughs of
clubland. Laying its hat at numerous
Manchester venues (Dominion
Apartments, Umist Underground, The
Thirsty Scholar, The Boardwalk, The
Music Box, Joshua Brooks and its
current home, Sound Control), its

experienced highs and lows

including a gang attack on a Tangled
regular in the toilets of Broadwalk that
temporarily put it to an end during the
mid-90s. None of this prevented the
boys from soldiering on, winning loyal
followers each week with Tangleds fun,
anything-goes vibe and consistent flow
of diverse DJs, the likes of Steve Lawler,
Nick Warren, Sander Kleinenberg,
Above & Beyond, Hybrid and Krafty
Dismissing the seriousness elsewhere in
clubland in favour of carefree good
times, Tangleds legend lives on.
Tangled has seen it all and the fun
times arent likely to stop anytime

Our second
Rhythm Section
gig was at
Universe in Bath
circa 1991 with a
whos-who of
music playing.
At the time I had
long hair. We
had matching Rhythm Section bomber
jackets, and as we were about to play, literally
on stage, I foolishly lifted mine over my
head, and got the zip properly stuck in my
ponytail. In the end, when hed stopped
pissing himself, one of the sound-guys had to
cut about three inches of my hair off to sort it

Original Micron
resident Zillo (now
known as Countach)
got himself tangled in
his own headphones,
while inebriated many
years ago. Took a lot
of people to untangle

First record you ever bought?

Take it Easy: Three records in order.
Boogie Down Productions South Bronx,
Stieber Twins Fenster Zum Hof, V/A Alte
Schule. We used to order all vinyl via
classic mail order catalogues because we
had no record storesin a radiusof 70km.
Freezo: The KLF What Time Is Love?
First two tunes you tried to mix?
TIE: Boogie Down Productions South
Bronx, Stieber Twins Fenster Zum Hof.
F: No idea. A friend of mine gave me his
record bag and I tried to play some funk
and disco vinyl in an empty club. It
probably sounded horrible, but I got help
from the resident DJs. Thanks guys.
First-ever gig?
TIE: Something around 1999 at a hip-hop
jam in Celle, Germany.
Fondest club experience?
TIE: Last weekend at Watergate in Berlin.
Never dreamed we would ever play there.
So many good vibes. Especially when the
sun goes up and you can watch The Spree
from the Waterfloor with everybody
dancing in the sunlight.
Worst club experience?
TIE: One of our own parties. We played to
five people with Play Paul at Terrence Hill
in Hamburg. We learnt never again to do a
party the day before Christmas!
Most mental event?
TiE: The JEUDI Halloween Party at the
Baalsaal two years ago. That was freaky.
Everybody came in costumes and all those
freaking creatures made it a party like no
other. We were Mario and Luigi!
Most significant club of all-time?
TiE: Definitely Baalsaal. Here, we started
to DJ deep house, and this club was
ourfirst residency.
Any era, anywhere?
TiE: I would love to DJ on a pirate ship,
like the one in Pirates Of The Caribbean.
F: Swinging 20s in Paris or the late 70s
in New York.





Totally in Lausanne!

Bringing DJ discovery to a small town in Switzerland, Electrosanne is a

breath of fresh air to a slightly saturated club scene...

hile Lausanne, with its forty clubs

servicing only 130,000 inhabitants,
might sound like a club scene made
by Carlsberg to some, those in town
looking for something a bit different are often left
wanting. Praise the rave gods above, then, for
Originally a single party in an old casino in 2006, the
four-day festival, set up by promotion team Fayabash,
is now split into three parts: Electrosane By Day,
offering two open-air stages in a public square
featuring DJs and bands throughout the day;
Electrosanne By Night, made up of club nights split
across five venues in the town; and The Centre for the
Arts and Technologies (CArTe), host to a series of
exhibitions, workshops and conferences for the first
time this year.

Spreading its net over todays swarming

coral reef of house, techno and bass, the
cherry-picked catch on display at
Electrosanne is only the finest, with
anyone from Claude VonStroke to Todd
Terje represented. Delving deep into the
darker corners of electronic musics
subterranean stock, the likes of The Mole, Jam City and
Teki Latexs Sound Pellegrino Thermal Team will
combine with UK house talent such as Mosca and Julio
Bashmore on a line-up headed up by the likes of Buraka
Som Sistema, me and Dixon.
Every year, we strive to best represent the latest
electronic scene as well as its different styles, explains
Bautista. Generally, we choose styles we believe have
had a great impact on the international electro scene
throughout the year. It is important for us to offer
accessible yet cutting-edge programming.

Taking place 6th 9th September, its the towns

solution to an over-crowded, gradually stagnating club
For over 20 years, nearly all the best international DJs
have frequented the various clubs in town, though I
dont believe there has really been an evolution for a
few years, says Bautista Dahl Rocha, artistic director.
We have actually felt a slight saturation. There are too
many clubs and too much competition, which
sometimes forces the clubs to favour a safe
programming [schedule] instead of a discovery one.

Drawing upon the towns most respected clubbing

institutions Mad, Loft, Romandie and Ruche
the festival will host nine different
soundsystems throughout the four days,
including Eldorado, an old cinema, and the
rooftop of LHotel in association with Red Bull
Music Academy Radio.
More about cutting-edge artistic exploration
than commercial box-ticking, Electrosanne is a
European festival with a more courageous
clubber in mind.

WHEN? 6TH 9TH September

WHERE? Lausanne,
HOW MUCH? 115/55 (Swiss
LINE UP? Buraka Som Sistema,
me, Todd Terje, Dixon, Benji
B, Claude VonStroke, Damian
Lazarus, Julio Bashmore, Mad
Professor, Club Cheval, Joakim,
Riton, Nguzunguzu, Midnight
Operator, Mosca, Prins Thomas,
Bambounou, XXXY, Sound
Pellegrino Thermal Team, Axel
Boman, Camo & Krooked, Jam
City, Christopher Rau, Om Unit,
Aerea Negrot and many more...

The clubs of Electrosanne by night...

musical temple,
Mad Club, witness to
a long list of DJ
legends throughout
its 30-year lifetime,
will launch
Electrosanne by Night
with Buraka Som Sistema and Axel Boman.


A cinema until
1996, D! Club has
grown into the
nerve centre of the
club scene in the
part of Switzerland
and will feature
me, Dixon,
Funtcase and Cookie Monsta.


The much
Loft Club will
play host to
Camo &
Krooked, Benji
B and DJ Q.


Lausannes most underground club, the intimate

La Ruche, will host a label showcase from Vakant,
and Moomin and Christopher Rau will perform


The on-the-road diary of the worlds
top DJs treading the globe


WMC, Miami
For this years Winter Music Conference, we
organized a showcase of my label Moon Harbour
Recordings together with Tiefschwarzs label
Souvenir. We had, amongst others, Martinez, Re.
You, Boris Werner and of course Tiefschwarz and
myself playing. The party was at a warehouse in
Downtown Miami. Unfortunately, around evening
time, police turned up and closed down the
outside area of the party. All DJs had to continue
inside, which led to new b2b DJ combinations on
the one floor. I teamed up with Kabale Und Liebe
to finish the party. The crowd was fantastic and
we had the best
Sunwaves Festival, Romania
Sunwaves Festival in Romania is a very
special event. Situated at the Romanian
part of the Black Sea, the city of
Constanta is about three hours by car
away from Bucharest. For this party,
people come from all over Europe to
celebrate one long weekend together.
The line-up is always high quality,
including DJs like Ricardo Villalobos, Zip
or the Romanian [a:rpia:r] collective.
Its right on the beach and the event
goes on both day and night time. I
highly recommend you go
there and spend some good time
with nice people.


Circoloco resident and Moon Harbour boss Matthias Tanzmann is no

stranger to working a sweaty room into raptures. Less about the breaks
and more about the beats, his is a deadly concoction of primal percussion,
always layered to devastating effect. Drawing upon energy and rhythm as
his building blocks, Tanzmanns weapon of choice is precision, opting to
push and pull his dancefloor back and forth with his invisible leash rather
than melt faces off. As a result, he is one of the most wanted of his craft.
His new Fabric 65 mix (out now) pays testament to exactly that, proving
why those who book him expect more than just your average DJ set. His
DJ diary reads more like an airport departures board than a calendar...


Amnesia Opening, Ibiza

I played the closing set on
the terrace of Amnesia Ibiza
at the seasons Opening Party.
Like last year, it was a b2b set
with Davide Squillace. We
started playing at around
9am. At that time, the terrace
in daylight has a very special
atmosphere. Since it was the
opening event, people were
extra hungry for having a
good time. We played for a
couple of hours and had a

great time. As a DJ, you get the

goosebumps when you see so
many people with their hands
in the air and suddenly the CO2
cannon shoots off.


Circoloco @ DC10 Opening, Ibiza

What can I say about my home base in Ibiza? I have
been a resident for the Circoloco parties for years now.
They are still amongst the best parties in the world. The
Circoloco brand has given a platform to a lot of great
DJs. On the line-up for the opening this year, there
were only fantastic artists. There are not many clubs
where you can feel such a strong connection between
the crowd and the music. At DC10, it is all about the
music. To me it is a magical place.

Big Beach Festival, Japan

In June, I played at the Big Beach Festival in Japan. It took place at a
beach near Tokyo and about 20,000 people
showed up. The line-up included The
Chemical Brothers, John Digweed, Sven
Vth, Timo Maas and more on three stages.
As a European, you dont expect a beach
party when you come to play in Japan. But
the weather was good and the crowd
fantastic. At night, I played the afterparty
with Sven Vth at Womb in Tokyo as well
as Fabric and DC10, its one of my top five
clubs in the world.

Big Beach

Eastender, Off Sonar,

During the week of Sonar in
Barcelona, Moon Harbour
joined forces with Davide
Squillaces new label This And
That Lab. We hosted a stage at
Eastender fest
the Eastender Festival by the
beach. We had a little gimmick
called DJ in hole. It was a wall
painted with an image of Davide and I DJing with holes where our
heads and hands would be. People would stand behind the wall posing
as DJs to have their photo taken. They came up with the funniest
poses! A few days later, we uploaded the photos to a website we
created for the event and people could vote for the best pictures
( The party was
awesome and the whole night was
broadcasted by Be @ TV.
10 Days Off, Ghent, Belgium
In the middle of July, the whole city
of Ghent seems to stop working and
start partying for a period of 10 days.
The city centre is filled with little
stages, carousels and mobile
bars. This is quite a unique
thing that I havent seen
anywhere before. During that
time, 10 Days Off is at the
10 Days Off
Vooruit Arts Centre, which is an
impressive location. They do
parties everyday. I played on a
Sunday night, and the energy in the
room was simply overwhelming. A very contagious vibe that still
makes me smile even now.



HIGH five









Come again? A bloody great festival occurring, slap bang at the tail end of our trusty Indian Summer, you
say? With a sizzlingly hot line-up of the very finest order? Well take some of that, in double helpings please!
Afterall, its not that often you get to romp around in the grounds of an opulent country home; to shake
your tail feathers, rock your socks off and go hell for leather with your own particular brand of freedom of
expression. How about that? Mint Festival takes place in the gentle outdoors and prime setting that is West
Yorkshires Lotherton Hall, famous for hosting boutique festivals within its lush Edwardian grounds and just
a hop, skip and a jump from Leeds town centre well, 13 miles to be precise, but in terms of a bus, car, train
journey it aint that far. Also, its good news for Manchester rapscallions that coaches are being drafted in to
do door-to-door deliveries. And whilst optimism will be the rule of the day, preparations are in place for every
stage to be covered, just in case of a downpour.
Its two scoops of Minty flavour alright. Leeds Mint Club, a DJ Mag Best Of British favourite, and Mint
Warehouse are morphing together to present the surprisingly named Mint Festival an all-dayer, thats
already on to its third ticket release, having sold out of the first two lots.
It might sound a bit cheesy to say that theres something for everyone, but DJ Mag struggles to juggle the
words round any other way. Four arenas celebrating Mints 6th birthday will have you lindy hopping from one
to the other. A quick sideways glance at the line-up will cause each corner of your lips to curl in an upwards
position and any frowns are turned upside down.
You know youre in good hands when the daytime fun and games has a soundtrack from the likes of legends DJ
Marky and Stamina MC, Hype, Adam F and Speedy J in the Jungle Jam vs Bigger Than Barry stage. Mix those
guys up with Sandwell District, Michael Woods and Eddie Halliwell in the Bitch Arena and Mint Festival is fresh
to the max.
Naturally after parties are on standby to round off the day at Mint Club and Mint Warehouse. Phew!

With heart-warming views of the Olympic Stadium

and tucked well away from prying unwanted ears
and boring noise constraints, Spilt Milks home for
this summer has been The Dairy in Hackney Wick,
one of Londons best-kept secrets. Not that theyre
intending to keep quiet about it though, with their
newly-installed Funktion One soundsystem setting
the tone and previous attendees Stacey Pullen, Mr C,
Boris Werner, Layo & Bushwacka! upping the pace.
Get ready to jump, with a loyal crowd that go more
than half way to making this party rock.
The brainchild of hipster and underground scene
setter Tred Benedict who performs resident DJ
duties along with Marc Ashken, DJ Mag Allstars
tested the water in August and can confirm that
theres definitely no point in crying over Spilt Milk,
youve quite simply got to rejoice in it! Drink it down,
every single drop!
And so, for their final party, and who better to help
them wave bye-bye to their 3rd season than Rekids
don and Berlin resident, Radio Slave? Rumours of a
hush-hush afterparty are causing creamy ripples...

Midday 1am / 37.50 /

12pm 11pm / 15 /



Take your pick or try them all! The choice is yours!






No one could ever say that September is a dull

month and its also a well-known fact that many
clubs celebrate their birthdays this month. Which
is why its a pleasure to reveal this new night to the
Smoke. Previously famous for its gay nights, Fire
has been given a lift and tuck and will be home to a
series of fortnightly house-heavy shows launching
this month. Mostly its going to be all about the
music, with Fred Falke (live), T.Williams, Juan
Atkins, John Digweed and Simian Mobile Disco
lined up, but a show aint necessarily a great show
without fabulous sound and wow-factor lighting.
This will come in the shape of a Void Soundsystem,
which regulars to DC10 will be all too familiar with.

11pm 6am / 12.50 /


We werent telling fibs about the birthday action
that goes off in September. Connected have
their 7th anniversary party tonight and its
their confidence in putting on a good party that
allows them to sit back and let the good vibes
wash over them. Previously famous for hosting
monthly Fridays at Ministry Of Sound, messy
boat parties in Ibiza and on the Thames, as well
as one-off crowd pullers at the Egg, Koko, the
late Turnmills and now their home sweet home,
Cable, tonights underground line-up leaps from
Norways Finnebassen to Germanys Larse back to
home turf courtesy of Adam Shelton.

10pm 6am / 15 /





The Hydra is a series of Autumn/Winter parties
put on with the sole intention to lavish exciting,
discerning, electronic music labels and collectives
on their not so general public. Courtesy of
promoters and programming experts Broken And
Uneven, this third party is held in praise of all
things cutting-edge. Showcasing the house and
techno talents of Hamburg imprint, Dial Records,
tonight promises to be a perfect combination of
live versus heads-down DJ action. Theyre a canny
lot and just a little bit stylish too thanks to a team
up with streetwear favourites, Supremebeing, for
a limited edition range of t-shirts available on the
night. The series wraps up on 24th November with
Joy Orbison and a live appearance from Skudge.

10pm 6am / 17.50/ brokenanduneven.



Feeling hot to trot? Get jiggy with one of these

Saturday 29th September / Bristol
Just Jack, Jamie Jones, Dyed Soundorom B2B Dan
Ghenacia, Midland
11pm 7am / 16.50-18.50 /

6th, 7th, 8th, 9th September / Isle Of Wight
Earth, Wind & Fire, Stevie Wonder, New Order, Major Lazer,
Orbital, The xx, Sigur Ros, Maya Jane Coles, Congo Natty
180 /

Friday 21st September / Polson Bridge, Cornwall
Kidd Kaos, LG Project, Mike Steventon vs Side E-Fecg, Tom
Costelloe & Tommie Quick
6pm 1am / 7.50 /


Saturday 29th September / Brighton
Annie Mac, Kidnap Kid, Blah Blah Blah
11pm 4am / 12 /


Friday 28th September / Warehouse Project, Manchester
Katy B, Zinc, Pearson Sound, Diplo, Skream, T.Williams,
Dismantle, Boy Better Know
7.30pm 4am / 20 /

Friday 7th September / Market Road, Chelmsford
Prok & Fitch, Hoxton Whores & Pique
9.30pm 4am / 7 /


Pics: kevin lake


A few years ago, most people went to Croatia for a quiet, relaxing holiday.

Thanks to Zrce Beachs Hideout, that has dramatically changed...

ideout is a relatively new

player in the Croatian
festival scene, having
doubled in size since its
2011 inception. Quite a feat, probably
engineered by its immense line-up
one of the best of any Croatian festivals
in 2012, and also one of the few purely
dance-focused events.
Whilst house music in all shapes and
sizes may be the main player, theres
actually plenty for everyone to get stuck
into, via a range of techno, bassline,
dubstep, ragga, electronica and breaks,
giving a nice sense of variety.
After landing in Split just two-and-a-half
hours late, DJ Mag is itching to get its
festival on, and after a transfer round
some very windy roads to Zrce Beach, we
arrive at the site, in full-swing. A quick
glance at the line-up reveals that the
Aquarius stage is the place to be for
those craving some bass to kick off their
festival. A tasty B2B set from Four Tet &
Dan Snaith of Caribou wholly delivers,
with the two veterans switching
between melodic house, glittery
electronica, stark, percussive techno,
and various bassline and garagepeppered tracks towards the end of the
set, reflecting the direction that both
artists have favoured of late.
Carrying on the UK bass theme is Ben
UFO, playing jittery techno that melts
into deep, soulful house, and eventually
straight-up nostalgic soul. Theres also
some glitchy two-step layering the
vocal from Basement Jaxxs Red Alert
over the top before abstract, trippedout electronica. The guy gets better and
Time for a change of scenery at the
vaguely tropical Kalypso stage, where


Soul Clap are doing their thing. Upon

arriving at the dancefloor, a chap next
to DJ Mag pulls out a bottle of what
looks like poppers. It turns out to be a
mini-deodorant can. He methodically
sprays himself. In the middle of a
crowded dancefloor. At an open-air
festival stage. This is somehow more
disturbing than anything he could have
done with poppers.
Keeping their well-groomed fans
grooving, Soul Clap lay down a solid
selection of techy disco and upbeat,
crisp house refined but subtly funky
a perfect soundtrack to the sun rising
over Zrce in the background.
Sunrise sets are the best, especially in
this kind of setting, says Soul Claps Eli,
speaking to DJ Mag before he plays.
Weve been trying to hone this kind of
outdoor/terrace sound, with lots of
floaty summertime jams. Its cool
because each summer we come back to
Europe and we learn more, and our
sound keeps changing and growing.
By the time things shut down at 6am,
its already beginning to heat up, and
the blinding daylight affords a good
view of the partied-out masses (around
80% have come from the UK), many of
whom are still sucking back Croatian
lager and overpriced nitrous balloons.
After nowhere-near-enough sleep, its
time for a pool party to rejuvenate the
senses. The searing Croatian sun is
roasting all and sundry, and Toddla T is
rinsing out hard-hitting ragga and
jungle above one pool, while Richy
Ahmed and Cera Alba relay deep and
funky house delights to other poolgoers at the Hot Creations party. Much
fun is being had at both.
Sticking with the watery theme, DJ Mag
gets its sea legs ready and heads to

nearby Novalja for one of Hideouts

many boat parties, this one hosted by
the Dirtybird Records crew and
headlined by label boss Claude
VonStroke (Barclay Crenshaw),
generously dishing out lashings of
vodka to his shipmates.
During a chat with Crenshaw, he
explains that boat parties thrown by
Red Melon Records, in his home city of
San Francisco, were key in getting him
into raving. But how do those
compare to the current Croatian funvessel that Crenshaw is on, with several
hundred party-ravenous Brits?
If you told me I had to go to Croatia in
100-degree weather and stand on a boat
with my shirt off, in a crowd of 200
people youve got to be a real partier
for that! Britain is full of crazy
partygoers I dont know how they do
it, he laughs.
But do it they do, losing it to Bristols
Eats Everything, who works them
through a superb set of slick, grooveground house with a booty edge, the
highlight of which is his own deep and
deeper take on Cajmeres muchreworked Percolator, with the equally
deep blue of the Adriatic Sea engulfing
the overboard view. Nice.
VonStroke then plays the final stretch,
starting with low-key house and teasing
the crowd before cranking up the bpm
and the bass. He then goes into slowburning booty-bass, before chopping
things up and supplying more than
enough big drops and rhythm to keep
the crowd grinning and moving.
After rinsing every last drop of fun from
the boat party, its time to head back to
dry land and the main festival site,
where Jamie Jones is beginning his set

Eli Goldstein (Soul Clap)

at the Papaya stage with dark, bassy

techno. He then indulges in trippy
house, full of jarred percussion and
off-kilter jazz bass, before easing into a
punchier deep house groove. Theres a
huge crowd out tonight for Jones, and
they seem to dig the experimental
Still fuelled by the hectic madness of the
crowd during a surprisingly enjoyable
nostalgic trip to catch Andy C, the
unabashed energy of young Blawan now
seems mighty appealing. Favouring hard
and heavy techno in a live setting only
a little headier than his brilliantly
sludgy, acid-infused techno on record
he gets the Kalypso stage beautifully
I dont think a lot of people give the
crowd enough credit for how pumping
you can make it, says Blawan (Jamie
Roberts) after his set. The crowd are a
lot more open than you think. A lot of
DJs would be scared to do that, because
they think its too hard, but youve got
to give people a chance to see how they
react. People want some energy.
They certainly do, but having expended
enough of it for one night, DJ Mag hits
the sack to save itself for the final day.
After a morning dip in the sea and
observing more than a few comatose


Toddla T

Claude VonStroke

beach-strewn festival-goers who didnt

quite pace themselves well enough
its straight back to business.
Rustie is first on the list, levelling out
liquid, spacey funk (of the kind that
made his Glass Swords album so
appealing), another shot of Percolator
(the Claude VonStroke rework), and his
own Hover Traps, before moving into
heavier, bassline-house.
So, listen were now going to see
Skrillex, ok? Calm down, its in the
interests of objectivity, and by the looks
of the massive crowd, were not the only
ones whose curiosity has been piqued.
So, what goes on? Well, its exactly
what youd expect big, wobbly,
obvious dubstep thats easy to jump
around to, should you so desire. And
yes, it wears thin quickly, although the
notably young audience seem to lap it
up, bizarrely, some may say
But while the kids are bopping to
Skrillex the older, jaded ravers have got
their heads down to Simian Mobile
Discos excellent set of dark, acid-

drenched techno. The second Aquarius

stage has become a beautifully grimy
rave den and SMD are ripping up whats
left of peoples energy levels with their
tunnelling, glitchy business. And its
never sounded better.
Finally, then, Ricardo Villalobos brings
things to an epic close, via techno of a
more refined nature. Saying that, its a
varied, three-hour set, and Villalobos
mixes it up accordingly, from spacey,
minimal sounds to upfront club beats to
melodic tech-house. He also teases out
a winding, extended mix of Donna
Summers I Feel Love, which goes down
a storm. As the sun comes up once
again, Villalobos endless grooves are a
pleasure to lose yourself in, before DJ
Mag and thousands of others shuffle
carelessly up the beach one final time,
thinking about the impending
With a new festival springing up in
Croatia every five minutes, you have to
do something to stand out from the
crowd. Hideout certainly achieved this
in 2012, and if they can sustain the pace
and line-up quality, theyll quickly
establish themselves as one of the big
Eli from Soul Clap actually sums up the
festival in a few succinct words. Its
huge, a giant, big-ass rave. Indeed it is.
And in all honesty, there are few better
settings to look back on the big-ass rave
youve just had than the sprawling,
sun-kissed beaches of Croatia.

Simian Mobile Disco





Maceo Plex

Feels like summer in space

What do you get when you bring together Maceo Plex, Droog, Tim Green and Saytek
in possibly the worlds greatest club? DJ Mags Space Ibiza party, of course

to their very limits. With his track

Neurotypical earning increasing love
from Carl Cox and various others, were
tipping the Cubism mainstay for much
more to come, too.

Capitalising on last years DJ Mag at

Space line-up was no easy feat, not least
because 2011 saw Jamie Jones, Justin
Martin and SOS take centre stage. Jones
went on to become last seasons biggest
star, with his residency at DC10, a new
found fan-base and of course, gigs at
Pacha and Space emphasising the point.
So in true trailblazing fashion, we
figured it best to repeat that trick by
securing the services of a DJ on the
verge of similar greatness. Eric Estornel
(AKA Maceo Plex) was the obvious
choice, and if his heady set is anything
to go by, his island stock is set to soar
much further still.
Plex, however, is far from the only
highlight on a night where the music
and the atmosphere is as good as
youll source on the island all summer
long. Perennial Dj mag favourite Saytek,
for instance, is the first on the controls,
with his live set bursting at the seams
with raw energy and vivacious
enthusiasm. By the turn of midnight the
club is heaving, and in suitably apt
fashion, the fledging producer pulls off
a set that shows a blatant disregard for
the warm-up. With a cleverly
improvised, hardware-based live-show
(that were led to believe is tailor-made
for the occasion) at the heart of his
theatrics, everything from acid-laced
basslines to pounding drum-kicks find
favour, with a 909, a Kaos Pad, Ableton,
a loop sampler (and more) being pushed

Saytek paves the way nicely for Droogs

Brett Griffin, who slowly takes matters
down a notch, captivating the audience
in a deeper vein to what has come
before. Dressed in trademark Hunter S.
Thompson-like attire, the American
native ploughs through a set that is as
varied and twisted as Thompson himself,
with hi-hats, shimmering percussion
and abundant melodies all featuring. By
this stage, the audience is firmly in the
palm of the DJs hand, and Griffin
handles the expectation with poise and
assurance, drawing the listener down an
intricate and sultry path that captivates
throughout. Its not for nothing the
Culprit gang are being championed
across the board, with Griffins tastemaking and obvious musical nous very
much coming to the fore.
And then the headliner. Maceo Plexs
past 12 months have been as
momentous as they come in
underground circles, and whether its
as Plex or as Maetrik, his more technoinclined moniker, the Valencia-based
DJ/producer has struck a chord recently
amongst revellers seeking groove-laced
pastures. His arrival on stage, then,
prompts the nights biggest cheer a
good omen at a time when the island is
teeming with influential seasonal
workers. In a move befitting of his
headliner status, Plex weaves through
an expectedly high-octane set, with
smooth-as-you-like mixing and multiple
hands-in-the-air moments very much
the order of the day. Rapturous applause

ts far from our style to be

overtly hyperbolic, but in the
case of DJ Mags Ibiza party at
Space, were willing to make an
exception. With a series of handpicked
guests at the helm, pandemonium
seemed imminent. And so it proved.

duly follows: 2012 could well belong to

By the time Tim Greens culminating set
kicks off around the 5am mark, Space is
in full-on overdrive mode, reverberating
to a wonderfully relentless series of
slamming peak-time records. The
prolific Brit and sometime Cocoon and
Get Physical man capitalises, too, raising
the stakes in a manner that suggests the
night has some life in it yet. And with
the first signs of morning trickling

through the clubs windows, Green

proceeds to lay down a series of trippy
and spaced-out beats that are very much
in-keeping with the rooms still-heaving
ambiance. As matters come to a halt
around 7am, we leave, exhausted but
fulfilled a night that very much lived
up to its promise. With the worlds best
dance music magazine joining forces
with the worlds best club, was this ever
going to be anything other than epic?
Stephen flynn

Droog crew



Pics: beth crockatt


Rave preservation

After fighting off repeated bouts of contention, Glade

Festival is back on track, still with its values intact...

tll be with a touch of irony that

we look back at summer 2012 as
the year that dance music broke
through (again). Not because
Fatboy Slim, Chemical Brothers and
Underworld topped festival bills, but
because they triumphed in front of
millions at the Olympics. That aside, its
been a turbulent summer for UK dance
Wind the clock back to the beginning of
June before the success of London
2012, the meltdown of Bloc and the
liquidation of London Pleasure Gardens
(not forgetting the redeeming sunshine
of Secret Garden Party) and the
festival some people assumed would
have difficulties (mainly because it often
does) was Glade. But nothing is as it
seems this summer.
Besides, standing the test of time is one
thing in this festival game (especially
one so saturated), but overcoming
numerous hurdles and living to tell the
tale is the sign of a truly great event.
That Glade struggled with a succession
of legal wrangles as it moved from site to
site cancelling in 2010 and switching
site last minute the next as well as
experiencing severe flooding and

market fatigue in recent years, might

well have convinced its organisers of its
curse. The fact its soldiered on,
survived and grown stronger as a result
is evidence of something more
benevolent at work. Glades legacy
growing from a corner of Glastonbury to
become a fully-fledged festival in 2004
is a lesson to all of us.
So what has made it so enduring? First
off, there are Glades people. Born out
of a free party mentality more aligned to
Castlemorton than V, its striven to
preserve the principles of rave without
selling out to corporatism like so many
of its peers. As a result, the events loyal
followers come for outright rave escape
rather than to hobnob with industry
folk or flaunt fashionable wellies and
Raybans beside the DJ booth. Making
our way through the site early Friday
evening, there is a relaxed openness
about the place no doubt boosted by
our stunning national park
surroundings. Strangers painted faces
nod and say hi, while fancily dressed
vintage ravers lounge on hay bales
smoking rollies and nattering without a
care that stray bits of straw have found
their way into their crusty festival
barnets. On the Dance Off stage, there

is jubilation on the Funktion One-lined

boxing ring as people hop and skip
excitedly to the decidedly jacking house
of Phil Weeks Jack To My Groove.
After dark, the main tent is going apeshit to Vitalics electronic abrasions in
whats the most typically big-top festival
moment of the day. This is followed by a
wander into countless little tents dotted
around the perimeter of the site, each
housing a drastically different sound; we
encounter everything from oompah
house to wobbling bro-step to live
electro-jazz to grade-A deep house. The
vast aural array on display both a
blessing and a boon, inducing a
reluctance to leave a decent
soundsystem once discovered. Still,
there is plenty to explore, especially in
the forest, where an amazing maze
thats not as good as it thinks it is, a
member of the DJ Mag crew points out
made of silver streamers affords more
than a few giggles, before we pop to the
Meteor Stage. Its a dancefloor made in
a 10ft crater fitted with a Funktion One
and a UFO DJ booth spewing out the
most mind-mangling drum-step
basslines imaginable. Next, we find
ourselves crawling on our knees through
a tunnel to find top-notch wonky techno
at The Rabbit Hole, and then let our
imaginary dreads down to some psytrance until 8am at The Origin.
Following up with raucous live sets from
Killaflaw and Dub Pistols, a bump on the

Adam & Joe (DJ Mag)



bumper cars and a stompathon to Eats

Everything at the Pyro-mid hosted by
Hypercolour on Saturday, its natural to
conclude that Glade 2012 really is the
full bag of festival chips and then
Dub Pistols

Amsterdam Dance Event

The Electronic Music Platform
17/18/19/20/21 October 2012
An initiative of Buma

Hang on to your bass bins! The best new music is right here


Matthew, Dear!?

Techno favourite goes pop

p. 128


dancefloor bombs


Whats inside Fur Coats

party pockets?


The months tunes tried

and tested


Huxleys brave new

house world on 1 Trax
p. 132



Stone Cold Killer track of the month

When you absolutely, positively, must decimate the dancefloor, this is the tune you need

Risn Murphy

Permanent Vacation

Shes never played the pop

game by its rules. Risn
Murphys knack with a song
and memorable melody has
always been accompanied by a
determination to experiment,
to push against the limitations
of what an accessible tune can
be. Her band Moloko wrapped
up delicious pop confections
in an array of fascinating,
rhythmically complex
adornments, messing with
house and trip-hop boundaries.
Her first solo record Ruby
Blue saw jazzy, leftfield
arrangements, courtesy of
Matthew Herbert, complement
her transcendent voice;
her second, Overpowered
collected some of the crme of
the electronic crop (like Ewan
Pearson, Seiji, Andy Cato) to
build various electronic funk
backdrops for Murphy to go
to town on, in typically sassy
fashion. In all these, though,
shes skirted the edge of
the dancefloor, made tracks
with grooves, perhaps more
intended to be listened, rather
than danced, to.

snake-hipped disco bassline you

could listen to for days, sinuous
and sultry, while a celestial
key riff that just goes and
goes and goes seems beamed
from the heavenly bodies.
Hypnotic, the kind of groove to
get lost in, its when the diva
herself joins the party that it
all kicks off. Her lush tones
pushing the track onwards,
speaking of a simulation/a
demonstration, its almost
a manifesto, a statement of
intent from a singer and artist
at the peak of her creative
powers. At the breakdown, a
swirling, uplifting moment of
synth(etic) majesty, her voice
becomes computerised and
dovetails with her theme of the
way technology, computers
have infiltrated our world to
such an extent that reality has
become warped. Lyrically smart
and a dancefloor bomb, all
11.35 minutes of it, its another
clever subversion of the song
form. We cant wait to find out
whats next.

But Simulation, her

surprise debut for Germanys
consistently excellent
Permanent Vacation, sees
Risn stepping confidently
onto the floor in serious style.
A smoking, live-sounding house
beat (produced by DJ Parrot,
aka Richard Barratt, the dance
innovator famed for his work
with Sweet Exorcist and very
recently as Crooked Man),
rolling and low-slung, meets a

VITAL LABEL keinemusik

Whos behind it?

Adam Port, &ME, Rampa, David Mayer and Reznik.
Sounds like?
Not always easy to describe our style, but house is
our base for sure. Sometimes more tech and sometimes deep, but always focused on the dancefloor,
says Adam.
Whos on it?
Only the Keinemusik crew. We are not releasing
music from other artists. This has always been the
idea, from day one.
Whos playing it?
Jamie Jones, Axel Boman, Sven Vth, Maya Jane
Coles, Dyed Soundorom, Till von Sein, Matthias


Tanzmann, Agoria, Ewan Pearson, Pete Tong,

Reboot, Josh Wink, Catz n Dogz, Karotte, Nic
Hows it evolving?
Each of us is free to press anything onto wax.
Right now all of us have only one slot in the year
for a solo EP, so we know we have to make sure
the music is the right choice. We dont really have
a masterplan about the style or sound of future
releases. We go with the flow. Does that sound a
little crazy?
Whats next?
A great EP by David Mayer is ready to rumble!
Please check our latest too, Workparty 3 which is
out now, Adam concludes.

The cutting-edge releases you need in your life

h.o.s.h & hearthugTechnicolourStranjjur

THIS wild and freaky, disco house wig out certainly

stands out. Slow and low, with a pick of funky guitar and
a bassline youd expect from Diynamics ace producer
H.O.S.H, this goes somewhere very unexpected.
Introducing some decidedly cosmic funk synths
midway through, it explodes into a morass of wiggling,

kaleidoscopic keyboard squiggles that sound like

Herbie Hancock in the late 1970s, after imbibing some
particularly potent star dust. Winding down into pure
wigout territory, the beat drops out, only for it all to kick
back in again. Young firebrand HearThuG is to blame for
this brilliance, we reckon. A real statement tune.

DJ Tennis feat PillowtalkThe Outcast (Morgan Geist Remix)Kompakt

Utterly sublime. DJ Tennis, the Pisa, Italy-residing Manfredi,

who runs Life & Death Records, you say? With vocals from San
Franciscos great Pillow Talk? Yes, thats good. But the Morgan
Geist mix on the flip is where its really at. Geist is a true enigma.
Appearing from the shadows every six months with a new bomb
cut (check the new tune as Storm Queen Lets Make Mistakes),

you can trace the lineage of Detroit techno in his oscillating

computer tones but also a rich seam of disco and electro boogie
that surfaced most strongly in his Metro Area project. Both
elements collide on this epic piece: life affirming, anthemic, but
never cheesy, expect to hear this on all the proper floors.

DJ LinusK.Bs Groove (Analogue Cops and Kris Wadsworth Remixes)Initials

This underrated, understated house classic from 1997,

with its dark, smouldering analogue bass, spoken word
vocal and reflective smears of synth, sounds like a lost
Chicago jewel from the 1980s. Reason enough to purchase
alone, but the remixes make it essential. Errant Italians
Analogue Cops make good on the form theyve displayed

of late, following collabs with Blawan, and offer a

thudding, raw, no-nonsense techno masterclass with more
balls than Wimbledon, its twisting hypnotic riffs circling
the rhythm until a clanking beat and ravey stabs interject.
Detroits own iconoclast Kris Wadsworth ups the ante on
his mix, possibly even darker and more unsettling.

ViadrinaCellar Door EPLower East

A power move pairing of Polish tech house team Viadrina

and the none-hotter Lower East label, this is eerie, moody
bassline-powered dancefloor material par excellence.
Cellar Door looses a smouldering analogue groove that
wouldnt be out of place in a Lee Foss tune, with an added
melodic sensibility and distinctively Viadrina touches;

Black Door is darker, later, all pitched low voxes, and

crisp percussive snap an inverted, Black Lodge version
of the title cut; but its Spellbound that really kicks like a
mule. Cutting up a lush female vocal, mixing it with airy,
floating pads and a classic bubbling bass, this is big room
music with a deeper sensibility.

Last Magpie(Who Knows) Where Love GoesHypercolour

Following the moody garage groove of No More Stories

on Losing Suki, Leeds Last Magpie has been bumped up to
the motherlode, Hypercolour. A much housier affair, the
title track pays as much homage to US garage as it does
the UK equivalent. Reinforced with plenty of Bashmoreesque sub-bass, its the saccharine jazz-soul sample thatll

win affection here. Elsewhere Pilau Rice has hints of

Moodymann, Dont Know Why of Fingers Inc and Club
Whore is deep-yet-tough NY house completing a pantwettingly good package.

AujiConclusion Came To YouAniara Recordings

Scandinavia is somewhat of an unsung hero of house

music these days, much to the credit of Aniara Recordings,
run by Swedish duo Genius Of Time. Their fifth release,
from Tokyos Auji, is less an example of peak-time dance
energy than deep twilight-hour escapism. Washed in lush,
breezy hues and scattered with off-beat melodies, Part

1 is absorbingly groovy, getting inside your head only to

tinker and meddle with it. On the flip, Part 2 is icy fresh;
in-flight entertainment for the most blissful sky flight


Fur Coat feat Stee Downes

Going Nowhere
Crosstown Rebels

This is one of our favourite tracks off our

upcoming debut album. Its really catchy,
with a groovy and wonky bassline, a
catchy synth, trippy melodies and a piano.
The build-up of the track makes it very
dancefloor, but at the same time album

In the bag....



Rise Before Zod


What a nice combination from label

boss Damian Lazarus and James What.
Super groovy bassline, a really dark synth
and voices. Its been in our bag since its
release, it always work on the dancefloor.
The perfect combination.

Jonny Cruz feat Cali Lanauze

Sex Robot (Fur Coat Remix)
My Favorite Robot

This is one of our latest remixes. Weve

been playing it in most sets [during] our
America and Europe tour. It starts really
dark and linear, but as it builds up, it creates tension, especially on the drop with
Calis vocals. When it comes back it has
a really up and down bassline synth that
makes the dancefloor go boom!


Dont Take It (Thomos Edit)

Lets Pet Puppies

Its a really old school stripped-down

track. Nice beats, nice acid synth, a great
vocal, and a lot of playing with the synth
and percussion. This one always works on
the dancefloor and gives a twist to our sets
by bringing back the raw acid vibes.

Franck Roger
Spread Love
Circus Company

It uses the old school vocals of Folko, and

is given a really fresh twist with the Franck
Roger production. Nice beats, a really
hooky bassline thats complimented with a
synth, and a lot of detailing. We are really
big fans of Francks work.

Ricardo Villalobos
Frisbee Tracks

This is another old school track in our bag.

Ricardo has done impressive work over the
years. For us, this is a track that stands out,
really groovy and deep, but it keeps the
tension with the freaky synth coming in,
and its continuous and catchy groove. The
Salvador LP its from is really the one to
have from Ricardo.

Konrad Black

Venezuelan producers Sergio Muoz, aka Delete, and Israel Sunshine, better known as Fur Coat, certainly
know how to make an impression. Friends since 2004, when they met in their hometown of Caracas, it was only
two years ago that they decided to combine their musical vision, driven by a shared love of Paradise Garage-era
disco, the icy arpeggios of Giorgio Moroder and 70s salsa.
Yet their first single You and I immediately had dancefloors aflutter, in no small part due to its sultry chorus
of You and I, are like cocaine and ketamine sung by Cari Golden. After the drugs comes the sex, or at least a
bare-breasted woman, on the cover of Mind Over Matter, their debut album which drops on Crosstown Rebels
on 17th September.
If we have been generating controversy, it hasnt been something that has been planned, says Sergio when
we ask the obvious question. Our intention is to make quality forward-thinking music, something theyve no
doubt achieved by the demand for their DJ sets this year. We just express ourselves, and let people decide.
About You and I, there is a true story in the lyrics. Its really more than the chorus, and sometimes people have
got to dig in a little more to see the whole picture.
That being said, didnt you notice the fur coat on the album cover? he adds on the coati (a furry South
American critter) sitting on the bare models head, their juxtaposition reminiscent of PETAs Be comfortable in
your own skin, dont wear fur campaign. There is a whole lot more skin than the models.

Get Weird

Konrad Black has been doing really

underground music. This track has some
nice vocals, some crazy up and down bass
synth, great grooves, and is very effective
on the dancefloor. This is one that we have
been playing lately in our sets.

The rest of the album is like a moody trip through a world of eternal twilight, sultry bass and freaky toplines
complemented by vocalists like Big Bully, Stee Downes and Mel Blatt (ex-singer with All Saints).
Its been a hectic year for us, Sergio summarises. We played Secret Garden in the UK and it was one of the
most special experiences. Warung in Brazil is also a legendary place where we had the honour to play in the
main room. For us, every city and venue we visit has a special vibe and memories that we carry away with us.




vibe front and centre here, too.
Oddly, each track contains a layer
of bubbling crowd noise adding
space, an added dimension. The
title track, sodden with bass and
pianos, is quite beautiful. Dont
Know Why, too, once it introduces
dark rave stabs, is immense. And
thats without mentioning the Mr
Fingers-meets-Masters At Work of
Pilau Rice. Essential.


Style Is The Answer

Glasgow Underground





House Phillerz Vol.2


Phil Asher needs no
introduction whatsoever and
this three-tracker for Italian
imprint Archive is fabulously
blunt in execution. Foreplay
is jettisoned in favour of the
main event on Vaporize, an
acid-laden assault that builds
and builds but somehow
manages to stay tastefully
understated. Its masterful.
The same can be said for Deep
Beat, a sturdy transition track
which could flip a good party
into a great one in the space
of six glorious minutes. All
I Want is a thunderous jazz
garage jam delivered with a
flourish. Young house upstarts
take note. This is how its

HearThuG, just 19-years-old and

producing house music of this
most impressive magnitude. Full
of cosmic synths wigging out like
its Rimini in 1981, and a sleazy,
slurring vocal, Technicolour
is stuffed full of funk and
punctuated with a mind-melting
solar jazz breakdown which stops
very much the right side of selfindulgent. This is a party tune as
reliable as Quartz and absolutely
no mistake about it. Lovely.

Hand Plant
Gone Ghost

Disco Bloodbath Recordings


Black Shoes White Socks

Hot Creations

A veteran dream team assemble
for Jamie Jones Hot Creations
in the form of Classic Records
muckers Luke Solomon and Justin
Harris under their legendary
Freaks guise. Their original mix
is a dirty disco anthem, rattling
its tambourines over its bendy
bassline, wonky vocals and moody
piano chords. Darius Syrossian
goes deeper with a tough NYC
loop, but its the Cajmere mix that
wallops, a pared down Chi-town
jam par excellence. Yep, its just
us and Mr Jones locked in for the

H.O.S.H. & HearThuG


This is a bit of an epic deep
disco odyssey from Diynamics
H.O.S.H. and the whipper snapper


Hand Plant is one half of Disco
Bloodbath, Ben Pistor, and Maxxi
Soundsystem, aka Sam Watts. Its
a lovely thing. It is, according to
the men themselves, all about
old and new synths, samples,
Berlin, aircraft, what happens in
the early hours, ecstasy, pads that
make you rush. That fits the bill
rather well. Jamie Biancos Acid
Rework of Gone Ghost is utterly
essential, as is the B-side here,
Arpy, an unapologetically filthy

Last Magpie

(Who Knows) Where Love

Goes EP

Leeds producer Last Magpie
gets classic for this release on
Hypercolour, following his last
outing for its sister imprint
Losing Suki. Not necessarily just
classic house, though. Theres
a hazy, unmistakably Balearic

Mash is the nom de plume of

Martyn Henderson, Capital FMs
exponent of underground house
music. So theres a forensic idea
of what makes house music tick
at work here. A deep groove is
augmented by Charles Bukowskis
famous treatise on the meaning
of style, delivered by a man who
sounds like hes been gargling
with hot gravel. Mia Dora turn in a
broken, bass-heavy version, while
Dominic Martin builds and breaks
down. The A Deeper Groove remix
is indeed that. A most stylish

DJ Linus




KBs Groove

Standard Rising EP



A re-release of Linuss
1997 track gets two
superb re-workings,
one brutal and minimal
from Analogue Cops,
and another, the pick
of the bunch, from Kris
Wadsworth, an exercise
in restraint.

Some superior discospattered grooves from

Jozif on LAs Culprit.
Benny Benjamin is the
deeper of the selection,
while Standard Rising
and The Guitar Player
go unashamedly for the

DJ Tennis feat
Pillow Talk


The Outcast

Inner Circles Vol.2

Lower East



Italian stallion DJ
Tennis, aka Manfredi
Romano, gets the once
over from Metro Area
main man Morgan Geist,
and the results are
predictably ace. Invest.

Far too much to talk

about here, but this
huge double-pack
features solid brilliance
from Tom Budden,
Alexis Raphael, Rebel,
Michael Jansons, Lee
Brinx and Subsonik.

Michel Cleis
Mir a Nero

A party track of gargantuan
proportions from Swiss producer
Michel Cleis, who may claim to
be Swiss, but appears in fact
to be Latin to the marrow. Mir
a Nero builds and builds and
builds until it bursts from its
glut of percussion into joyous
piano madness. At which point
any dancefloor worth bothering
with should dissolve into a
quivering, yelping mass of flesh.
Amaranthus, on the flip, is
almost the dub version, but very
much a track in its own right,
deep and moody with flecks of
piano. Superb.

Dimitri From Paris Defected

01.LINDSTRMEg-ged-osis (Todd Terje Extended Edit)Feedelity

There wouldnt be anything such as Norwegian disco without Lindstrm & Todd Terje.
So very nice to have them back together again, for another cosmic ride.

02.LOCUSSOLUSTelephoneInternational Feel

Its great to see DJ Harvey keep his head on his shoulders despite his cult status.
Telephone is a neat Italo pop song with a sneaky dancefloor appeal.


03.LUMINODISCORagazziniHell Yeah


04.LITTLE BOOTSHeadphones (Dimitri From Paris Dub)UMG

Sharwarma House

A mesmerising EP from the
peerless Danish imprint Tartelet,
trumpeting three of its topdrawer producers in one place;
O.P.T., Muff Deep and Samuel
Andre Madsen. O.P.T.s jazzual
Street filters down a Rhodes
wig-out, layering it with pounding
percussion. Muff Deeps Lost
Soul grows into an undulating,
space disco anthem, all off-beat
stabs and twinkling synths.
Madsens Synthony ditches the
deep ecstasy fuzz of the other
tracks with crisp hats and gently
arpeggiating synths. Each,
impossibly, is better than the last.

Italy will never disappoint me. Whether its food, clothing or music, they have this
perfect balance of simple, sophisticated and trendy. Here, its pumping deep disco.

I love a good pop song, and its great fun to turn it into something different.


V Original Mix)Sole Channel
A bit of a forgotten sub-genre, hip house (think Fast Eddie, not BEP) is a guilty
pleasure of mine. Not many nail it right, but Mr. V is the current undisputed king.

06.CASIO SOCIAL CLUBJustin IllusionMullet Records

Anyone who does something with imagination gets my attention.

07. SOLOMUNKackVogelWatergate Records

Its good but rare when overhype is actually deserved. Solomun gets all the right
stuff in the right place to make everyone happy. No easy feat.


This will satisfy anyones love of orchestral stab-filled 80s dance music extravaganzas.

09.CURTIS MCCLAINSatisfaction (Marshall Jefferson Original)Open

When old school producers come to terms with the fact that theyd rather do what
they do best, we get great stuff like its 1995 all over again.


Know YouGomma Records
The best counter attack to EDM is ODM; Organic Dance Music. Real people playing real
instruments doing real songs. What else?







/ defectedrecords

/ DefectedInTheHouse


jonathan buRnip


Music Lovers

Lets Get Lost

International Feel

Lets Get Lost 17

Tokyos Cos/Mes step
up with this dreamy
selection of deep
boogie, fusion and disco
edits for your listening


Black Shoes White

Hot Creations

A fashion faux-pas is the
subject of this mutant
disco offering from the
Freaks boys. Chicago
house legend, Cajmere,
lends a hand with an
even darker version.

successes for the likes of Rush

Hour, Relish, Dont Be Afraid
and World Unknown. Over its
epic 10 minutes, the mid-tempo
A Life Of Silence leaves a trail
of modulating synths weaving
through spiralling melody
nodding to the likes of Klaus
Schulze and Manuel Gttschings
proto-techno classic, E2-E4, on
the way. A familiar to the label (by
means of a cracking debut), Tim
Fairplay appears on remix detail,
adding jangley guitar phrases and
dub tones to give the original a
thoroughly opiated makeover.

(Keep On) Dancin

Big, big disco moment
on International
Feel! A classic disco
tune reworked in
tasteful fashion by
the mysterious Music

Niki & The Dove


80s style power-ballad
tune that nods to
Purple Rain-era Prince.
Enhanced by remixes
from the likes of Bobby
Tank, Kutz, Karlsson
& Winnberg and Clock

Acid Crew





Philipp Gorbachev Comeme

01.ISAAC JOHANEvery Time I See Your FaceComeme
This special Comeme record is my favourite.

02.PEOPLE GET REALHerbie Goes Bananas (Morgan Hammer


Here we stop and dance to the colours and bright emotions created by
Morgan Hammer.

03.PETER GRUMMICHDisposingAuftrieb

Taken from the Squeeze 12-inch, released in 2003, it definitely keeps the
timeless dancefloor magic.


Recommended record.


Discover whats next after his track Geffen!


Welcome In The Delta is the name of a special live programme for Radio
Comeme, where the debut Philipp Gorbachev EP would be mixed together
with a bunch of live jams on top!

07. CLEMENT MEYERSweet InsanityCorrespondant

Correspondant is a great label by Jennifer Cardini and my personal favourite

remains Sweet Insanity by Clement Meyer.

08.Daniel MalosoIn & OutComeme

Counting the days till Daniel Malosos first full length will hit the stores! It is
an outstanding record, and it is essential in all means, in every house!

Music for big hearts.

10.MICHAEL MAYERMantasyKompakt

I like the emotional direction of the new LP. Mantasy for sure!

Aashton & Swift

Holy House (inc. Tronik Youth

Body Work

Body Work has certainly claimed
the first half of 2012 and may well
continue their conquest through
to the end of the year. I conclude
that this is the case via Aaston
& Swifts rather dazzling effort,
Holy House, and another Waze
& Odyssey bomb that promises
to follow. Holy House sharpens
an insatiable appetite for these
label releases with its breathy
vocal hooks and tropical, melodic
sequences; given extra ballast by
a flickering disco fix from Tronik
Youth. My favourite, however, is
the dubby house cut, Covenant,
thats on an early Italian house/
Morales Red Zone-style tip.

Slunk Dub EP (inc. Neville

Watson Remix)


Capsule In Space

Connery or Moore? The Bond

conundrum that well never
agree on; but one we all can
agree on is that the John
Barry-penned Space March
(Capsule In Space) tune from
1967s You Only Live Twice is
one of the finest compositions
in film history. From the isolated
coldness of outer space to a
jostling, heated dancefloor,
Andy Ceephax Jenkinson has
worked a brilliant Italo-disco
inspired homage to Bond culture
and to the late, great John Barry
himself. It maintains all the
drama of the original, but given
an irresistible, fun makeover.
Changing the mood on the
B-side, Mediterrenean Acid
employs synths that are bouncier
than Judith Chalmers on a jet
ski and a sinuous 303 sequence
set to a middle-eastern scale.


Hand Plant
Gone Ghost

Disco Bloodbath

Keeping up the momentum caused
by the first release, the Bloodbath
boys reveal release number two,
this time by Ben Pistor (of the
club/label) and Sam Watts (Maxxi
Soundsystem) who have mastered
the heady sound of house music
and growling electronic disco in
two of the three tracks on offer
here, Gone Ghost and Arpy.
Between these is a Jamie Blanco
remix of the title tune in a Larry
Heard/Gherkin Jerks-style acid


Body Music

This second release on his
Diagonal label has Powell
ploughing a deeper furrow into his
modern take on the sound of no
wave, EBM/metal dance and other
ancestral, primitive machine
music forms, maintaining an icy
cool aesthetic akin to that of his
debut release. Loosely arranged,
these five tracks hold an off-kilter
charm that evokes the rugged
intensity of pre-sequencing era
post-punk. All fans of 23 Skidoo,
Mark Stewart & The Mafia or
new-beat/EBM pioneers, Liasons
Dangereuses this will have you

Scott Fraser

A Life Of Silence (inc.

Timothy J. Fairplay Remix)
Bird Scarer

Second outing for Andrew
Weatheralls vinyl-only Bird Scarer
label and a feather-in-the-cap
for Scott Fraser, who has recently
scored production and remix

Smart follow-up on Bokhari, a

label by the Siafu lads themselves.
Keeping the tempo just under
100bpm, Slunk Dub builds upon
snappy drums, acid licks and
spiralling Don Carlos-style leads;
breaking at the three-minute
mark, blooming into something
quite lovely indeed. Accompanying
is Neville Watsons superb remix,
notching up the tempo control
somewhat whilst giving his 303
an optimum flex. Elsewhere
is a dubbier, more ethereal
contribution from Disrupted
Project, rounded off nicely with a
Siafu remix. Top stuff.

The 2 Bears
Warm & Easy

Cult NY label partner up with
Southern Fried to boast this latest
from cuddly duo, The 2 Bears.
Fans of the Balearic Beat have
a generous amount of Leo Zero
remixes to peruse through; his
slow, dreamy disco versions appear
in vocal, dub and instrumental
form. Southern Frieds Jack Fell
Down weighs in a techy, dub
rhythm to twist Joe and Rafs vocal
around, but its Leos mixes and
the original version that are the
highlights here.

The Crystal Ark

We Came To

Gavin Russom and Viva Ruiz
release this primer to their selftitled album out later this year.
We Came To is another crafty
brace of proggy synth tracks
that touch on new beat and
early techno styles, infused with
staccato vocal mantras, provided
by Ruiz. The B-side dub version
composes the mood, switching
rough analogue techno into a
spiky, new-wave-esque variant.


Asbo Kid

2 Tone Techno EP
Corsair Records

David McCarthy




Bad Life

B&Is Consign To Oblivion rocked
its way onto this page and into DJ
sets a few months ago and here
they are again, this time with their
first outing on the consistently
good Bad Life. F1 is another rolling
monster, whilst second track Lights
Over Phoenix has something of the
Oizo about it. BNRs Shadow Dancer
glitches up F1 with funked up
basslines and jittery hi-hats. It is, as
they say, all good.

Boys Noize

Boysnoize Records

The first taste of Alex Ridhas third
Boys Noize album arrives just as
the mad noise of his debut seems to
have infiltrated the mainstream to
form the background for numerous
chart hits, as well as being adopted
as the standard for every EDM
bandwagoneering genre jumper.
XTC moves further forward, kind of
a distillation of the likes of Yeah and
Jeffer, with the result being warmer
and more accessible, although
perhaps lacking a standout hook.

Deadmau5 feat Gerard Way

Professional Griefers

Although Im a big fan of the
tradition of artists and bands
slagging each other off, Deadmau5
isnt even any good when he tries
that. Having a go at Madonna
for mentioning that drugs might
be connected with dance music?
Slagging off all DJing in its entirety?
Moaning about people doing
collaborations? This collaboration...
truly uninspiring, dreadfully insipid,
exceptionally unoriginal. Its


Corsair Records

Arcade Pony


Has there ever been a

track as well-named as 2
Tone Techno? Not only
does it mix up ravey riffs
and ska-infused horns in a
unique blend, that totally
belongs to the middle of
2012 as much as it does to
Asbo Kid, it also manages
to quote Shakespeare and
namecheck David Icke. An
insanely brilliant megamash
of pop-culture references
and social commentary, and
exactly the kind of thing the
UK scene needs right now.
Bring on the album.


Twiggy & Trufix



Blatta & Inesha

2K Subs

A bootytastic boomer
that has picked up some
Radio 1 plays and would
sound at home on a Top
Billin release. Worthy
remixes come from John
The Baptist and Floyd.


No More Sleep

Cheap Thrills



Im On Vacation
Cheap Thrills

Moonbooticas Battle No.1, with
its rocking, ravey step-up groove,
was a firm favourite with me, and
to tell the truth, Im gutted to hear
it re-titled as Im On Vacation
with Redman rapping over the
top. It sounds like he recorded
his stereotypical rubbish (even
including a Hey DJ! One Time line)
over a low bitrate mp3 played back
through a cheap iPod knock-off and
they released it. I couldnt bring
myself to listen to the remixes.

Noel Gallaghers High

Flying Birds
AKA... What A Life! (The
Amorphous Androgynous
Sour Mash

Eyebrows were raised when Noel
Gallagher had the electro Money
Shot with an EP of remixes from
James Lavelle earlier this year.
Now its Amorphous Androgynous
reworking his self-declared dance
track. Anyone familiar with AA
(especially their epic 22-minute
version of Oasis Falling Down)
will know what to expect 15
minutes of deconstructed Pink
Floyd-isms with women wailing and
seagulls gulling, or whatever those
noises are. A hint of how great the
long-promised album collaboration
might be.

The Bloody Beetroots

Rocksteady Remix Package 2


anyone taking on the task of

re-rubbing the Beetroots has a
daunting job. Shy Kidx goes very
much for a Skrillex mode, and if
youre a fan of that kind of baseball
bat electrodubstep mosh-up,
you might like it. I dont, I find it
unsubtle and boorish in the way of
bad heavy metal. Valentino Kahns
version is more interesting, going
from Phillip Glass-like cinemascope
to mutant disco.


More solo Lo-Fidelity

Allstar genius, this time
from Martin Whiteman
with his cohort Max
Quirk. Intelligent,
masterfully created
journeys into sound.
Tear The Club Up
(Monolith Remix)

the first time Ive given a release

nothing, and it is worth less.

System Error EP

A scuzzy noiseathon
that takes the bounce
of the original and
bass-blasts it deep into
the dancefloor with a
buzzing chainsaw riff.



Vitalic smashes back
with a taster from
forthcoming album
Rave Age and its
a bit of a storming
party-starter, bouncing
around from techno
flourishes to Ed Bangery
elecro basslines.

The Sneekers
G.A.S. Remixes

Lithuanian duo Evaldas Mikalauskas
and Karolis Labanauskas have a track
from their Splash EP given three
reworks on this EP. Alex Gopher gives
it a refreshingly old skool Frankfurtstyle houseytech makeover that
bubbles along and Just Regular Guys
pump it a little for the floor. Its the
Turbo Turbo version that takes the
plaudits, though, with an insistent,
almost late Chemical Brothers affair
that takes on a life of its own.


The Edge EP
Savoir Faire

The original mix of The Edge is a
sweet slice of poppy electro that
combines that elusive French Touch
quality with what could otherwise
be something a little too saccharine.
Of course, here its all about the
remixes, and Panteros666 kicks
off with a 4/4-based bottom end
beatbasher, whereas the Aeroplane
version keeps the 4/4, but adds
synths and swirls aplenty to make
for a gloriously lush six minutes that
outclass the original.

Kezokichi Back To Back

01.ZOMBIE ZOMBIERocket Number 9 (Joakim Mix)Versatile

Really like this tune and the original mix is also good. I have most of the
stuff from Versatile Records.

02.HOWARD WATSONKeep AwayItems & Things

Its a perfect weapon at peak-time in my DJ set. You should also listen to the
new Items & Things compilation album.

03.TRISTESSE CONTEMPORAINEHell Is Other People (Clment

Meyer Mix)Pschent Music

Ive played this track a lot recently.

04.DANIEL AVERYThe EaglePhantasy Sound

I always play Dans track in my set. I love all of the tracks on his new EP, you
should check out all of them.

05.SENSUAL PHYSICSDust Mite N56 (Nhar Remix)AvantRoots

Its a beautiful track. I think its good to start the night.

06.LOUIE FRESCOOwl NightNo.19 Music

Love the vocal. As a track, it has a really cool structure. I always put this
in my DJ bag.

07. AMIRALIJust An Illusion (Appleblim Rmx)Crosstown Rebels

Good to change the atmosphere. I do a long mix with it until the great bass
part comes in.

08.REMAIN/MATT WALSHInsameRelish Records

Good to play at an East London party, I think. Slow tempo, but play it at

09.JAMIE JONESParadiseCrosstown Rebels

Anytime I can play this in my set, I do. A great melody and really easy to mix
with. Jamie Jones is the man.

Having smashed out brain-curdling
remixes themselves in the past,

10.JON CONVEXShadowsConvex Industries

I like the bass. I play this normally about 125bpm. Jon Convex is next level!

techno REVIEWS

Information System





Andy Vaz feat Niko




Dont Lose Your Mind


VC-118A is about to release an

album for Lunar Disko, but in the
meantime, theres this brooding
four-tracker to contend with.
While the title track and Protocol
are fine interpetations of dreamy
electro, its the flipside cuts that
impress. Straddling bassy electro
and deep techno +/- and Eha are
powered by menacing sub bass,
doubled-up claps and hissing,
insistent hats. Both tracks have an
untamed energy that sounds out
of kilter with contemporary techno
its precisely this outsider status
that makes System so essential.

Alex Cortex
Kille Kill 09
Kille Kill

Techno would be a far poorer
place if Cortex did not produce
music. On this release, his usual
outsider approach is audible;
Future Acid drags 303 lines
kicking and screaming over gated
drums, while R-Byte is even more
aggressive, consisting solely of an
all-encompassing wave of analogue
noise that dwarfs the backing
jack track. Cortex confounds his
audience once again on Mem, with
its glassy minimalism.

Bas Mooy

The Room At The End EP

Perc Trax

Dutch producer Mooy impresses
with a dense industrial techno
release for Perc. Although this
sound has been rinsed by countless
second-rate acts, Mooy shows that
when done properly as is the case
on Fasad fractured rhythms,
eerie atmospheres and haunting
vocal samples still sound powerful.
Mooy also shows his dancefloor
prowess with the pulsing groove of
Kneel and the clanging rhythms of
Loaded, but his abstract approach,
evident on the turbulent textures of
Pose, really impresses.

DMarc Cantu
A New World
MOS Recordings

The US producer steps from Traxx
and James T Cottons shadows to
release one of his most rounded
works so far. From the atmospheric
synths of Genetic Script and Good
to the more abrasive, doubled-up
drums and bleeding acid of Mobile
Communications, Cantu covers a lot
of ground. Despite this, he sounds
most competent when making


Detroit meets Germany as
Vaz drops a sassy, jazzy
groove, replete with sax
solos, and Marks delivers
a plaintive but sexy vocal.
Its refreshing to hear the
label trying something

Nico Gomez,
Emilia Rey & John
Drops (Remixes)
Poisson Chat Musique

menacing, underground grooves
like First Planet and The Other
Side Of House.

Milton Bradley
Reality Is Wrong

There is so much droney/tunnel
techno in circulation that it
sounds like the norm rather than
the exception. Despite this, a
producer like Bradley can still
throw adventurous shapes. He
achieves this with the help of
dreamy textures and acidic bass
licks on Trapped In Eternity, while
the Milan Kundera-referencing
The Unbearable Lightness sees
Bradley distinguish himself
with phased claps and bursts of
jarring percussion. The menacing
soundtrack on the title track
completes the package.

Nick Sinna

Voyager (Remixes)
Prime Numbers

Sinnas recent Prime Numbers
release gets the remix treatment
from two of technos most respected
producers. Conforces take sees
him strip the track back and fuse an
acidic bass with a DBX-style looped
vocal. The highlight, though, is
James T Cottons version. Focusing
on a Hood-style minimal techno
track, the atmospheric, eerie synths
and spooky vocal samples cast the
Jak Beat specialist in a brand new


Body Music

The first Powell EP recruited Regis
as remixer, but the follow-up goes
further off the radar. Inspired by
the wiry rumble of post-punk as
much as the murderous bass of

Throbbing Gristle, Body Music

is exactly what its title suggests,
a collection of primal, at times
oppressive arrangements that
connect on a physical level. In the
struggle for supremacy, the fuzzy
guitars and sparse but metronomic
rhythm of the title track just about
shade it.


This idiosyncratic label

could have a pop hit
on its hands, as the
dreamy techno of
Drops is home to Reys
soul-drenched, heartfelt
vocals. Meanwhile, the
remixes will appeal to
underground techno
fans, with Roger 23 and
Break SL dropping bass
and clap-heavy workouts.


MOS Deep

Ike Release unites woozy
chords with steely
drums on Phazzled, but
Hakim Murphy impresses
most. Working under his
Innerspace Halflife guise,
Wind features eerie
synths and a wobbling
acid line over a visceral,
robotic rhythm.

Various Artists
Modularz 8


Developers label
goes from strengthto-strength with
this release. The US
producer drops Heated,
a functional driving
groove, and the heavy
drums of Dirty Drive,
while Shifted weighs in
with a stomping, bigroom take on Drive.

Living In, Now


Tr-One made their name as house
producers, but Living is a proper
techno record. Rasping hats and
an insistent stabbing riff support
layers of bleeding acid on Herd
Of Trains, while the title track is
more reduced, as a drum track
underpins a repetitive vocal sample.
Techno influences are never far
from the surface and the clattering
percussion and menacing bass of
Love Letter invoke Detroits darker

Various Artists
So Click Heels

Karl OConnor goes back to
the 80s for this collection of
left-of-centre post-punk-meetselectronica. Deathday and The KVBs
contributions are full of theatrics,
lo-fi production aesthetics and
muffled vocals, like Ian Curtis
fronting Bauhaus, while OConnors
own Sandra Electronics project
splutters forth grungy drones.
It could be argued that Heels
is merely an excuse for techno
producers to get in touch with
their inner goth, were it not for
OConnors other contribution
the spell-bindingly pretty indie
of Six Six Seconds Tearing Down

Shifted Avian
01.RROSE23 LashesEaux

Sandwells modular scientist moves onto his second single on his own Eaux label.


Undercover, lo-fi, raw techno for the first release on Avians new Mira offshoot.

03.SIGHALiving With Ghosts LPHotflush

Fantastic debut long-player from my close friend and collaborator Sigha. Im quite
sure this is going to turn a lot of heads. Out this autumn on Hotflush.


Second single from MPIA3; more bruising, full-on acid techno.


Killer lesson in advanced syncopation from Spains Reeko.

06.BRONZE AGECoupling SymbolsBed Of Nails

Simply incredible uncompromising music from Kris Lapke of Hospital Productions.

07. MILTON BRADLEYTrapped In EternityPrologue

Driving, deep and incredibly bleak track from Miltons next EP for Colognes
Prologue imprint.

08.SHIFTEDShe Dressed In Grey (Static Version)Semantica

Track from my forthcoming EP on Madrids Semantica imprint.

09.SKUDGEMan On Wire (Marcel Dettmann Remix)Skudge

Super deep house-tinged Dettmann version of a cut from the Skudge LP.

10.VATICAN SHADOWOperation Neptune Spear Pt.2 (Live Mix

Rehearsal)Hospital Productions

Latest installment in Dominick Fernows sublime VS project. Essential listening.


Major Look

Bass Generation feat

The Ragga Twins (Mixes)






Craggz & Parallel

John B feat NSG



A series of abstract,
subliminal musical
rollers, where Hurt
You, for instance, lulls
you into an opiated,
mesmerised state
through a chemical
slide bass, pitch antics
on vocal snatches, and
space-epic arpeggios.

All about the catchy
vocals this ish... Go
for the L-Plus remix,
where a fairground
organ-style keyboard
energises and
invigorates a cockney
sung vocal. Sexy
summer stunner.

Product Placement EP Light Speed (Mixes)

Big tings a gwarn! No surprise,
considering the tsunami-sized waves
that this MC has made since Hush Ya
Gums. A drawling reggae dub and
half-speed malfunctioning bleep mix
contained within, but the Rollers Mix
is the one. A junglist slice of perfection
at a time where the sound is seeing a
revival, theres all the elements youd
require for a big, bad and heavy romp,
like buzzing bass, superb sing-jay
performances from the lads and a
stench of skunk vibes... Love it bad.


Digital World/Detroit (with Photon)
feat Cyantific



Labels like No-U-Turn or
Renegade Hardware have, in
the past, had their time as the
places to go to be embroiled
in worrisome d&b electro
necromancy, but right now, its
Horizons time to shine in the
dark-light. Here is a perfect
example: a tuneless bass
plagues the nether regions of
the composition at a sub-bass
tone that induces anxiety, while
a concoction of high frequency
bleep alchemy provides
contrast. A purposeful veering
away from melody in favour of
hypnotic, unsettling drawl.


Smuggler/After Midnite

Long standing prolific US
producer sees his latest single
released through Hype &
Pascals low-frequency empire.
You can tell this is a production
from a Stateside mind. Theres
just something within the
forthright, future soldier
vibes here made up by vocal
snatches mentioning the words
Government. Crisis. Cannot
be stopped frenetic bongos
which bolster anticipation and
a tasty, grilled steak bass that
remind you of the US. Neon
lights on a rainy night in a
sprawling metropolis.


Acclimatize/Set You Free

Climate Recordings

Crisp and shiny, a gleeful raveinspired pulse pounder that
fills floors and demonstrates
a talent for slightly going
against the grain within
the arrangement to please



connoisseurs, as well as those

who just wanna let it all out.
Expect a mood enlightening
vocal as also featured in Todd
Terrys House Is A Feeling, a
lose yourself vibe reminiscent
of classics like Mr Fingers Can
U Feel It? and a jaw-locking riff
that dares you not to dance.
Electrostatic elasticity.


Ram Records

Ram racks up yet another prize
for a succession of destructive
drops this issue. Bomber is a
little late through, missing last
months deadline by a gnats
whisker, and is therefore already
out, but seriously, miss this at
your peril. Continuing to blow
up clubs worldwide, an offensive
squelch followed by a poisonsquirting stage of keyboard
venom does damage to your
insides, and admirably fulfils
your addiction to uneasy rest
followed by psychotic ruckus.
Smack your pitch up!


Prometheus EP

Technique Recordings

A new Ukranian signing with
four pieces that demand
dangerous levels of energy
expulsion. Arkan is the standout, where a frantic beat propels
an Arabic-sounding riff and
various other musical elements
that constantly up the ante
and, while you skip on the spot,
lead your minds eye to project
images of smoky harems, veiled
belly-dancing beauties and
scimitar-wielding swordsmen.
Supremely catchy, captures the
Eastern philosophy as well as
the classic Ashram by Klute. An
anthem in the making.


Love Has Gone (Mixes)


The USP that gets you
immediately addicted to this is a
high-pitched then contrastingly
low voice-box filtered vocal,
along with a breezy, rushing,
enthusiastic feel. A number of
varying mixes cater for various
tastes, from disco to d&b to
grime to dub all quality
with the frantically zooming
Enei version coming out top.

Like the Netsky single
on the left here?
Then grab a baggy
of this too, where an
intricately produced
vocal hook sits at the
helm of a strobe-light
skipper. Mirth n

Backward strings,
cavernous bass plods,
future-bleak keyboards,
a desolate, apocalyptic
alarm siren and eerie
echoes all serve to
create a delicious sense
of doom-mongering

Rene LaVice

Absolute Monster EP
Ram Records

No truer application for the
phrase does what it says
on the tin in the title track,
where a rabid Godzilla flattens
skyscrapers like a threeyear-old stomps sandcastles.
Theres some serious effects
automation, where a growling,
gnarled, bleached-tongue riff
drifts in, flashes in front of your
eyes and knocks you for six.
Very reminiscent of Doc Scotts
seminal Shadow Boxing for
sheer bloodthirsty appeal in the
sliding riff. Shock-rocker.


Playaz EP Vol 3

DJ Hypes Peace, Love & Unity
is one of my favourite all-time
pieces, with a dynamite MC Fats
sing-jay vocal and high octane
bass. So it was with much
anticipation when this new
mix leading a four-track EP was
played. A refreshingly different
diversion from the original can
be good, but, for me, this one
is perceptibly much slower,
and with its sparse beat and
moody bass, is more brooding as
opposed to pulse-pounding.

Netsky Hospital Records

01.MAJOR LAZERGet FreeMad Decent

Im a big fan of Major Lazer and they have a really broad spectrum of sounds
and dont follow rules, which I like. This has a great reggae vibe.

02.NETSKYLove Has Gone (Dub Phizix Remix)Hospital

I love both the remixes by Enei and Dub Phizix, so make sure you check them
both out.

03.JESSIE WARERunning (Disclosure Remix)PMR Records

I like the Chicago house feel behind this. Its my sexy tune of the month!

04.NETSKYCome AliveHospital Records

This was released as a digital-only single in January.

05.SUB FOCUSOut The Blue feat Alice GoldMercury Records

This has one of the best riffs in d&b, that hook stays in your head and I love
the vocal.

06.SEVEN LIONSPolarize EPViper Records

Im a big fan of the synth sound on the drop its so positive and really goes
off in a club.

07. NETSKYLove Has GoneHospital Records

This is my new single, and also appears on my album 2.

08.SIGMASummer Days feat TakuraHospital

So uplifting.

09.NETSKYWanna Die For You feat Diane CharlemagneHospital


It was so good to have Diane Charlemagne on the vocals for this track shes
such an incredible vocalist.

10.METRIKFlightwaveViper Recordings

Metriks production skills are out of this world, and here he masters a Skrillexy sound, but in d&b. I love the second drop!


Carl Loben,


Man Made (Hedflux

Broken Robot

Hedflux takes the lead
track from the former Far
Too Loud mans technoid
EP and injects a brooding
linear bass, snaking
acidic arhythmic slithers
and menacing Predator
shimmering glitches. A

Alex Reece

Pulp Fiction
(Kouncilhouse &
Knightfreak Rework)
Free download

The mid-90s drum & bass
classic is reworked into
a tasty breakbeat cut,
wobbling out the bass and
utilising those familiar
mournful horns, cymbal
crashes and longing female
voxes. Badass.


Special Request
Weird Science

Major Lazer beats,
extended siren top end
synths and ragga vocals
power this Santero cut
along. The junglistic
drumstep revamp by
Conrank is about as close
to ambient hardcore as you
can get.



(Radiokillaz Remix)


Definition Breaks

Bum-diggy-diggydiggy, bum-diggy-bum!
Radiokillaz has switched
this up into a fun-filled
skanker with plenty of
polyrhythmic breaks,
bludclot braps and almost
comedy ragga Bumdiggy vox. Boss.

Savage Skulls
Adrum Drum EP

Swedish duo Savage Skulls
have released on Switchs
label, remixed Jesse Rose and
collaborated with Crookers, so
they certainly have form, but
the title track here could just
be their finest moment to date.
Its riddled with a female diva
praising house music (in the
broad sense, we presume), but
its fresh blend of bashy beats,
electro squiggles, airhorns, zippy
sideswipes and muted old skool
stabs mean that this bass cut
crosses several genres which
is presumably why Elite Force
signed it. Top Dog is a squelchy
electro builder.

King Yoof vs GOLD

Death Before Dishonour

Sub Slayers

Freefall Collective Supafrequency

01.KING YOOF Warrior Charge feat Jah Mirkle Sub Slayers
An absolute classic track from King Yoof. Skankin breakbeat action!

02.FREEFALL COLLECTIVE Ignition Supafrequency

Our first single on our Supafrequency imprint. A tune we have tried and tested
on stage.

03.FREQ NASTY Dread At The Controls (Culprate Remix)Muti


This track blends dubstep, electro, breaks and drumstep vibes in one sitting!

04.TORONTO IS BROKEN Metropolis Sub Slayers

Loving the laidback beat, huge breakdowns and deep basslines that make this
track an emotional journey. Epic.

05.FREEFALL COLLECTIVE Ganjaman Supafrequency

Our latest offering thats been turning some heads. Our peak-time secret

06.EMALKAY & ROD AZLAN Flesh & Bone Dub Police

A heavy roller with great vocals.

07. FREEFALL COLLECTIVE Truth & Rights Supafrequency

A dub-fuelled summer track featuring MC Tenja on the mic.

08.Memory9 & Black Dragon One Of These Days Mnemonic


A great downtempo electro track with a massive fluid bassline. Just cant stop
listening to it!


600 Years Funkatech

Top midtempo glitch business from Far Too Loud. Great production and sick

10.ZINC Goin In (Foamo Remix) Rinse

This remix of Zincs tune is huge a definite for any festival crowd.

In the first of several Sub Slayers
soundclashes, Yoof teams up with
GOLD for a quartet of dynamite cuts.
Yoofs Call The Undertaker sends
dancers to the cemetery with rude
basslines and cut-up junglist riddims,
while Respect with GOLD is dubwise
future jungle in excelsis, sampling
vintage clash riddims and vox for
a SOUR-style groover. Every Night
Is A Soundclash, another Yoof solo
outing, is a vintage champion sound
brought slap-bang up-to-date, and
soundsystem steppa Tik A Tok with
GOLD again rings the alarm bell
marked classic dancehall fodder.
More Sub Slayers gold.

Stanton Warriors

The Warriors (Remixes)


Various big hitters rework choice
Stantons tracks from their last album
The Warriors, with the Freestylers
and Plump DJs kicking off the

goodness. The Freestylers keep the

breakbeat garage bassline on Ouepa
Ouepa, but with added happy-clappy
complextro FX and judicious use
of Hollywood Holts vox, they turn
it into an all-conquering ghetto
bass slam-jam. Skillz. The Plumps,
meanwhile, underline how much
theyre back on form by turning New
York upside down and shaking it out
in a squelchy real electro vein that is
soon intersected by a rude bassline
squelch. Crossing genres like a
quarterback crosses zones.

Nanci & Phoebe

Notorious feat Congo Natty

Congo Natty Bass

The Rebel MC, original street-tuff
junglist, returned to the fray at the
start of 2012 with Get Ready, and
here he launches his own new label
with a couple of sassy gals paying
tribute to Haile Selassie, the king
of Rastafarianism, with a take on
Turbulences dancehall classic of
the same name via the medium of
dubwise future jungle. Rebel MC
himself became a devout Rasta long
ago, and he makes an appearance
two-thirds of the way through
Notorious to proclaim devotion
to Jah, and the lilting riddims and
conscious rhymes make this a fine
feelgood track to rock early doors.

Gav Ley/Lucas

Xenomorph/We Dont Know

Top Drawer Digital

Double-header from a label that has
really been consistently turning out
quality releases over the past year or
so. Gav Leys Xenomorph is probably
future jungle, although its fridgefrozen temperature, isolationist synth
chords and jazzy beats link it closer to
the artcore sound of 90s act Spring
Heel Jack more than any dancefloor
gear. Similarly, We Dont Know by
Lucas is more about the Good Looking
atmosphere than floor-fodder, its
spooky UFO sightings, militaristic
beats and grinding linear bass
lending it a prog jungle bent.


Camouflage EP
Skanky Panky

Glitch-hop is proving to be a
growing, integral part of bass music.
Influenced by the slower tempo of
dubstep, its more electronic, metallic
and glitchy than, say, trap music
from the southern US states, and
here Dank brings six tracks of glitch
that wouldve fitted the UFO stage at
Glade perfectly. Bath Salts featuring
Non is his glitch-hop calling card,
alt.rapping over glitched-up beats,
while Rubbing On My Soup all
spacey, warped sci-fi gloop and a
Daedalus-like Proton Unstable with
superbly named rapper Disco Izrael
also stand out.

Dusk EP

This arrived at the Mutate offices
anonymously, and Edzy from Unique
3 promptly eyed it more suspiciously
than a KGB spies on a potential
Pussy Riot supporter. Hailing from
Russia, Captcha begins with Stars,
that pivots around a tripnotic
celestial piano to deliver pummelling
beats and basslines. End Game
is doomstep that doesnt really
go anywhere and drops down for
the longest Richard Burton-esque
interlude ever, and Internal twinkles
in the eastern European half-light
with nodding yet drab romanticism.


Keep It Down/This Sound


Keep It Down starts with Strings
Of Life piano keys, soon joined by
a small amount of female diva vox,
warping bass and disco fills. The
burrowing linear b-line in the drop
builds anticipation for a happy sunny
feelgood payoff. This Sound begins
blissfully, with almost neo trance
chilled euphoria, before the growling
bassline and big bastard beats kick in.
Will do damage in the sun.




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Oli Marlow,


Dusk + Blackdown + ?
High Road

Yes, it sounds like a certain
anonymity hungry producer
contributed something to the
production somewhere along the
line on High Road (thats what
the extra + in the artist stands
for), but more importantly, its
the prefix 12 to a new LP from
Dusk and his running buddy.
Ex Swing is probably the more
relevant cut, built out of tumbling
vocal snippets and a constant
groove that drives a bit harder
than that collaboration does.

Dirty Fluxx

Falty DL





Ninja Tune

If Drew Lustman had his wicked
way with you, youd probably
end up tired, severely bruised,
maybe mumbling a little
incoherently, but essentially,
still up for more. Its the
same with his music. Its got
an endless array of likeable
attributes and his latest, more
4/4-focused 12 for Ninja Tune
batters that sentiment home,
using heavy punt kicks on
Hardcourage and hyper stabs
on the aptly-named Our House
Stab. Sexy.



The rating is just for the original
version. I want to check out the
remixes every time Ive gone to
listen to Blooms debut track
on Mr Mitchs Gobstopper label,
but I end up just replaying the
original. Using the hollow synths
of the eskibeat era, gun cocking
as percussion and one of the most
perfect stuttering beats heard in
ages, Bloom makes Quartz an
absolute pinnacle of that Wiley
tribute sound. Astonishingly

Bobby Champs
Drag Queen
Pictures Music

Techno is the new funky. There,
I said it; you can quote me if you
want. It seems that kids these
days are rallying around the heavy
kicks, brittle percussion and
attention warping riffs like they


used to skittering snare drums

and synth glide, but thankfully
there are guys like Bobby Champs
showing you exactly why the
combo is a pretty palatable new
focus. Drag Queen and Charlie
are the ones, though.

Id really be hard pushed to single

out a producer whos making
funky-influenced music thats
still as direct and unabashed as
Funkystepz are. Bizzaro and Star
9 from their new Dirty Fluxx EP
are a real case in point theyre
purposefully constructed with
that slink to make your shoulders
pop on the dancefloor but its
Belter that properly sucks you
in. Much like Radar, its harder,
more Lil Silva in its direction, and
it bangs real gnarly, like.

Cardopusher &


Cuba Electronica



Aciiiiiiiid is probably
the best way to describe
the first split release on
Cardopushers new label.
Him and Nehuen explore
bass squelches and
compressed machinery
on their respective sides
and despite the limited
palette, shit bangs good
in places.

Kid Simpl

Escape Pod

The way Mala uses

rhythm to provide the
gallop and skip on
Cuba Electronica is
just as infectious as any
two-step formula and
Calle F has a serenity
to it that any amount of
hyperchopped female
vocals couldnt convey.

Mella Dee

Ruff Cut EP


Hush Hush

Atmospherically there
arent many people
fusing what Kid Simpl
is: sheet noise, field
recordings, aching
reverb tails and hints
of two-step. Allow
the obvious Burial
comparisons; Escape
Pod is Simpls own
four-track exploration of
those overcast moods.

Mella Dee, one half of

Doncaster duo Mista
Men, has slowed up and
his tunes are getting
regular play from
Blackdown on Rinse.
Gassed is chunky, gritty
and slow house, Fazed
ups the swing and In
The Bits sits pretty in
that middle ground.

Iron Galaxy

Attention Seeker


Audio Culture


Dubbed Out

Young producer Buzzin10 was
raised on garage; its a trait youd
be able to notice on your very first
listen, considering how much his
productions bleed bolshy twostep. Dubbed Out is the second
release hes put out through the
Frijsfo label and its three tracks
of tuff, no-nonsense mix-ready
fodder, all chunky snares, clipped
swing, interesting samples and
bass that just booms through. The
title track is the real heater.

I really hope that whomever Iron

Galaxy is, theyre named after
the Cannibal Ox song of the same
name a touchstone like that
would really make me happy. The
single-sided Attention Seeker on
Audio Culture doesnt hark back to
the grit and astral urban poetics
of Can Ox, though its one of
those floaty, heavy pinned vocal
house numbers that youd hold a
girl and sway to on the deck of a
cruise liner if you could.


01.JON CONVEXNew ModelConvex Industries

Svetlana Industries

02.CONFORCEWhen It AppearedAnn Aimee

Bags Of Time



Old Space

Must Not Sleep

The Finnish production team of
Clouds have been quiet for a while
after their releases on Ramp,
Deep Medi and Channel Zero, but
the Old Space project reassures
you immediately that theyre just
as vital as back then. Released
on cassette, the mini LP is suited
to the distress of the format,
being an eight-track exploration
of crackle with an extra helping
of rhythmic gloop and texture
thrown in. An emphatic work.

Ziro Crazylegs

Kelpes partnership with Svetlana

Industries continues on Bags Of
Time, his second EP for the label,
and on it hes really starting to
show his sack. The progression is
there; like yknow when someone
whose music you really dig starts
doing new stuff, you either move
with it or hate on it? Well Kelpes
thickly produced stew seems to
work over whatever template he
drapes it on. Plus Neon Jungs
remix of the eponymous track is
actually brilliant.

Bouncy-yet-melancholic techno workout.

Metallic underwater roller.

03.RIVETMetristKontra Muzik
Peak-time intelligent grooves.

04.A MADE UP SOUNDMalfunction (Despair)50 Weapons

Triplet swung broken techno.

Pulsing futuristic 4/4.


Driving drum machine pressure.

07. TOM HADESWarlocks (Tim Xavier Remix)Sleaze Records

Loose, scuffling techy atmospherics.

08.LOSOULTime... Passes feat Fadila (Dyed Soundoroms Code

Quantum Remix)Freak n Chic
Stripped-back and tripped-out.

Deep, charismatic house cut.

10.PARIAHSignal LossR&S

Gorgeous washed-out R&B soundscape.


MARKLE 58a Tetherdown, London, N10 1NG

Adam Prescott
feat Dynamite MC
& Jah Screechy
On A Dubstep Tip
Nice Up!

Administered CPR in
2012 by Mungos Hifi,
Woz and GOLD remixes,
the mouth-to-mouth
wines medal goes to
Woz for a slipping bit of
dutty future dancehall

Last Magpie

(Who Knows) Where

The Love Goes

A big anthemic EP from
Leeds producer Last
Magpie here, giant
keys, humongous vocal
samples and gigantic
Balearic beats. A large


Pyramid Lake



Box Clever

Two deeper rolling
numbers from the Dutch
producer, and sadly
pretty unremarkable.
You could imagine Mala
or Cyrus opening a set
with these, though.

WrongTom Meets
Deemas J

Jump + Move + Rock

Tru Thoughts

Wicked digital dancehall
made with style and
charisma that even
Prince Jammy would be
pleased with. The FBR
remix is d&b fire. Find
and purchase!

As Airheads second release
on R&S, Pyramid Lake is
pleasingly amorphous; hovering
around a shifting beat pattern
and disturbing samples, and
deploying snatched vocal
snippets wantonly, the effect
is as enticing as ever. Black
Ink is an altogether different
beast, ratcheting up the tempo
but maintaining the oddness.
Comparisons with Objekt only
last a fraction of a second as the
shapes are pulled and contorted
beyond acceptability, bordering
on unlistenable, and defiantly



This is the type of track that
insults you, not because it
is awful or made badly, but
because it nags away in your
head so bloody cheerily,
its offensive. But I like it.
Really like it. Its one of
those melodies that flicks the
pleasure-switch in your head,
tweaking the receptors with
wanton glee. This is mobile
phone advertising music if ever
there was. I also like the Rick
Ross-sampling Kidkanevil remix,
utilising the odd ugh with
amusing effect.
Two Way EP

01.DUSK & BLACKDOWNHigh RoadKeysound

Our comeback single: dark rolling underground garage will never die.

02.SWINDLENeed To KnowSwindle Productions

Putting the g-funk into grime: Roger Troutman meets Butterz.

03.COOLY GPlayin MeHyperdub

Woozy UK funky from one of the albums of the year.

04.LV FEAT OKMALUMKOOLKATAnimal PrintsHyperdub

LV continue their stealth mission to up the levels, via SA.


130bpm. Dread. Grimey. Hype: this is what the commotion is about.


Dark rolling UK funky: one of 2012s brightest talents.

07. BENIN CITYBaby (LV Remix)CDR

More woozy vocoder funk. The most touching song about junkies in love.

08.GIRL UNITEnsemble (Club Mix)Night Slugs

This wont make your soul glow, itll make it explode in light. Epic!

09.DJ PANTHA FEAT SHANTIELove To The Max Hate To The


Ruff but funny vocal UK funky from Marcus Nastys MC.


Fresh Paul? Fresh new talent alert. Neon grime synths on smash.

Old Apparatus

Tru Thoughts


Blackdown Keysound



A rather surprising EP here from
Biome, as despite it being very
rooted in the classic dubstep
sound of the likes of Distance
and Cyrus it feels very current,
urgent and even forward
thinking. I cant really explain
it. Tracks like Reality and
Charged are classic half-step
numbers adrift in cold, alien
spaces. But Two Way charges
off into techno crossover
territory and Inner Mind drops
a couple of valium and sets off
for chillosphere with plenty of
kudos. Its great to hear the
classic dubstep sound done


Domgues day job is playing sax
for the Detroit Grand Pubahs,
but he has graciously saved
some of his clearly immense
and overflowing musical talent
to offer us this wonderful cover

Realise EP
Sullen Tone

of Frankie Valli & The Four

Seasons 60s classic Beggin in
a unique and inspired dubstep
meets sax instrumental stylee.
A winning combination Im sure
youll agree, forthcoming on the
highly in-demand Hot Dubstep
Classics CD compilation for sale
in all good outlets very soon.

Dub Mafia

Under The Radar

Self Release

This Bristol seven-piece band
have been on the tour circuit for
just two years, playing festivals,
clubs and shows far and wide,
pushing their brand of live
drum & bass and dubstep.
Bottling this live show here
has culminated in Under The
Radar, a kinetic piece of drum
& bass abounding with rocky
guitar riffs, grotty synths and
a sweet little vocal from Eva
Lazarus. But it just sounds so
painfully middle of the road,
it makes Norah Jones look like
Aphex Twin on crack.


Ninja Tune

Shuttle is the drummer of synth
rockers Passion Pit, who uses
this pseudonym to realise his
solo electronic urges. This is
his second release for Ninja
Tune and sees the American
updating his sound with a
quartet of sonic reveries.
Engorged with ravey overtones,
the UK influences weave
throughout the whole EP, most
overt through the hardcore
breaks on Halo and the UK

This is the first in a trilogy
of EPs being written and
produced by individual
members of the OA collective,
with the acronym-esque
LTO steppin up with the
inaugural fistful. Chicago is
an arpeggio-fuelled whirlwind
of keys and rain-sodden
atmospherics. Found is a
scratchy syncopated roller
with a whiff of Autonomic,
but it is the decaying crunch
and electronic maelstrom of
Realise and Holding that
truly delight; two shifting,
widescreen pieces that deserve
due reverence.

funky drums on Whip, which

are infused with a pugnacious
energy and spirit. Wake Up
channels a wonky bent, whilst
Apple wanders off into deeper,
esoteric territory.

The Eyes

Estate UK

A fresh collaboration between
Manchesters Chimpo and
Fox delivers a surprisingly
dope two-tracker, and since
Ive never been a big fan of
his dubstep output he has
outdone himself here. Harder
is a lilting, melancholic cut
channelling rootsy reggae vibes
inna acoustic stylee think
Natty or Damien Marley at
their best. Come Again feat
Strategy on the flip is S-Xs
Woo Riddim beamed though a
future dancehall prism. Stone
cold killer.


trance REVIEWS
Juventa &
Johnny Yono

Tim Stark PO Box 272, Oxford, OX3 8FJ





Signet (Wellenrausch

The Machine

Captivating Music




From its opening drums

(which sound like
someone banging a pair
of breezeblocks together)
on, The Machine is an
unstoppable, inexorable
and visceral thrill. It
marries relentless bottom
end chug with gripping,
ear-twitching sound fission
up top. Slick and stylistically
androgynous, it boasts not
one, but two just-whenyou-think-it-cant-get-anybigger moments. In this day
and age you really cant say
much better than that.

Chris Metcalfe


Curveball and Monsoon both
share a mixtape mentality. Whilst
hitting many a well-worn trope and
mainstay of the melodic-to-euphoric
sub-genre, critically you never get
the impression that Metcalfe is simply
pushing your buttons. Despite the
familiarity of the thundering beats,
synths and chord structures, they
have an unmistakable wholehearted,
right-minded-ness which shines

Elevation vs Grube &

City Of Angels

Coldharbour Recordings

If one track typifies the
amphetamised sound currently
entrancing LA, City Of Angels
is likely it. The Original intros
purposefully with concussive drums,
hard struck percussion and expresstrain bass. Igniting spectacularly
three minutes in, the modulation
wheel sends its air-raid siren lead-line
hurtling through the roof. Packed
with sounds and FX intent on ripping
themselves free of the speakers,
this City should come with a public
health warning!

Headstrong feat Stine


Love Until It Hurts (Aurosonic

Sola Records

Originally appearing on Headstrongs
Timeless album, its taken two years
for Love Until It Hurts to become a
single. Well worth the wait its been,
too. Thats down to a balance of Stine
Groves reflective, heartfelt vocals,


With the trance classics well

seemingly run dry, were
now reviving some near
misses. Signet was a beaut
and this superb, starryminded Wellenrausch re-rub
should see it fly again.

DJ Shog

Annual Dream
High Contrast

Taking a rest from his
retirement, hard trance vet
Shogs toe-back-in is an
enjoyable, spirited uplifter.
Slightly throwback, sure,
but well written and well
which are dexterously handled by
Aurosonic. They bookend it with
a sonically powerful production
thatll see it hold its own on the vast
majority of trance floors.

Judge Jules & Corderoy

Give Me A Reason

With a bit more production time on
his hands these days, Jules (ably
assisted by Dale Corderoy) delivers
a quick-heeled studio follow-up to
The Attack. Give Me is a pumping
mainline trancer with a very passable
male chorus vocal in tow. During
the mid-section, it plumps for a
breakbeat/dubstep sequence that
transposes slickly and efficiently
back into euphoric trance territory.
Decent gear.

Markus Schulz feat Adina


Armada Music

Caught may be Schulzs most
accomplished vocal outing in three
years. Wildfire catchy and lent an
unmistakably radio-friendly edge by
Adina Butars vocals, its thermally
rising lead line and supporting
minor melodies chime sublime.
Remix-side, and notes are equally as
good. Duderstadt give the mainline a
refreshingly organic house-ish tweak,
whilst Tritonal apply a punchy, very
du jour US-sounding twist. Even the
much-expanded Instrumental kills.
This is indeed the complete package.

Ost & Meyer


Spot trivia: Wikipedia says Antalya
is the third most visited city in the

world, even (crazily) beating out NYC.

Well overdue a musical tribute then,
duly rectified by O&M here. They
heat the synths to an appropriately
Med-level, whilst adding a stout
supporting backing. Tenerife isnt
your everyday source of trance
inspiration, either. While its riff
shares note-and-sound DNA with
Antalyas, for some reason it sounds
far more dynamic. Very good release.

Ethan Rhode

Aria Digital


away behind it. With plenty

of FX and a cheeky, whistlely little riff, its among this
months most original.

Joseph Areas

AVA Recordings

Not instant, for sure, but
if your media players
random play picks it up
enough, Josephs melodic
ministrations will have it
connect eventually.



Always Alive

Sundowns excellent intro
sends anticipation levels
high. The slightly worn
sub-riff in the break issues
a profit warning, before
descending into a waytoo-jerky, fitful stop/start

Orbitala has a good tranceprogressive groove working

Purple Stories
Sky/Palm Island

With its big n ballsy sound set-up,
Sky ascends rapidly to a great
harmonic midsection, paying out at
the top of the drop with a bellicose
tech finale. Content-wise, Palm
Island is busy as hell, with a euphoric
opening giving way to a breakbeat/
dubstep drop, further ceding to more
vigorous tech-trance business. With
so much going on, inevitably the
polish suffers (the drums sounding
especially loose), but proper fun

Solarstone with Aly & Fila

Fire Island
Black Hole

Third single from the Pure
album and one thats about
as sun-kissed and spiritually
Solarstone as you can get. Rubbing
shoulders with latter day gems
like 4Ever and Touchstone and
back-in-the-day corkers (Seven
Cities/Solarcoaster), its a guitar
n piano-soaked goosebump popper.
In perceptibly reactionary fashion,
Aly & Filas remix is hard-driven by
303 throughout, and is hell-bent on
being as full-force, in-yer-face and
5am as possible.

Eximinds Enhanced Recordings


Insanely powerful track with a filthy dubstep bass. Just the way we like em.

02.TRITONAL & KAENOAzucaEnhanced

Mixing elements of trance and house to great effect. Infectious vocal and a
groove that we just love.

03.T YDISex, Lies & Still Oblivious (Eximinds Remix)Armada

Quite an experimental remix for us, but initial club reactions have been

04.RYAN MENDOZAFocus (Mike Hawkins Remix)Spinnin

Loving what Mike has put into this track. Very innovative and loaded with

05.M-3OX FEAT HEIDRUNBeating Of My Heart (Matisse & Sadko

One of the best vocal melodies weve heard this year.

06.DADA LIFERolling Stones T-Shirt (Cazzette Approaching Starry Homes

Remix)So Much Dada
Just one word to describe this: MASSIVE.


Light on energy, this one, but one of our favourite tracks right now, with great


Quite an unusual track that doesnt fit into any specific genre. Superb vocals.


Heaven (Seven Lions Remix)Anjunabeats
We love tracks that combine trance and dubstep. This is a great example.


One of our favourite remixes and played by Aly & Fila at almost all their gigs
this summer.


DJ kutski

Frequencerz &

Twisted rawstyle from
the Fusion label, who are
the leaders in the darker
sounds of hardstyle. This is
certainly one for the hard
heads out there. Expect
big support from the likes
of Zany and Zatox on this

Kodex & Steklo

Till The Day Comes


Male vocal-led hardstyle
anthem, perfect for big
festivals. One of those
tracks you can instantly
sing along to.

to admit one I missed, if you

didnt catch this on the release
of Frontliners Producers Mind
album, you have to check it out. A
throwback to the early 90s Dutch
happy sound, this is a guaranteed
hit on dancefloors of the harder

Leon Clarke

Hey Freak (Johann

Stone Remix)
Tech Fu Recordings

Stripped-back techy vibes
from Rodi & Audys Tech
Fu label. This is really early
set material, but good to
see labels spreading their
wings and catering for all
sounds on the tech front.

DJ Saved


Rob Da Rhythm
Twilight Zone

Darkside Unleashed

One of Scotlands
underground hardcore
techno/gabber producers
returns with a slab of tearout terror beats. Not for
the faint-hearted.



Chris C



Freefall (Ben Stevens & Adam

M Remix)



01.ROSS HOMSONPolitically Incorrect (Tidy Boys Remix)IDEAL
Tidy Boys go back to their hard house roots on the new IDEAL imprint, with
a modern twist for 2012.


A fitting follow-up to Blam really forward-thinking stuff from the lads.

03.BKJoin The ClubRiot!

Absolutely banging club track from the man like BK. Bass in your face not
for the faint-hearted!

04.SAM TOWNENDFunky Music 2012White Label

Hip-shaking and booty-winding just about sums this track up. Let me see
your jazz hands!

05.WHOREDRY ROBERTSOff The Rails (Sam Townend

Another ass-shaker from me here. Really pumping start of the night grooves
to get you on that dancefloor!

06.BKGods ChildIDEAL

BK on a totally different tip to the aforementioned Join The Club, but

equally as good! Back to 99 we go, with a nod to the hard beat sounds.

07. DIGITAL MAFIAMusic For The MassesS!CK

The ever-impressive Digital Mafia takes things up a notch with this electrotinged bass monster for the big room raves.


My first-ever pairing with Andy Whitby in the studio so fresh we havent

even given it a name! Old school vibes meet nu skool noises with a massive
portion of bass!

09.TECHNIKALStarry SafariTechnikal Records

Bleeps and bounce combine with a real touch of quirkiness from one of the
biggest production talents in the UK.

10.HEAVYFEETHere We Go AgainPlant Music

House thats hard, with this massive crossover track featuring a very cleverly
used donk! I defy anyone to stand still when this kicks off.


Alf Bamford aka Technikal is

without a doubt the most prolific
producer on the hard dance
scene. Constantly releasing
big euphoric monsters on his
Technikal Recordings label, as
well as firing up the BPMs under
his Technikore guise, working
alongside the biggest names in
the hardcore scene, including
Hixxy & Sy, his production
techniques are second-to-none
and he is set to release a brandnew artist album, aptly titled
Soldier Of Sound, to showcase
his new sounds. This is my pick
from the album Diablo, which
fuses multiple genres together
into one track. You can hear
psy-trance and tech trance
influences, as well as hard
house, acid and sprinklings of
hardcore-influenced madness,
whilst those UK hard trance roots
are embedded through the clever
melodies and sprinklings of
euphoria. Essential album for any
lover of hard dance and creative

Antolini & Montorsi

Warriors (Hard Progress Mix)

Hard Progress

The most prolific duo in hard trance,
Luca Antolini & Andrea Montorsi,
team up again, pushing forward
those hard trance vibes. This track
doesnt hold back on the euphoria
and melodies, which these guys
have become synonymous with,
but keeps the arrangement very
interesting and unexpected, with
a heavy electro influence running

One of the definitive hard house
classics on Mohawk Records gets a
re-release for 2012 on legendary
label Tidy, with new mixes by the
next generation of hard dance
heroes, Adam M vs Ben Stevens
and Technical. My pick is the Ben
Stevens & Adam M remix, which
keeps the true hard house sound
of the original complete with
some cheeky hoovers, sharp UK
percussion and bags of energy fit
for dancefloors in 2012.


Master Plan (State Of

Emergency & Outblast Remix)

Dyewitness has had amazing
success in the dance music
scene under various guises for
the past 20 years, but it was his
bouncy hardcore beats I always
loved the most. So it was with
eager anticipation I opened this
dubplate remix of his all-time great
classic, by two of the leading acts
in the European hardcore scene
today. Keeping all the charm of
the original, but with updated
production, this is a guaranteed
winner on any hardcore dancefloor.
Keep your eyes peeled on Masters
Of Hardcore to see if this amazing
remix ever sees the full light of

Frontliner feat Ellie

Lose The Style

There is no worse feeling for a DJ
than discovering the next big
hit and realising it was released
months ago. But never too proud

Great tech-influenced release from

Riot, with superb use of the One
Night A DJ Saved My Life vocal,
which works seamlessly with the
electro bassline and key changes.
The main breakdown features an
epic trance riff, again working really
well with this vocal. Expect big
plays on this from the likes of Organ
Donors, Alex Kidd, and of course,
myself, at the remaining festivals
over the summer.

Lady Faith

Hard Dance Nation

Lady Faith is the new female North
American headliner, packing out
raves around the USA and Canada
week after week. Having made her
debut at Defqon One this year, there
is simply no stopping her. This is
a kick-and-bass-heavy hardstyle
release, influenced by the European
hardstyle sound, but retaining her
own unique production feel.

Neophyte & The Viper



Two legends of the hardcore scene
collide on the latest release from
the heavyweight hardcore imprint.
Opting for the slightly slower end of
the hardcore BPM scale, this track is
all about the big kick and powerful
MC rhymes to get the party rocking.
Despite being the B-side of the EP,
this was the track that caught my
attention instantly, and has been a
staple part of my sets.


One of the truly gifted producers
in the harder styles is back with
a solo release, which, as always,
breaks boundaries and delivers
something different to the current
trends. This track is all about the
groove, with a kick and bass unlike
anything Ive heard in the hardstyle
scene. Its distinct enough to stand
out, without sounding out of place
in any way. There is a reason this
guy is one of the most respected
producers in the scene.


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Neil Kulkarni, 81 Crosbie Road, Coventry, CV5 8FX



Extreme Status
Ascetic Music

50 Cent feat Dr Dre Elzhi

& Alicia Keys
Blue Widow
New Day


LUV NY is Kurious, Dave Dar, Roc
Marciano, Kool Keith, AG and OC
all brought under the aegis of
Ray Wests production. Like most
supergroups, the idea doesnt
sustain beyond a few tracks on
their album, but luckily, Extreme
Status is one of the highlights,
particularly down to Wests winning
meld of melody, fractious old-skool
electro beats and some of the most
out-of-control delicious wibbling
youll hear this side of a Dillinja
production. Lipsmackingly good.

JBAE Group


Just letting you know that

Fiddy, what the fuck is up Elzhis about to drop an
with you? Always with the album called The Weather
ace one-off mixtape tracks Man and this is the first
thing you can hear from it.
then utterly shit singles.
And the news is good, he
Alicia & Dre deserve
aint lost it. Can. Not. Wait.
better, Fiddy can DO
better. Nul points.

Hit-Boy feat Kid

Old School Caddy
G.O.O.D Music


Rick Ross feat Wale

and Drake
Diced Pineapples
Maybach Music Group

Phoenix Da Icefire


I prefer pineapple rings

meself, sit better on a nice
Great beat, good rhymes
sabotaged by some hateful slice of gammon. Oh, the
record? Like Barry White
horrible sub-Coldplay
resorted to Rohypnol.
loops so tediously
uncommitted and vague
you wanna punch them in
the face. Cease, desist, the
pair of youz.


Big Shug
Brick Records

One of the Gang Starr
foundations most unsung sons
comes more than correct with
a fantastic track featuring MOP
& Fat Joe cant seem to find
out who the producer is, but its
a stunning loop of lounge-funk
peppered with tasty scratchlicks and a woozy reversedvocal that sinks its teeth into
your brain pan like the most
unshiftable earworm youve
encountered since Popcorn.
Oops, sorry if thats in your
head now. Get this to shift it.

Action Bronson x Party


02.JAM BAXTERThe Gruesome FeaturesHigh Focus

From the fabulous Blue Chips

mixtape comes this tasty little
doozie, replete with the kind
of fizzing, stealthy drums and
gorgeous Aaron Neville cut-ups
guaranteed to make this sound
astonishing wherever you drop it
this summer. Check out the hilarious
video too I hope and pray and
pray and hope that AB NEVER makes
that step over to the mainstream
that so often accompanies a sudden
drop in quality in new rappers work.
Keep giving us gold like this man.

03.HARDNOISEPure Destructive Power/Black Hole Of

PandemoniumWhite Label

Nice to have something to mix it up a touch, taking it back to the early days of
the UKs hip-hop scene.

04.GORGAN SOUNDFind Jah WayPeng Sound

This steppas/dubstep/reggae tune has been getting the full rinse-out

treatment in sets from me recently.

05.SIR BEANS OBEPause To Discuss EPB Line Recordings

Another one outta Bristol, long-time producer in the game Sir Beans OBE,
delivering a pounding neck exercise with this four-track wax.


LivingBread & Butter
A great album that covers all bases, and both emcee and producer smack it
right here.

07.KAGrief PedigreeIron Works Records

Its not all about the homegrown for me, Ive been bumping this Brownsville
native Ka, and his new album Grief Pedigree non-stop recently.

08.DATKIDHome By 8NA

And another from Bristol. Theyve got it locked right now, well, they always
have, lets be honest.

09.MUNGOS HI-FIForward EverScotch Bonnet

This Glasgow-based soundsystem and record label have gone from strengthto-strength over the last two/three years, none can test.

10.ECCLETON JARRETTReady ReadyTuff Scout

This new label, that surfaced only a year ago, is now up to 20 releases. This
latest one is a classic slice of new skool digital soundboy pressure. Tuff!



Steve Wynne

Another ill emcee thats built up a huge following, and rightly so alongside
his fellow High Focus crew, they can do no wrong.


01.RAMSON BADBONEZBad InfluenceBoot

Yes, its finally upon us, one of the UKs finest wordsmiths with his debut
album. Badbonez is a beast on the mic, and this collection of ill beats finds him
on top form, nuff said.

Echoing Thoughts



Alchemist feat Evidence

Never Grow Up
Decon Records

You can bet yr arse that if a track
appears and immediately a load of
online comments about how various
dimwits arent feeling it pop up,
youre on to a winner (hip-hop

fans are some lazy-minded fuckers

sometimes). A stunning, almostbeatless wending spiral of hippysoul beauty over which Evidence
runs through some mind-bending
rhymes: the soon-come Alchemist
album Russian Roulette is gonna
be something youre gonna wanna
press close to your head as soon as
its out. Superb.

DJ Doom feat Reks

City Of God

Blunted Astronaut Records

Just when youre expecting the US
to be serving some oozing summer
warmth your way, here comes Doom
& Reks ratcheting up the tension of
a heatstruck city with this fingertwitching looped moment of storm
and stress. Great lush piano loops
belie the brute-simple bass-funk
undertow, the rhymes piling up the
anguished metaphors until your
heads a steaming mess. Fantastic
plastic you need in your day.

Dumi Right feat Chubb

Rock & Vast Aire

Wake Em Up (Cadence Remix)

pH Music

Tiny little interlaced elements
make this a joy the Steve Cropper
guitar, Modeliste drums, Carol Kaye
bass, Native Tongues sunny vibe
and pulsating percussion blended
together by producer Cadence
with a subtlety that feels entirely
natural. Even though you know this
is an assemblage of found sounds,
it still feels entirely organic, and
consequently this reaches warm
hands and hearts into your day way
more than anything else coming out
of US hip-hop right now. Love it.

Somewhere beautifully tween dub,

hip-hop and psyche-pop, Chemo
produces a febrile stew of bubbling
mud-bath organ, skin-tight guitar,
rolling neck-snapping beats over
which Phoenix drops some of his
finest bars from the astonishing
bargain-of-the-summer Quantum
Leap album and Generous croons
a sweet chorus. Straight up bassheavy rebel music.

Verb T

Life In A Day

High Focus Records

Beautifully jazzy, strung-out feel
to this first salvo from VTs new
EP More Dynamite, free and
downloadable from all the usual
suspects. Some wonderfully unsure
lines here, reflective to the point
of morose introspection, an artist
looking back on the process itself.
The soon-come album Morning
Process should elaborate further
the uniquely thoughtful place Verb
Ts now operating in, hopefully with
more of this suggestive, spacey JJ
Malone production. Enjoy.

Young Zee & Mr Green feat

If I Only Had A Brain
Green Music Group

Stupendously good hooliganhebraphrenia inna J-Zone stylee,
what sounds like the folk-funk music
of Azerbaijan combined with whiney
idiot-savant vocals so hopelessly
adrift in their own mentalism it
makes Funkdoobiest sound like
Movement Ex. On the flip Krash
Battle joins in the jocularity for the
high-larious, massively obscene and
entirely innappropriate Chillin With
The Kids. I wouldnt let these sick
fuckers anywhere near my postcode
but I want more and more of this
derangement please.


leftfield REVIEWS

FOUND SOUNDS, PO Box 20437, London, SW16 2YJ

Cheek Mountain

Cheek Mountain Thief

Full Time Hobby

A new experimental folk
project from Tunng cofounder Mike Lyndsay,
this particular track was
recorded with a host of
Icelandic musicians
and it shows.


Another Generation
Apollo Records




Patrick Watson

Step Out For A While


With Patrick Watsons Close
To Paradise LP sitting
comfortably among my top 10
albums of the last few years,
you might think the inclusion
of this single was going to
be a forgone conclusion and
youd be right, as its bloody
lovely. With the usual sense
of grace, subtlety, charm and
beauty youd expect from this
man, it has all the hallmarks of
another timeless Watson gem.


Aint My Style feat John

Jalapeno Records

Weve got a real soft spot for the
vocal stylings of John Turrell.
One might even be bold enough
to suggest that hes our lower
range retort to Cee Lo Green,
and indeed on this outing with
Featurecast he certainly doesnt
disappoint. Hence its all about
the mid-tempo electronic funk,
and who better to take it into the
stratosphere than the mysterious
Psychemagik. Adding necessary
phase and drive, its their mix that
should have the sun-kissed crowds
baying at their feet.

Hidden Orchestra
Tru Thoughts

The double drumming four-piece
continue on a path already well
trodden by label-mate Bonobo (in
fact they have been his support
act on numerous occasions). This
time sees the heady yet moody
mix of drums, strings and samples
cross into almost neo early
Portishead territory, although


with a more optimistic spring

in the step. With a UK audience
that never seems to tire of the
downbeat-cum-soundtrack sonic,
they should go far.

Kid Koala

12 Bit Blues Sampler

Ninja Tune

The king of cut n paste
turntable tomfoolery returns
with a new album project, and
with it a slightly new approach
to his production technique.
Never straying too far from the
foundations of hip-hop, 12 Bit
Blues is all about his homage to
the SP-1200 sampler (the bedrock
of early hip-hop production). The
result is an intricately crafted
exploration of blues music, using
real-time samples, snippets,
offcuts and of course all the usual
turntable-inspired trickery.

King DJ

The Galactic Playmate EP


Just past their half-century mark
of releases, one of the original
labels that started to bring us
the Kosmiche sound digs deep for
another disco-fried release from
Belgian domicile, King DJ. The
Other Side Of The Galaxy rocks
the glitterball instruments of
choice (cowbells and congas) with
consummate ease, adding synths,
a bouncing bassline, horns
and, well, just about anything
synonymous with the nu-disco
sound into the mix. Full fat, and
definitely good for your health.
Keep em coming Bearfunk!

Prince Fatty

Got Your Money

Mr Bongo

Prince Fatty serves up a couple

of tracks from his forthcoming
star-studded album Prince Fatty
Versus The Drunken Gambler.
ODBs chart-friendly, singalong
classic Got Your Money is first
to receive Fattys attentions,
and its a job well done. But its
his revision of Max Romeos Wet
Dream (featuring none other
than Studio 1 legend Dennis
Alcapone) thats the killer here.

A deep drum-led fourtracker from the man

who is better known
in drum & bass circles.
Could have easily passed
for a Kirk DeGiorgio
release from yesteryear.

Nubian Minds

Shifting Peaks

Cultural name-checking
soundscapery from the

almost gone but not

forgotten Nubian Minds.
Swirling pad-like synths,
cool vocal delivery and
tech broken beats.


Blue Meanies
Fire Records

Taking its name from the
surreal, music-hating
characters in Yellow
Submarine, fortunately
there is nothing quite so
sinister about this hotlytipped trio from NZ.

Time & Space

Good Morning

Not so sure about some
of the remixes on offer
here, but the original
will no doubt be a
sunrise set staple for
many years to come.

Wah Wah

The mighty fine Resonators follow
the lovers-inspired dub reggae of
Surrender with another example
of crisp production and attention
to studio detail. Seemingly able
to pen an infectious ditty with
the minimum of ease, its almost
a finely-tuned jam, but with
purpose. If youre a fan of the
bass, then head straight for the
low-end theory of Dabien Blaks
remix that is as guttural as you get
in the world of sub frequencies.

Y Niwl

Aderyn Papur

Spearheading their very own surf
rock revival direct from err, the
(not so) sunny shores of NorthWest Wales, Y Niwl (pronounced
Uh Nule) are a strangely brilliant
musical oxymoron. Drawing on the
classic surf rock sound of bands
like The Surfaris, The Ventures,
The Shadows, The Tornadoes and
Dick Dale, they claim to own no
surf rock beyond an old cassette
of The Shadows! Hard to believe,
but well give them the benefit of
the doubt.

Babe, Terror Phantasy Sound

01.MACINTOSH PLUSUntitled 10th TrackBeer On The Rug
This is probably the song and the sound of the year.

02.SAM WILLISWeird ScienceHalf Machine

This is spectacular. It battles against that one by Todd Terje for the best
dancefloor classic of the year.

03.SSALIVABlack SoulVlek

This shows music can be made with just a few great ideas, and thats it.

04.EGGI Will AbsorbedDeram

The fact the UK gave to the world the best music from 65 to 75 is wellknown. But Dave Stewart is a brilliant, not always recognized genius.

05.SPACE GHOSTNo PhoneAstro Nautico

Excellent ambience, but its the kind of thing I like to call song, not track
nor ambience.

06.MEDIAFIREDPepsi VanBeer On The Rug

Thats the level of art in music I wanna reach.

07. NITE JEWELCliveSecretly Canadian

Another song of strong ambience, with cool details all around and a perfect

08.DUNGENOga Nsa MunThird Man

The track Jack White produced for Dungen is the most important piece of
rock music since the last masterpiece by Dungen, Skit i Allt.

09.ATEMPlasterBlenheim & Celtic

Addictive lo-fi beats with smart keys.


10.HOMEBOY SANDMANMiracleStones Throw

Paying homage to two music

greats, production mastermind

This song is like its name. Its a miracle of verb control, metre, sampling,
research (especially on 70s Italian prog), smartness and talent.



Teengirl Fantasy

Electronic dance muzak?
Experimentalism may lace the DNA of electronic
music, but the dance formula still fell out of favour
with arty hipsters Stateside throughout the early part
of the 00s. Today its very different, though. Sprouting
fromsoil laid by DIY forefathers Black Dice (DFA/
Fat Cat/Domino), the convergence of house, noise
and avant-garde pop over the Atlantic (in Brooklyn
especially) has recently been cultivated under the
watchful eyes of (to name a few) Blondes, Grimes
and Teengirl Fantasy the duo responsible for this
stunning LP.If their first, 7am a clever pastiche
of all things Chicago, Detroit and 80s pop set
their stall out as an exceptional off-beat dance duo,

then Tracer has landed a shopping centre the size of

Westfield. Wispily constructed of brooding bottomend drones, sporadic percussion and chiming synth
crescendos, opener Orbit is so irregular it barely
seeps into cognition, only to plume indefinitely until
the stark, wonderful arrival of EFX with its neon
tropical chords, Sonic The Hedgehog woodwind
and Kelelas dulcet TLC vocal cries. Eternal is an
earworm so familiar it could be infectious worse,
Baby D framed by a spacious soundscape scattered
with enough clattering 909s to rival Lone. Laurel
Halo features on Mist Of Time and the effect is like
hearing Enya from within an aquarium tank, while Do



It, featuring Romanthony, mirrors Daft Punk at their

saccharine finest. The piece de resistance, however,
is Timeline; a Future Sound Of London-style journey
into nostalgic broken beat hardcore brought bang
On a seamless album where nebulous abstraction
hangs in perfect balance with unashamed, heartbleeding moments of pure pop, TF make their playful
modus operandi perfectly clear. The current US sound
du jour aside, this duo knowingly push a different,
post-modern form of EDM: electronic dance
muzak, if you will as overtly accessible as it is
subversive. Adam Saville



Matthew Dear

Holy Other


Royal T

Ghostly International

Tri Angle



You didnt catch us high fiving like a

frat-boy locker room with the news techno
genius Matthew Dear would be veering
even further into full live band territory on
sixth album, Beams.
Similar ventures by similarly great
architects of the electronic form became
to be frank a bit of a damp squib
(just take Apparats The Devils Walk
for example) but Seams is no such
disappointment. Incorporating live
elements electric guitars, drums, real
basslines sampled without turning
his back on what he does best, Dears
meticulous sequencing ensures this LP
is a triumph. Drawing upon strict 4/4
patterns and synth-pop melodies to frame
his characteristic glottal vocals, its clear
hes found his formula one that garners
a whole lot more funk amid a host of songbased fancies. Distinctly more poppy than
2010s Black City, Beams really is a ray of
light.Adam Saville

Holy Others gift for wrapping silken R&B

textures around the ghosts of garage has
been apparent since his first We Over
7 back in 2010. His debut album for
Tri Angle, though, proves how ahead of
everyone else doing this kind of thing he
really is. Its enchanting sensuous sound
after sound, fluttering and touching in
a way rarely achieved since Burial first
began, both uplifting and beautifully sad
all in one. The first crackling notes and
beats of (W)here roll out, and from then
on, its music so immaculately pieced
together it makes you want to reach out
and touch it. From the breathless twitch
of Impouring to the graceful piano and
ringing vocals of title track Held, its
a masterpiece of tension and emotion,
heart and soul, light and dark. Tamara
el Essawi

South London trio LV continue their labelconquering rise, following up excellent

2011 debut Routes with Sebenza,
taking a more defined, thematic route by
exploring twisted Afro-funk and kwaito
thanks to the appearance of three South
African MCs alongside their own low-lit
UK funky vibe. Its an utterly listenable and
engaging affair, with LVs subtle but spoton production complementing the loose,
relaxed rhyming, which often becomes
the most compelling element, playfully,
humorously pawing around contemporary
cultural references, such as the faux-social
media fawning of International Pantsula.
Other highlights include the ruffled garage
bounce and sizzled synthline of Animal
Prints and the kwaito electro-carnival
of Thatha, but theres not a dud in sight
anywhere. And even with a gentle refusal
to mainline any one genre, LV still retain
a strong musical narrative, giving further
character to an album brimming with
personality and punch. Tristan Parker

If Royal T really does tout what he calls

the new generation of grime on his
debut LP, then grime is no longer, well,
grime. Elements are still there. A hyped
MC only appears on opener Cruel To Be
Kind in the form of P. Money (sounding
too cheerful to be considered grime),
but synth keys are pitched high and
the bottom line is adequately guttural.
Though, while it does slam in at 140bpm,
its hammering 4/4 is basically bassline
fitted for the Radio 1Xtra generation.
Inside The Ride is two-step at breaks
tempo; Missing Aurora is moody garage
and Work Your Body is jungle but with
extra rave stabs. The closest to actual
grime is Music Box mostly down to
Terror Danjahs involvement but even
that sounds more like Rustie than JME.
If this is the future of grime, we like it. A
lot. Adam Saville


Ray of light




Holy are you

South African success story

Rinse Presents






Com Truise

Nathan Fake


John Tejada

Ghostly International

Border Community



Collections of unreleased tracks pulled

from a producers hard drive rarely tend
to be the most fruitful of creative pursuits,
more likely thrown together filler than
carefully conceived killer. Hence the
head-scratching when we realised Com
Truises second LP a single year on from
the excellent Galactic Melt is gathered
from an archive dating back barely two
Much to our surprise, then, its as good
as the debut, proving the exceptional
prolificacy at the hands of NYs Seth Haley
is nothing new.
Tracing or should we say navigating?
similarly cosmic realms as the last, In
Decay is sci-fi 80s electro with a modern
bass sensibility, slightly less broken than
his first, but equally as forward-thinking
in its angular dealings with shape and
form. Adam Saville

Psychogeography is the theory that

the landscape and history of places
subconsciously shape the minds of the
people that live there. Its a theory that
seems to have inspired Nathan Fake, who
takes a musical stroll around his native
Norfolk on his third album, naming
Iceni Strings after ancient Celtic tribes
and Nekotona after the village where
he was born. Sonically, the analogue
electronics and rusty rhythms stake out
similar terrain to Fakes debut album
Drowning In A Sea Of Love, but World Of
Spectrums corrosive synths mean Steam
Days is hardly a relaxing stroll in the
country, whilst the manically threshing
Glow Hole is like being pursued by a
phantom combine harvester. Indeed,
the places Fake delves often seem more
psychological than geographical and as
such despite some fairly heavy beats
Steam Days is best absorbed on a couch
rather than in a club. Paul Clarke

Arriving on Gilles Petersons Brownswood

imprint, this second album from Digital
Mystikzs Mala isnt quite dubsteps New
Forms it sticks a little too loyally to
the genres old tenets for that. A typically
sensitive and tactful stab at giving dubstep
a Latin makeover, it rewards repeated
listening, though the Cuban influence
can border on the imperceptible, with the
strongest cuts (Changuito, Revolution)
varying little from what Malas known for.
Made from samples recorded in Havana,
its influence is most felt in the percussion
and sublime live snatches used as teasing
introductions, though the looming
ambience comes from a city closer to
home if and Bristol had been added
to the title, it wouldnt likely raise many
eyebrows. But if Mala doesnt travel far
from his comfort zone, this still reveals a
producer happy to tread the line between
new possibilities and dubstep orthodoxy,
albeit cautiously. Sunil Chauhan

From his base in LA, John Tejada has

proved himself to be one of the most
pristine, polished and prolific producers of
a seriously melodic brand of tech house.
The album format is what he has focused
on, releasing almost 10 in the last 15
years, with The Predicting Machine his
latest effort on familiar home, Kompakt.
Little seems to have changed in Tejadas
mind since last LP Parabolas, with the
same poppy hooks and chirpy and metallic
grooves forming the backbone of this
Where it does really excel, though, is
in the more broken beat, bass-heavy
experiments. The opening track, for
example, or Glaring Happy, which kicks
with a nice snap in its snares as melting
bell sounds ring off into the distance like
an adult lullaby. The grit of these bottom
ends offers a nice contrast to the melodies
up top and, as a result, they really stand
out. Kristan J Caryl

In Decay

Archive artistry

In Cuba

Steam Days

The Predicting Machine

Dubstep with a lime

Walk on the wild side

A touch predictable

System Of Survival
Needle And Thread
Bpitch Control

Likely to survive
Much like the music policy of the infamous DC10 event
theyve warmed up weekly since it began in 1999,
Circoloco residents System Of Survival keep moving
forward. Yet, while it may not be the most bravely
subversive LP to drop through DJ Mag HQs letterbox,
this long overdue debut Needle And Thread sure as
hell is one of the most tightly produced.
Making their mark with an electroclash/techno EP
on Freak N Chic in 2005, Italian pair Alessandro
Carpentieri and Pietro De Lisi inevitably succumbed

to the minimal techno creeping into their sets during

the latter part of the decade. On Needle And Thread,
however, its refreshing to hear a resistance to the
heady disco deep house storming Ibiza, System Of
Survival preferring instead to carve a timeless sound
on their terms.
Closer to the polished melodica of Vincenzo than the
boggy house of Crosstowns Fur Coat and Amirali,
System Of Survival create warm, balmy sunset hues

on Love Beat and Needle And Thread, and even feed

trippy two-step into the airy Nihil. W Pitch wouldnt
be out of place on Needwant, Phat Trax is a pianoladen homage to Chicago acid, while the pick of the
bunch is the succulent microhouse of X-Pert.
Shaped as a patchwork of sensory and emotional
snapshots, Needle And Thread is certainly an
experience youll want to share. Adam Saville






Jessie Ware

The Flaming Lips And

Heady Fwends

Yannah Valdevit


Bella Union

Tru Thoughts

Believe the hype?

Out with the in

Credit swap

Jon Convex

Hideo Kobayashi

Convex Industries

APT International

Idoru continues Instra:mental member

Damon Kirkhams swap of the new
drumstep for the old: Underground
Resistance and Drexciya-style electro. It
might seem like a move in line with UK
bass current mining of dance history,
but theres an urgency to Four Faces,
Aversion and Desolation that suggests
Kirkham just needed to reconnect
with trusty sources of inspiration and
found his in vintage Detroit. With fellow
Instra:Mentalist Alex Green mining not
dissimilar ground under his Boddika
guise, you might wonder why the duo
needed to go solo, but Convex takes the
sound of Resolution 653 down a more
introspective, moodier alley, most notably
on About Her, only really descending
into pastiche when creepy 80s vocals
are allowed in (the Breakage-featuring
No Love). It might lack ambition, but
the faithfulness is ironically what makes
Idoru so strong. Sunil Chauhan

Less an album, arguably, than a collection

of solid club tracks, but frankly who cares?
Whether or not were missing a couple
of downtempo numbers or beatless
interludes matters not. Japanese producer
Kobayashi has been a linchpin in the
countrys techno and house scene for two
decades now (and a reliable member of
APT Internationals roster too since 2009),
so hes earned the right to conduct his
sonic explorations as he sees fit on this,
his second album proper. Snow Monkeys
lays it down from the off, a thunderous,
percussive thing. Dica veers towards
house after an exhaustingly intense
opening, all brassy stabs, but not at the
expense of shaking, sashaying funk. Small
Forest, too, eases up on the techno and
delivers sweet, soulful electronic respite.
Mori concludes, a shuffling, rhythmic
builder doubtless already in the boxes
of label mates Dennis Ferrer and Kerri
Chandler. Ben Arnold

A few solo tracks and

collabs with SBTRKT and
Sampha later, we already
have Jessie Wares
full-length album. Does
it deliver? If high-end
r&b borrowing as much
from Bat For Lashes as
it does Prince is your
thing, sure. Watertight
production comes from
Julio Bashmore, Dave
The Invisible Okumu
and Kid Harpoon,
but Jessie shines
brightest. Adam Saville


Underground Business

Retro workout

Back to business



Greeen Linez




Things That Fade, the debut full-length

of Chris Greenberg (of Hong Kong In
The 60s) and Matt Lyne (Tokyo-based
producer A Taut Line), is an album of
soothing summer glamour and fantasy.
The pair execute a thick and lush slant
on boogie, the lolling bass and softly
prickling guitar of second track Palm
Coast Freeway showing theyve got a
hankering for the honey-ed, rose-tinted
world of the West Coast. Hibiscus Pacific
was made for long highway drives, theres
a sun-kissed sheen to the uptempo
Fantasy Glide, and the languid Forgotten
Shores stretches itself out like a sunbather
on an exotic beach. Its definitely onedimensional, but the dedication to so
perfectly evoking a certain mood is to be
toasted. Preferably on a beach at sunset
with a cocktail. Tamara el Essawi

Joining vowel-hating exponents of

edgy electronica SBTRKT and BNJMN,
Edinburghs DFRNT (aka producer Alex
Cowles) presents his second set of
thunderous, undulating bass, and eerie,
tingling ambience following 2009s
Metafiction, and his rather generous
extended EP Emotional Response for
Trickstas Nu-Directions label. Fading
comes on his own Echodub imprint,
and its a thing of beauty from front to
back. The impossibly lush opener Silent
Witness sprawls over eight minutes,
all arppegiated bleeps and ambitious
soundscapery. The tempo frequently
rises, nevermore ecstatically than on El
Spirito, a shimmering, dubby anthem.
Thats Interesting is Good Looking era
drum & bass without the blistering breaks,
substituted instead for a dubby 4/4. Deep
Into It one might term intelligent garage,
while In You Go is a languid dubstepper
layered thickly with enveloping layers
of sound, distant vocals and autumnal
lushness. Savour it. Ben Arnold

Things That Fade

Cocktail party



Great but not DFRNT

Ke$ha, Prefuse 73 and

Nick Cave walking into
psychedelic rockers The
Flaming Lips studio
sounds less like an
album than the start
of a joke. And these
collaborations, which
also feature Erykah Badu
and Bon Iver and veer
from garage rock rackets
to sublime gospel-tinged
folkers, are something
not everyone is going to
get. Paul Clarke

As a seal of approval Zed

Bias Presents Yannah
Valdevit is sterling;
as an artist name, a
little misleading. For
whilst the UK bass
producer has done a
great job behind the
mixing desk, the jazzy
torch songs, bumping
house and skipping
two-step Croatian singer
Valdevit has crafted
for Equilibrium are
glittering enough. Paul

The Flaming Lips

Zed Bias presents

Taragana Pyrama
Tipped Bowls

Jet Project
So Fly

Dan Deacon


Snatch Records


Bananas in Pyramas

So Fly, so good

Beardy but bonkers

Kompakt reaches once

more across the border
to Denmark, as it has for
other acts on its roster
like Jatoma and Kenton
Slash Demon. Taragana
Pyrama, also known as
Nick Eriksen, appears to
be made for the Cologne
imprint. Tipped Bowls
nails Kompakts USP
squarely, a blend of
off-kilter house music,
blissful downtempo
and atmospheric
ambience. Ben Arnold

The latest promising

dance act to emerge
from Belfast, Jet Project
hit an immediate
high note with their
debut album, mixing
lashings of classic
Chicago attitude with
crisp, contemporary
production. Some
excellent acid-dashed,
punched-up tracks,
such as Alright and
So Fly, show the duos
judgement to be topnotch. Tristan Parker

More is less for odd-ball

electro-folk soloist Dan
Deacon on sixth LP
America. Less clarity,
that is, as the cacophony
of synth distortion
recreates the sound of
Animal Collective played
on your grandmothers
stereo. Beardy noisemeets-Boys Noize on
a bonkers but brave
homage to The US of A.
Not for everyone. Adam


Mr G
State Of Flux

The Killer

Guy Gerber
Fabric 64


50 Weapons


Loose, heady percussive
house from a venerable

Cyborgian drones are
building an empire on
Sheds sophomore LP.

Sublimely hypnotic
techno instalment of the
Fabric series.





Matthias Tanzmann

1 Trax


Named after dystopian writer Aldous

Huxley, Michael Dodman has left his
stamp on the house sound presiding
over dancefloors today with the third
instalment of Subb-an & Adam Sheltons
1Trax compilation series and what a
brave new world it is turning out to be.
But rather than casting a prophetic vision
of warning to budding socio-political
theorists, Huxleys world is one created of
todays vogue for 90-inspired garagetinged house to push the continuum
forward. Blending cuts by Jordan Peak,
Nyra and Julio Bashmore, alongside
various moments from his already
illustrious production career, the result is
an expertly composed mix, chunky house
reinforced with extra hi-hats and snares
to give its bumbling groove a skip-and-ahop throughout. Primed, ready and raw
enough for any throbbing warehouse
at its peak, Huxley elevates the deep
house formula to an exciting new height
here. Adam Saville

Theres a good chance you are familiar

with Matthias Tanzmanns sound: the
German has been honing it for over a
decade on his own labels Moon Harbour
and Cargo, at the many parties he
headlines worldwide, but also at Circoloco
the crazy Ibiza party with which he
has a long-standing relationship. The
sort of slinky, floor-facing tech house he
champions there is what makes up his
entry into the Fabric series, with names
like Minimo, Tanzmann himself and regular
DJ partner-in-crime Davide Squillace all
making appearances.
Of course, the mixing is also tighter than a
tight thing, but that does little to elevate
the rather homogenized sound from
start to finish. There are some standouts,
though, including Shenodas blocky and
twisted The Question and Maya Jane
Coles Not Listening but you probably
heard that on her DJ Kicks mix not so long
ago. Kristan J Caryl

1trax Three

Fabric 65

Brave new world

Down in Tanzmania


Best Of Robsoul
Robsoul Recordings


Weeks (and Weeks) of

Since launching in 2000, French
house don Phil Weeks Robsoul
Recordings has spent the duration
of its 12-year lifetime cementing its
position among the most reliable
house labels out there.
This unbridled success is down to the
pool of producers regularly included
on the imprints release schedule.
Aside from serving as an obvious home
for Weeks prolific output in turn,
therefore, making it a regular go-to
place for DJs in need of robust, looped
up tools steeped with the funk
theres been consistent contributions
from the likes of DJ W!ld, Chris Carrier,
DJ Sneak and Joss Moog, and the
label boss collaboration with Hector
Moralez, Fries & Bridges all of whom
are celebrated on this, Robsouls firstever Best Of compilation.
To be staggered over a series of weeks
during the months of August and
September, each release a feature-


length collection from individual artist

back catalogues makes up a crucial
box-set of six CDs for any DJ looking
for a definitive collection from Frances
most traditional house label. (Sixhour Robsoul exclusive set anyone!?).
More dedicated to Chicago-inspired
house sounds than any other French
label, each LP is wide open to be
mined, serving up at least three
or four gems per CD. Stand-out,
career-defining tunes come in the
form of Weeks Jack To The Groove,
W!lds W!ldstyle and Sneaks Funky
Rhythm. For every stone-cold classic,
though, comes a fist of percussionheavy 10-minute-long house tracks,
that while hardly the sort youd
rotate heavily on your iPod will no
doubt serve as functional tacking
fodder for devoted DJs maintaining
an infectious, chunky house groove.



Robag Wruhme




This is the first release on the new label

launched by boutique German festival
Nachtdigital, which in August entered its
15th year. And who better, they thought,
to encapsulate all that they are about
than Herr Robag Wruhme, one half of the
now-defunct Wighnomy Brothers and
exponent of deepest, most thoughtful
electronica. Each and every track here
has been remixed by Wruhme, ensuring
this selection flows like vintage Margaux.
Its full of clangs, clicks, echoes, bass
and emotional bursts of synthesized
fabulousness. Highlights, and there are
many, include his hypnotic and wonderful
take on Gui Borattos No Turning Back, a
track already quite hypnotic and wonderful
in and of itself. Notable, too, is his
spectacularly good re-rub of The Greasy
Beat by Claude VonStroke featuring
Bootsy Collins, which is somehow retooled
with his own track Wolluwe and his
remix of Lunar City Expresss Mr Jack. Its
masterful. Ben Arnold

On Contemporary, Copenhagen label

Tartelet offer up a slice of what they do
best: left-of-centre dancefloor grooves
clustered loosely around house bpms.
Unlike some label comps, this isnt about
canonising a back catalogue indeed,
nine of the 10 tracks were produced for the
album. Rather, Contemporary is a state
of address delivered from the vantage
point of right now. From Muff Deeps
double-jointed disco Elevator Swing to
Samuel Andr Madsens acid-streaked
Ur Eyes, Tartelets curatorial muscle
is clearly well-developed. While Acid
Womans deceptively-heavy No Country
For Old Men is a fruity exercise in Traxesque stylism, its the marimba-driven
Melancholie II by Brandt Bauer Frick
that is the key track here; its buffeted
groove and transcendence of organic/
synthetic encapsulates the mindset of
a label that knows how to keep things
interesting. Louise Brailey

The Olgamikks
In the Robag

Vantage point



Erol Alkan Another Bugged

Out! Mix/Another Bugged In!


5 Years of Diynamic

Five year plan


Another brilliant mix

Eight years on from his first double-disc
entry to the Bugged Out! mix series, Erol
Alkan returns with Another Bugged Out!
Mix/Another Bugged In! Selection. As
before, the more traditional, club-friendly
Bugged Out! Mix is the least interesting
side, though even here, Alkan refrains
from loading it with obvious hits, instead
pulling together the likes of Model 500,
Secondo and Smith & Hack to produce a
mix that effortlessly skips between disco,
techno and acid. Once again, though, its
the Bugged In! Selection where Alkans
skill and nous as a selector truly comes
to the fore, expertly sequencing the likes
of Robert Wyatt and Buffalo Springfield
amongst more contemporary offerings
from Jai Paul, Mickey Moonlight and Bibio
to create a psychedelic-yet-focused afterhours set that still makes a convincing
case for Alkan being one of the more
interesting DJs today. John Power

Five years in, and Hamburgs Diynamic

label sits pretty as one of the most
established labels in underground
house. Its distinct aesthetic and finetuned quality control means that as an
anniversary compilation, 5 Years Of
Diynamic feels like more than simply
a well-deserved victory lap. The first
CD is given over to exclusives from the
Diynamic family, including the limber,
funky minimalism of Hunter/Games Call
My Name and the offbeat decadence of
Stimmings Trombone. Still, its label chief
Solomun who turns in the highlight with
Living On a rubberised electro house
cut coated in a sheen of chemical sweat.
Disc two is dedicated to reinterpretations
of Diynamics back catalogue by outsiders
such as Hot Chip and Gui Boratto which,
while less thrilling, is a nice touch to an
already essential package. Oh, and did we
mention its for charity? Louise Brailey




Toddla T

Future Classic

Ninja Tune

Over the past few years, Australias Future

Classic has, thanks to bright and breezy
releases from the likes of Flight Facilities
and Poolside, steadily grown in stature,
and this new 20-track compilation
featuring exclusive original tracks and
remixes from the likes of Danny Daze,
Soul Clap and Tigerskin does nothing
but burnish that reputation. From the
shimmering haze of Perseuss edit of
Jeremy Glenns New Life onto the Mr
Fingers-esque bounce of Junior Boys
remix of Joakims Labyrinth and the
smartly-tailored disco of Tigerskins In
Public, the Future Classic DJs offer us an
enviable glimpse of what life sounds like
when even the winters are spent down
on the beach. It might be slashing down
and barely nudging double digits on the
thermometer, but give this set a spin
and youll soon be asking for a cocktail
umbrella in your mug of tea. John Power

Rather than bussing in some hired hands

to remix last years Watch Me Dance LP,
Toddla T has instead turned it over to Ross
Orton and DJ Pipes two of his original
mentors on Sheffields underground
dance scene. And like many things you
leave with your mates, theyve given it
back to him dirty, dog-eared and with
some of the bits missing. Taking their cue
from Jamaican dub version LPs and Mad
Professors No Protection reworking of
Massive Attack, the pair break tracks down
to their bones before smothering them in
plenty of reverb and Steel City bleeps and
grease. Casting everything in iron boots
means that already dubby tracks like Fly
now have even greater weight, but it does
mean that Watch Me Dances poppier
moments such as Take It Back and Cherry
Picking sound slightly leaden compared to
the originals. Interesting but not essential
listening. Paul Clarke

Future Classic DJs

Deep down under

Watch Me Dance (Agitated)

Echo deck

Keb Darge & Little
Ediths Legendary
Wild Rockers 2

Late Night Tales

Lucas Santtana
Remix Nostalgia

Late Night Tales


Mais Um Discos


Would you like to

come in for coffee?

Brazil nuts

Makes Elvis sound

like Aled Jones
If America was worried
about Elviss hips, they
clearly never heard the
rare rockabilly and surf
on this. With tracks
ranging from Jimmy
Grubbs rough-andready country boy Lets
Rock Tonight to the
Madness by The
Rhythm Rockers, youll
be shaking a tail feather,
too. Zoe Wallis

The Mercury-nominated
Metronomy try all the
classic ear seduction
moves in the latest Late
Night Tales offering.
They dim the lights with
Outkasts Prototype,
fascinate our brains with
Sa Ra Creative Partners
Cosmic Ball. But,
with their take of Jean
Michel Jarres Hypnose,
you cant help stifle a
yawn. Not the bang you
expected.Zoe Wallis

Remix Nostalgia is a
reconstruction of last
years Sem Nostalgia
itself a deconstruction
of Brazilian guitar
music. Confused? Dont
be. All you need to
know is there are some
beauts on here, such
as Burnt Friedmans
reworking of Ca Pra
Nos and Deerhoofs
John Dieterichs take
on Night-Time In The
Backyard. Zoe Wallis

Hospital Loungecore

Vagabundos 2012
Mixed By Luciano

The Sound of Swedish




Hospital history

Vagabundos by

Saluting SHM, sort


The Ibiza stalwart

puts the sound of his
parties on record. Its a
sharp, finely-executed
affair, loosely themed
by downtempo tech
house but soaking up all
sorts of flavours around
the theme. Some nice
highlights from Marc
Romboy vs. KINK, and
Nick Harris Surfing
With Kilgore. Tristan

Not sure if most of

the artists here would
class themselves as
Swedish house, plus, not
featuring the planets
most famous Swedish
house act is somewhat
contradictory. Weak
concept aside, this
is musically a strong
compilation. Tristan

A 28-track compilation
of early tracks from the
likes of High Contrast,
London Elektricity and
Netsky, spotlighting
that early period in
Hospitals history when
the pop presence, in the
form of kitsch, exotica
and Brit-soul songform
was offset by a rougher,
tougher energy. Newer
label converts might
be surprised. Sunil


Love Me

Luke Solomon
Cutting Edge

NY imprint Plant Musics

first Love Me selection
really is worthy of your

Fittingly excellent mix

for Sao Paulos coolest
club from Classic/Music
For Freaks DJs DJ.

Plant Music

D-Edge Records

Jaymo & Andy George

Moda Black 01

Moda Black

Moda duo take things

deeper on first mix
for their new spin-off
reserved for darker 4/4


words: Mick wilson




We venture into the studio of

Hybrid, the prog breaks team
who are now soundtracking the
new Total Recall movie.



We get Ministry Of Sounds two

new hot young DJs to roadtest
the new HDJ1-500 headphones.

get Angry,
get Livid
The new CNTRL:R hardware controller from Livid is out to drive us wild


Can Stantons little DJC.4
controller wrestle the Best
Compact Controller crown from
the competition?


ivid have been around for a while now, carving

out a niche in the market with their less-is-more
approach to hardware controllers. Stylish as well as
functional, theyve the added bonus of being highly
customisable. The latest controller to be unleashed on the
world of DJing and electronic music from Livid is the CNTRL:R
which has seen them team up with techno kingpin Richie
Hawtin for the design and development of the unit, along with
some of the other artists from his M-nus label.
In keeping with Livids usual design ethos, the CNTRL:R has
lots of knobs, buttons and faders, but no labels on the controls
or the inputs and outputs on the rear of the unit. The result is
a controller that looks very slick, professional and clean. The
all-metal construction of the CNTRL:R adds to the professional
finish, without adding too much weight, and the balance
between portability and ruggedness has been pulled off with
aplomb by Livid.



Arturias range of soft synths

have been revamped for the next



Assorted tips and tricks to help

your music productions on their



The unit manages to cram an awful lot of buttons, faders and

encoders into a compact area without making the control
surface cluttered or cramped. The faders and rotary encoder
knobs all have a lovely action, they have the exact right
stiffness, and feel like they will last a long time. The buttons
are split into two sections. In the middle of the controller,
there are 16 buttons adjourned by a selection of four faders.
Below this are another 32 buttons that run along the bottom
of the control surface; these are smaller in size than the 16
that dominate the mid section. The spacing and shape of
the buttons work together to give a fantastic performance
interface, without the worry of fingers slipping when things
are getting frantic in the DJ booth. The only possible gripe
anyone could have with the style of the buttons is the fact that
they are rubberised with a long throw, which means they dont
have quite the same precise and quick action seen on other
controllers, but this is a minor niggle in the grand scheme of
Every single knob and button found on the CNTRL:R has a lovely
multicolour LED backlight that can also be fully customised

using Livids controller editor, to get the absolute best control

and feedback between the CNTRL:Rs hardware and software.
DJs and performers at the cutting edge will love the amount
of control they have over the way they use the CNTRL:R as
a standalone unit, and theres the possibility of further
expanding the unit using Livids Builder Series BYOB circuitboards to create completely custom add-on controller units
with foot controllers, sensors, accelerometers and buttons to
name just a few of the options. This is sure to gain the CNTRL:R
a lot of attention, especially from artists who like to get handson with the designing of their set-ups.


The CNTRL:R looks like an obvious fit with Ableton and the
control scripts that can be downloaded from Livids website
provide a very slick and deep integration with Ableton Live
without needing to customise anything. Traktor users are not
left out either, and the CNTRL:R does not disappoint when
put in control of Traktor. However, when the CNTRL:R is used
together with Max For Live, the real potential of this controller
is fully revealed, and its a match made in heaven for hardcore
The CNTRL:R is undoubtedly a well-built and nicely designed
bit of kit that will find favour with the more techy DJs and
musicians. This is a fantastic fit for anyone who is looking for a
controller that they can extend with their own customised addons. However, the price will be a sticking point for those who
are just looking for a controller that they can plug in to their
computer and start playing with.
It is likely that the CNTRL:R will become a massive hit with the
tech-savvy electronic music makers who love to modify their
electronics. This is why we love the CNTRL:R so much rather
than make something that tries to please everyone, Livid have
made something that will delight hardcore enthusiasts and
open up opportunities for performance and production in a way
that nothing else can.




sound quality



A fully customisable and

extendable controller built using
high quality components that
are a tweakers dream come

Reloops Beatmix 2
Controller is designed
specifically for Virtual DJ.
This sweet-looking compact
two-channel controller has a
built-in four-channel audio
interface, two high quality
jog-wheels and all the other
associated knobs, sliders and
dials that would be expected
on a controller such as this,
and as its MIDI controlled, it
can be mapped for use with
any DDJ software.


The lack of soundcard and high

price tag mean that this
controller is not going to be for



The CNTRL:R is a refreshing

change from the one-sizefits-all approach most
manufacturers take, and is
likely to find a cult following
among those who are willing
to take the time to get the
most from this controller.


Never Say Die Records have come up with a unique way
for DJs and fans of the label to access their records and
various other label-related content, by offering them the
NSDX Membership Club Card. The card comes with the
whole Never Say Die back catalogue saved on it, the brand
new album released with UKF, all of the Volumes mixes
and their music videos. Any future releases can also be
downloaded directly onto the card via the flip out USB plug
that turns the card into an 8GB memory storage device.
Other benefits of joining the club are free entry to selected
events, free downloads and lots of other content, all for a
yearly subscription.

Bring that beat

Its almost that time of
year when the biggest DJ
convention in Europe rolls
into town. BPM is back at
Birminghams NEC Arena
for the third year running,
featuring the nowstandard workshops and
manufacturer exhibitors that
have wooed the enthusiastic
crowds. Taking place over
the first weekend in October,
expect even more DJ-related
thrills as well as big name
selectors performing for
your delight. This year DJ
Mag will take to the main
auditorium and will be
presenting the awards live to
the winning manufacturers
of our revamped Tech
Awards. Get your tickets now
for a chance to win a host of
goodies and see some of the
best kit currently doing the

Im a Traktor DJ and I am looking to buy some new

equipment. In particular, Im looking to buy a
controller and mixer. Would you recommend that I
buy a mixer that has built-in Traktor control or should
I look to buy a separate controller and mixer?
Stuart Murphy
There are some great Traktor-enabled mixers that
could take care of your needs in one neat little box,
like Pioneers DJM T1 mixer, but that very much
depends on your DJing style as well as personal
preference. Of course, getting an all-in-one mixer/
DJ controller usually means sacrificing some of the
cooler features found on dedicated hardware
controllers. When it comes to gigs, taking a Traktor
controller with you is likely to be a lot more
practical than taking a mixer. Another factor to
consider is that Traktor is constantly being
upgraded and there are new controllers coming out
every day, so being able to sell your current
controller and upgrade to the latest shiny
controller to take advantage of the killer new
Traktor features could be very useful in the future.
No matter which way you decide to go, make sure
you get a nice quality mixer that has enough inputs
and outputs to deal with your current DJ set-up, as
well as your future needs. If you decide to get a
separate controller and mixer, it would make sense
to go for a mixer that
Got a burning question?
has USB input and
output. Spend a
little time
researching the
options available
within your budget.


My speakers are letting down my studio

and Im having real problems mixing, so I
need some new speakers. A friend of
mine has told me I need to spend some
money on acoustic treatment before I get
new speakers. Should I spend my money
on the speakers or balance my budget so
I can get new monitors and do the
acoustic treatment?
Phillip James, Surrey
My advice would be to spend the money
on the acoustic treatment first, then look
to buy new speakers once thats done.
Sean Winstone, Birmingham

Scratch that Itch

Serato in conjunction with
Vestax have released an
upgraded version of their
Itch software that takes
advantage of some of the
specific features found on
the Vestax VCI380. This
upgrade means that users of
Itch and the VCI380 get total
seamless integration.

Im with Sean, a good set of monitors will

be ruined by a sonically bad room that
hasnt been treated. If you do some
research on the net you can find ways to
treat your room while keeping the costs
down, and still get a professional result.
Andy Jenkins, Luton
Try to buy the best speakers you can
afford. Acoustically treat your room to get
a new lease of life from your current
speakers and save up for a killer set of
new studio monitors.
Barry Hamilton, Coventry





PETE JORDAN cant live without


Pete Jordan, the man behind the uber

popular Spectrum club nights, tells DJ
Mag what he and his DJing partner
Santero cant live without
It has to be the Rane SL4, weve both
used Serato since pretty much the
beginning, and when the SL4 came out it
was a perfect fit for what we do together
as DJs. The two USB inputs allow us to
both play through the same box, which
makes life a lot easier than trying to
install two separate Serato boxes! And it
makes the whole process of DJ
changeovers infinitely easier other
Serato DJs can just use whichever USB
slot is free, and it can function as a thru
for CD or vinyl DJs.
As we are both partial to playing a wide
range of music, Serato Live has always
been a superb way of having all the music
we need to hand. Will (Santero) has
nearly 20,000 tunes on his laptop alone.
It makes travelling so much easier, too.

Because Santero scratches during the

sets, he sets up on 1210s, whilst I use
CDJs for my set-up. The simplicity of the
set-up, and all the cue points, allows so
much more creativity than with just CDs
or USBs. We have Novation Dicers set up
as well, the ease of triggering loops with
them means we are able to improvise
quite a lot throughout our sets and layer
up bits from all four channels as we see
fit. And one really great benefit of the SL4
comes at home it has fantastic analog/
digital converters, which are so important
when recording tracks off vinyl into the
digital realm!

Were Jamming

Turn up
the heat
Things just got better for DJs
who use Vestaxs VCI400
Controller, as the new firmware
upgrade now turns the VCI400
into an external mixer. DJs can
now mix external inputs with a
variety of DJ software, controlled
all from the VCI-400. DJs using
Traktor can mix a total of six
decks (two Traktor Pro decks,
two Traktor Pro sampler decks,
and two CD players) while still
being able to trigger loops, hot
cues and control effects, all from
the VCI-400. This upgrade has
now made the VCI into an even
hotter prospect for digital DJs.

Jawbone has created a cool portable

speaker that actually does boast stunning
sound. The Big Jambox doesnt weigh too
much and can easily be thrown into a gig
bag. This compact speaker is perfect for
impromptu sessions back at the hotel
after the gig. DJ/producers can hook this
up to their smartphones, tablets or
computers in a variety of ways, and to
make sure that Big Jambox is ideal for DJs,
Jawbone have begun to work with the
likes of Nicolas Jaar and his label Clown &
Sunset to produce songs specifically for
use with their Live Audio technology.

Studio Sounds
DJs and producers have
taken to recording tracks
whilst on the road with
their iPads and iPhones,
but rarely get studio
quality sound. Bowers &
Wilkins have addressed this
problem with their new P3
headphones, engineered
and tuned by the same
engineers responsible
for the highly-rated 800
Series Diamond speakers
found in Abbey Road
Studios. With pro studio
sound quality, due to the
highly tuned drivers, the
P3s offer producers the
chance to obtain a true
representation of how
their tracks sound.

Free stuff!
FXpansion are giving away
a rather sweet plug-in.
The DCAM FreeComp
is a circuit-modelled
compression plug-in in
VST, AU or RTAS formats.
DCAM FreeComp is a
realistic model of a classic
compressor, designed to
gel mixes together while
enhancing the punch and
definition of tracks. Simply
create a user account, and
grab it.

App name : AmpliTube for iPad
Developer : IK Multimedia
Format :
Price :

for iPad comes with a

one-channel recorder, which
can be expanded to eight
tracks. A master effects
section can be purchased
using the in-app store. Also
AmpliTube is one of the best loved guitar amplifier and effects emulators that has ever
been released, and is used on many more instruments than just bass guitars in discerning available as extra purchases
are a Fender pack and a Vocal
studios the world over. This stunning plug-in is just as likely to be heard decimating
Pack, which mean that this
a synthesiser or a vocal on a banging house track as it is in a rock record. Guitarists,
app can be made more useful
keyboardists and vocalists everywhere should take note of the fact the AmpliTube is
and versatile for those who
available for iOS devices and is just begging to be taken out on the road.
need it, without charging
The tones and effects that AmpliTube for iPad creates are nothing short of amazing and
those who dont. To make life
will easily replace guitar amps and effects boxes, both in the studio and out on the road.
even easier, IK Multimedia also offer various ways to connect an instrument of choice with
There is a great range of guitar amplifiers to choose from, as well as some very tasty
their iRig, iRig Stomp and StealthPlug interfaces, designed to plug straight into the iPad
effects boxes with the ability to chain up to four stomp boxes at once.
for rocking times without the headaches. Another great feature included with the app,
without additional cost, is the song player, which allows tracks to be imported for practice
AmpliTube for iPad also doubles as a mobile recording studio that can be expanded by
and features a voice-cancelling feature and tempo adjustment for added coolness.
purchasing add-ons, available from IK Multimedia. The standard version of AmpliTube











Full list of DJ & production
gear brands exhibiting:

Full programme of seminars,

workshops & panel sessions:

Full line-up of DJ sets, PAs, Q&As,
showcases & competitions:

Full details of opportunities to
meet & share ideas:


Tickets for BPM 2012 are available now priced at 10 each (+1.50 transaction fee per order). Advanced tickets offer guaranteed admission on
all three days of the event. Tickets will also be available on the door priced at 15 each (subject to availability).





THOMAS GOLD is currently smashing it up on the dancefloors

with his peak-time floor fillers. He has remixed the likes of Lady
Gaga, Adele and Miike Snow, as well as releasing his first artist
compilation on ex-Swedish House Mafia member Axwells Axtone
label. Taking inspiration from his hometown Berlin, we find out
why everything Thomas touches turns to Gold
How did you first get into DJing and producing?
I have always been in love with house music and always wanted to
DJ in those kinds of clubs. I had my first DJ experience when I played
music at my friends parties, before I got a residency in a small local
club. I started producing at around the same time, and I had quite a
simple set-up. Nothing flash a slow computer, bad speakers and
some basic software. But I worked a lot on developing my DJ skills
and building up my little production studio.
How would you describe your sound?
Id say its house/progressive house, with a lot of influences, from
tech house to tribal and electro stuff. Also I am a fan of percussion,
so I often use those big drum sounds in my tracks! Generally
speaking, I would describe my sound as uplifting, emotional and
energetic. I also get a lot of inspiration from Berlin where I live, it has
a strong electronic music scene and its one of the most influential
cities worldwide. The Berlin music scene is very techno/minimal/
underground-orientated, but its a great source of inspiration to
Youve been remixing some pretty major artists
Yes, I remember when I got the remix request for Lady Gaga, I
was like Oh, this is a hard track to remix. I was not too sure about
it, but actually I loved the idea of remixing Lady Gaga, and it was
quite a challenge to create a cool club mix out of a very commercial
pop song. In the end, I was very happy with the result! I was super
excited when I got the remix request for Adele, as I loved the original
track Set Fire To The Rain so much. I was not sure how to do a proper
remix on this track without destroying the whole thing. So when
I did my mix, I tried to keep a lot of the original vibe of the song. It
was not easy, but Im glad I did it and its amazing how much positive
feedback Im still getting for this remix.
What did you want to achieve when putting together your new
As this was my very first compilation, I wanted to tell a bit of the
Thomas Gold story. The great thing was that the Axtone guys
gave me total freedom in my choice of tracks. I wanted to create
something special, rather than a bog-standard DJ compilation. So
besides a lot of my personal favourite tunes, many of my remixes and
single releases, I also produced some exclusive original tracks, reedits, mash-ups and special remixes, just for the comp.
What is your studio set-up like?
My studio is actually my laptop, with a lot of production software.
This is cool, as I can bring my stuff and my work with me wherever I
go. This makes it easy for me to produce on the road, which is often
necessary. Sometimes I book a proper studio and I just connect my
laptop to the mixing desk there. Thus I can use the big monitoring
speaker system and the other hardware gear for mixing my tracks.
Its good to have both things the mobile laptop and the proper
real recording studio.
When you DJ, what do you use to play your sets?
When I DJ, I use USB hard drives. In the club I connect them to
the CDJ players, which I use to play and control the tracks. I have
been thinking about jumping to digital DJing software like Traktor/
Ableton, but for me, the CDJs work perfectly for what I do at the
moment. I feel very comfortable using the CDJs, so I can focus on the
music rather than on any technical stuff in the booth. But maybe I
will change my mind one day...
What have you got planned for the future?
I just had a group of live drummers play with me during my EDC
set. I brought a drum line ensemble with me on stage and they
performed some of my tracks together with me. This was an amazing
experience, the feedback from the crowd was overwhelming! We are
actually working on the next show and I think this will be exciting.












words: mick wilson

In the studio with Hybrid


With a career spanning over fifteen years, Hybrid have had
numerous dancefloor progressive house and breaks hits. Theyre
now spreading their wings to the big screen, working on the
soundtrack to the new Total Recall film. We go Back To The Future
to investigate how it all began

ybrid burst onto the scene with the nowclassic album Wide Angle, and have gained
recognition as one of the most cutting edge
and technically skilled acts in electronic
music. They have just released a new album, Classics,
which showcases many of their choice moments from
the last dozen or so years. We jumped into the studio
with the guys to reflect on their career so far and delve
a bit deeper into the bands metamorphosis from a
heritage dance act to top-rung composers for film and
Chris Healing and Mike Truman were the original
members of Hybrid, crafting their unique take
on cinematic breaks for quite some time. Their
breakthrough track Finished Symphony introduced the
Russian Federal Orchestra to the world of electronica,
and Hybrid to the world of classical within dance
music. It proved to be a set-finisher for DJs across the
land, especially after it famously featured on Sasha &
Digweeds Northern Exposure mix series.
Their I Choose Noise album pushed the boundaries of
modern dance music further. It fused their propulsive
arrhythmic breaks with strings, vivid harmonics and
anthem-hurling guest vocalists. But it was their fourth
studio album, Disappear Here, that heralded the entry
of a new full-time member into the fold in the form of
songwriter and composer Charlotte James.

Why did you engage a third member?

Chris: Disappear Here was a natural evolution from
our previous albums. Charlotte comes from a singer/
songwriter/performer background and we drew heavily
on her influences while working on this album. In
joining forces, theres a strong feeling of challenging
ourselves, going somewhere else and doing something
that will last longer in a live capacity. The music
definitely reflects our desire to be a band firmly rooted
in electronica. We all have our own parts to play when
we write, and this made for something very exciting for
the future.
How did the jump from dance music to film scores
Chris: We were asked to arrange some custom audio
for the Ice World scenes in Narnia. Wed go out and
record creaking boats, breaking glass, wind... anything
that we felt we could work with. We experimented with
time-stretch software, homemade patches in Native
Instruments Reaktor, Kyma and further processes
until we got the impact we were after. Mike would then
arrange it all to work with the score.
Our style of composing comes from combining three
distinct angles: experimental sound design, propulsive
rhythmic and melodic production, and haunting and
emotive instrumentation. This, together with our
tailored approach to orchestration which ranges

from sweeping symphonics to terrifying acoustic noise

keeps us firmly rooted at the cutting edge of modern
And now youve just done the music for the remake of
Total Recall?
Mike: Yeah, for Total Recall we worked alongside preeminent soundtrack composer Harry Gregson-Williams
weve worked with him in the past on other scores
too. Harry would send us a cue and say, This section
needs to be bigger, scarier, more dramatic, we need
louder sounds here, and so on. Wed then work together
as a team to create custom sounds, layers of production
and musical themes and soundscapes. Sometimes wed
have free license to kick off a cue and develop ideas to
send to Harry, whod then use them as a basis to begin
writing to. Its a wonderfully collaborative relationship
that has taken years of working together to be able to
contribute to his working process seamlessly.
Youve also created music for games?
Charlotte: Writing music for a computer game differs
quite significantly from writing on a movie. Firstly, on
a game, youre not working to picture. Youre given an



In the studio with Hybrid

Zimmer and James Newton Howard, and tried to get
some of that sound on our artist records. This is why
recording orchestras for club records always felt like a
good idea as it combined two passions electronic
music and film scores into one. So the jump from one
to another was a more gradual process when we were
given the opportunity to get involved in film scores.
Youve just released a new album...
Mike: Yes, the new album Classics has just been
released by Distinctive, its a collection of tracks that
celebrates and re-lives our best moments. It includes
cuts from each of our previous albums plus some rare
B-sides, including our cover of Depeche Modes Enjoy
The Silence. Well also be releasing a four CD box set
that will focus on our cinematic work.

crowd is the best road-test you can have, but writing

for film has many more constraints because its basic
purpose is to convey a feeling and emotion which
perfectly syncs with whats happening on screen.
How did you find the jump from dance music to
Mike: Weve always been huge fans of film scores
and loved the evocative sound of composers like Hans

outline of how the game is unfolding, perhaps with

some artwork and in addition some tailored ideas
about style and feel, but there is still a great deal of
creative scope as you would get when working on
a movie. Game score music is mostly action-based (as
in the case of Ghost Recon Future Soldier) and has to
be able to loop in layers alongside the game play, and
so you have to keep the momentum going. In film,
you have to really try and get into the psychology
of a character and help the audience to get even
deeper into that character or scene without being
too intrusive. You have to change when the picture
changes and alongside maintaining momentum, you
have to adjust your style, pace and feel for the scene as
that scene changes. Now weve been lucky enough to
work on both film and games, we can honestly say that
theyre both brilliant fun to work on, and both equally
challenging in different respects.
How different is your approach to soundtracks to
crafting a dance track?
Mike: The difference between writing music for clubs
compared to writing for film or games is basically that
you have freedom to set your own pace in club music.
Its easy to decide when the breakdown is going to
happen and how long youre going to keep everyone
waiting for that riff to drop. Obviously theres an art in
making a well-arranged record and trying it out on a


Do you miss making dance music of sorts?

Chris: We still do! Scoring for film and games has
sort of become our day job (OK, dream job really!), so
making records sometimes comes secondary to that,
but we still have enough time to do both and would
never want to just do one or the other.
After a few months working on a film, were practically
itching to get back to writing Hybrid tracks and are
currently working on album No.5, which is a lot darker
and heavier than our previous work. We get inspired
by working on film scores, but theres still nothing like
cranking up the studio monitors and getting lost in a
big fat bassline!


words: mick wilson pics: JAMIE PARKIN


Pioneer hdj1500 headphones

Ministry of
Sound Advice
Ministry Of Sounds newest DJ recruits Sheldon and
Shane Patrick road-test Pioneers freshest addition to
their headphone range, the HDJ1500s

hat better way to test out Pioneers

new HDJ1500 headphones than to
give them to the Ministry Of Sounds
latest hotshots and let them roadtest them in one of the countrys finest DJ booths?
Sheldon and Shane Patrick are the new DJing
talents that have landed themselves a residency
at one of the worlds most established clubs. The
guys have been making waves in clubland, playing
alongside some of the biggest names currently
doing the rounds, as well as DJing at Deadmau5s
label night and spinning for Benny Benassi &
Friends. And with their residency under their belts,
they look set to take the floors by storm.
DJ Mag corralled the pair to get the lowdown on
Pioneers new cans

What are your initial thoughts on Pioneers new

HDJ1500 headphones?
Shane: I really like them they are light,


comfortable, and have a really good build quality.

The sound is amazing, which is really important
for me, and they look great, which is always a plus.
Another thing I noticed was how good the noise
cancellation is when I have the headphones over
both ears.
Sheldon: Yeah, I love the look, very professional,
and the way they fit is great. I like to have my
phones perched on my head they sit nice and
close, and are really comfortable. One thing that
instantly stood out is the sound isolation on the low
and mid frequencies. This is perfect for mixing in
loud clubs like Ministry Of Sound.
How would you describe the sound through the
Shane: The sound is really good. The clarity is
amazing, you can really turn the volume up on
the HDJ1500s, almost to full, without getting any
distortion. This is essential when DJing on really

loud soundsystems. With a lot of headphones, the

mids and tops sound great, but you can barely hear
the bass. With the HDJ1500s, this isnt a problem,
as all three frequencies work perfectly together.
The bass sounds so warm; this makes mixing and
producing with them so much easier.
Sheldon: Agreed, the sound through the HDJ1500s
is great, the 50mm drivers give a superb sound
definition, which makes it easy to hear kicks and
hats clearly.
What is the build quality like on these phones?
Shane: The first thing I noticed was how light they
were, and that they were really comfortable when
I put them on my head. There is nothing worse
than a heavy, uncomfortable pair of headphones,
especially if youre using them for a long time. With
the HDJ1500s, I could leave them on my head for
the whole night and forget I was even wearing
them. I also love the fact that you can replace the
cable if it gets damaged, rather than having to buy a
brand-new set of headphones, saving DJs money in
the long run.
Sheldon: They feel very sturdy and have a great fit.
The detachable cable is definitely a good feature, as
on previous headphones, if the cable broke, it was a
nightmare to get fixed.
How did you find mixing with these headphones
compared to other phones?
Sheldon: I was previously using Pioneers HDJ500s
and they were great headphones, but the HDJ1500s

Pioneer hdj1500 headphones

as they dont distort when the volume is turned up,
so it will be easy to pick out when theres too much
compression, or when the limiter is squashing the
Sheldon: Yes definitely, I will use these for
production, as its great to get a feel for my own
sounds by listening to other material through them
for comparisons.
What about on the streets?
Shane: Although Im sure the HDJ1500s are aimed
at the DJ market, anyone who listens to music on
headphones would appreciate just how good these
are. The noise cancellation on these is so good that
they are perfect for listening to when travelling.
I travel a lot, so they will be coming with me
What style of DJ are these headphones aimed at?
Sheldon: I would say theyre aimed at an all-round
crowd, really. But if you are a main room DJ in a big
club, the HDJ1500s will be superb and they are
even great for budding DJs after a good set
of phones.
Shane: I think the HDJ1500s will work
for every style of DJ. I play a varied
style of music when I DJ, so I need
headphones that can cope with
that, and the 1500s work just fine
regardless of what style of music Im
Do you think that these headphones
offer value for money?
Shane: These are great value for money.
The sound quality is amazing, they look
cool, they are very comfortable and because
the parts are replaceable, they will be in your
gig bag for years.
Sheldon: Yes, they are great for the price,
considering the many features and build quality.
DJs get top tier professional headphones that offer
great value for money.
give me higher and clearer output levels, making it
even easier to mix when in a club.
Shane: When I mix, the most important thing for
me is to be able to hear the kick drum and the hihats, as this is what I use to keep my tracks in beat
and in time. With these headphones I found that
both these elements were very prominent
and very easy to pick out.

What other headphones have you used in the

Shane: Ive always been a big fan of Pioneer
headphones, the HDJ1000s were the first high-


end headphones I ever bought. When it was time

to replace them, I went with the HDJ2000s. I will
certainly be using the HDJ1500s the next time I play
out. Also, as I travel so much, I will be bringing the
HDJ1500s with me, as a lot of my productions are
started on the road, so I really need a top-class set
of headphones with me at all times.
Sheldon: Previously I have used Sennheisers
HD-25s, Sony MDR-V700s and most recently, the
Pioneer HDJ-500s. I was always a fan of the HD-25s,
but most recently Pioneer has come out on top for
personal preference.
Anything else youd like to add about the
Shane: Shameless plugging, but the HDJ1500s get
a 10/10 rating from me. If youre in the market for a
new set of high-end headphones, then make them
your next purchase. You wont be disappointed.
Sheldon: Yes! They look, feel and sound great, but
go for the Chrome Black theyre pimp!

sound quality



Great-sounding set of phones

for start up or professional DJs


. None.

A good quality phone that has

great pedigree, from a
trusted stable.




When choosing a pair of

headphones, what do you look
Shane: The sound quality is the
most important thing for me,
followed by noise cancellation.
They also really need to be
comfortable I like them to be able
to last, so build quality is something
I really look out for. If they look
good thats a bonus, and as Sheldon
said earlier, being able to replace the
cable is a huge plus.
Would you use these phones in a
studio session?
Shane: Yes, I would use the HDJ1500s in
a studio session. I can really pick out all the
different frequencies when listening to my
tracks, so they are ideal for producing. I also
think that the HDJ1500s are going to serve
me really well when Im mastering my tracks,


words: luke pepper


Stanton DJC.4 Controller

sound quality



A compact controller for Virtual

DJ that, despite its size, packs
an amazing amount of controls
and features into a lightweight


The only way to get four-deck

control and use of some of the
other features of the DJC.4 is by
paying for an upgrade to Virtual
Striking a fine balance
between functionality and
portability, this is a great
controller for Virtual DJ users
who put a high value on
portability without wanting
to sacrifice functionality.


Stantons new DJC.4 controller is entering the ring to wrestle
for the crown of best compact DJ controller. Can their new little
wonder come out on top?




but could prove a source of frustration for scratch DJs.

The two channel faders feel nice and are big enough to
provide fine control over long mixes, and sit either side
of a lovely ten LED level meter. Each channel has a threechannel EQ with push-to-kill buttons in each of the EQ
s a child of the eighties and a survivor of the work with Traktor, its clear that the DJC.4 is all about
knobs, as well as a gain knob and cue button. Four deck
the Virtual DJ integration, and the unit ships with
Cola Wars (along with the emotional scars
control is possible via the deck select buttons found
Virtual DJ LE in the box.
and warped outlook on life to prove it), I
above each of the jog wheels, but an upgrade to Virtual
find it both worrying and delightful in equal When it comes to buttons, knobs and features the
DJ Pro is required.
DJC.4 has an impressive helping of each, despite its
measures to find myself in the middle of another epic
war. This time the war is not over sugary water, but chips diminutive size. This is a controller that will suit DJs who Both of the deck controller sections are stuffed to the
and faders. We find ourselves inextricably dragged into love tweaking their mixes by riding the EQs, tweaking FX gills with backlit buttons dedicated to cue points, loops
and dropping samples over their mixes but also require and sample triggers along with knobs for FX control.
the midst of the Controller Wars, a time period which
With both phono and balanced jack outputs, two aux
history will record as the best of times and the worst of a small controller that will easily fit into a bag and
times. As Stanton fires another volley into the fore, we doesnt weigh a tonne. Portability combined with a full inputs (one with both phono and mini jack connections)
set of buttons and controls is a balance hard struck, but as well as a microphone input, crossfader curve, jog
ask will their DJC.4 be an example of the best of times
Stanton have managed to do a very good job. While the wheel sensitivity and headphone level and mix knobs
or is it destined to be a mere footnote in the pages of
on the front, this controller lacks nothing in the way of
controls are a little cramped compared with full-sized
While the controller wars are not necessarily good news controllers, they are perfectly usable and make efficient controls or features. The sound quality of the DJC.4 is
decent enough for the price range that it sits in and is
for manufacturers, there is no doubt that the citizens of use of the available space.
loud enough to be useful, even if the output levels are
clubland are the clear winners. Gone are the days when
not as loud as some other controllers. This shouldnt
Build quality is important for any piece of equipment
the choice was Technics SL1200s or Technics SL1200s,
prove to be a problem in day to day use.
now DJs and electronic musicians have a huge range of designed for a life on the road, and the DJC.4 does
devices to choose from. With the current trend towards not disappoint on this front. The top control surface
panel is metal with a plastic bottom to save on weight, Stanton have managed to create a very powerful
more niche products, its easier than ever to find a
controller while keeping the size and weight down. It
and everything fits together nice and tightly with no
controller to suit everyones style, taste and budget if
looks and feels professional and is likely to find more
theyre prepared to spend a little time researching their wobble on any of the knobs or the buttons when they
are pressed. The backlit buttons have a nice quick action than a few fans among DJs who live their life on the
road, and have had enough of breaking their back
The DJC.4 is a great example of the current crop of niche as well as tactile feedback and they are nicely spaced,
lugging around heavy controllers. The DJC.4 is also likely
managing to cram a huge amount of buttons into the
controllers coming to market. This is a product that
to find a home with hobby DJs who love their music
control panel without the risk of fingers slipping onto
will fit some peoples needs and wishes like a glove,
but dont take their mixing too seriously. With its small
nearby buttons and ruining a mix.
without trying to be all things to all people. The DJC.4
footprint and good value for money, this controller
The DJC.4 has two decent-sized jog wheels that
is designed specifically for use with Virtual DJ, and is
clearly aimed at DJs who crave portability without giving perform well but lack the fine resolution found on some is perfect for those back to mine moments or for
controllers we have seen. Theyre fine for mixing duties throwing in a bag to take to a house party.
up a wealth of functions. While the DJC.4 is touted to




words: luke pepper


Arturia Next Generation Analog Classic Soft Synths

sound quality



Ten of Arturias best-loved soft

synthesisers upgraded to
64-bit processing, as well as
improved processing
performance and MIDI control.


With the price dropping to half

the previous amount for
improved soft synths, it is hard
to find fault.
The best-sounding digital
recreations of some of the
worlds most sought-after
synthesisers now have
improved features and cost
half the price whats not to


New Model Army


89 each

Arturias range of soft synths have undergone an overhaul that will hit the right
note for producers everywhere. Welcome the Next Generation Analog Classics

hen it comes to recommending software

synthesisers, there are a few names that
always come up, and at the top of that
list is Arturia. They enjoy a well-earned
respect amongst those in the know for their services
to the studio dwellers that have used these exquisite
tools to bring joy, happiness and greater meaning to
the lives of those who listen to their creations. Among
the regular users of Arturias software synthesiser are
names such as Jean-Michel Jarre, Howard Jones, Richie
Hawtin and Deadmau5, so anyone out there who hasnt
been using Arturia sounds on their tracks and think they
might be missing out are dead right!
Arturia have taken 10 of their best and most-loved
synthesisers and upgraded them to full 64-bit
compatibility, as well as making improvements to
the MIDI assignments and improving the processing
performance. Now, all of this is clearly a cunning
move on Arturias part to bump up the price of their
best-selling products, right? Actually, no it turns
out that all of the Next Generation Arturia products
have been reduced to half their previous price in what
has to be one of the most welcome moves that music
production has seen in recent years. The synthesisers
to get the Next Generation treatment are Oberheim
SEM V, Jupiter-8V, Prophet-V, ARP 2600V, Mini V (aka
Minimoog-V), CS80V, Modular V (aka Moog Modular V),
Analog Laboratory, Wurlitzer V and Spark Vintage Drum



The reason for all of the fuss around Arturias virtual

instruments is their True Analog Emulation, which
recreates the unique sounds and feel of some of the
worlds best-loved and most expensive sound creation
tools. The debate over how close Arturias soft synths
are to the hardware they are modelled on is a pointless
one. Yes, there may be some slight tonal differences in
some areas, but the sound quality of Arturias products
are legendary and there are many producers out there
who own both the hardware and Arturias emulation of
that hardware, and favour the digital versions for some
very good reasons, including full MIDI support, instant
recall of presets and the complete lack of maintenance
costs that come with a plug-in.
There isnt a single product that Arturia have on
offer that can be singled out as weak or below the
high standard they have set for themselves; there
are only synthesisers that suit a particular style more
than others. While space does not permit a detailed
breakdown of all of the 10 synthesisers to get the Next
Generation upgrade, every single one of them is worth
looking at closely by taking advantage of the demo
versions on Arturias website, to see how they work for
individual needs.


One of our favourite soft synths in the Arturia range is

the ARP-2600 V, a synthesiser that, while intimidating
at first, is capable of producing an incredible range of
sounds, and will reward anyone who takes the time to


delve into the many parameters and functions of this

modular synth. A great collection of presets offers a
shortcut to getting a unique sound without hours of
set-up or programming. This is one of those synthesisers
that will be turned to time and time again in the studio
because of the fantastic quality of the sounds, as well as
the versatility in the range of noises it can produce.
When it comes to legendary names in the world of
synthesisers, the biggest of them all is arguably Moog,
and Arturia offer two Moog emulations in the form of
the Mini-V (which is based on the Mini-Moog), and the
Modular V (which is based on the Moog Modular V). The
Mini-Moog is a great weapon of choice for basslines,
as can been heard on a staggering amount of massive
records that have destroyed the dancefloor, and the
Modular V has a unique sound and will keep tweakers
enthralled for hours with its hundreds of control
Arturia have managed to breathe new life into their
truly legendary range of soft synths and have not only
avoided the temptation to raise the price, but have,
rather, opted to slash the cost of ownership in half. For
this and their contribution to ours and so many other
lives, we salute them and hope they continue in their
great work for many years to come. For anyone who
has yet to sample the delights Arturia have to offer,
now would be a great time to head to their website to
download a fully featured demo (limited to 15 days use)
and hear for themselves what this range of software
synthesisers can do.

+ DJ




words: Mick Wilson

We reveal some handy tips and tricks to help you on
the road to wicked productions...

Killer So
freshest sounds
How to create the
on the dancefloor...


Rude Kid is an up-and-coming grime/bass music

producer. With his new track Get Busy feat Skepta
about to drop on the Relentless label, we ask him how
he gets that killer Alien Music sound

SAMPLE TANK: Zero G: Club Classics

The latest sample library from Zero G sees them take a step back

to the good old days of disco and electrofunk, with the sounds
that were doing it on the dancefloors from the 70s and 80s. The
Club Classics sample pack takes a trip into the past and delivers
a plethora of old school samples and sounds made famous by
the likes of Donna Summer, Nile Rodgers and Chic, Isaac Hayes,
the Bee Gees, Sister Sledge, Luther Vandross and all those
legendary artists. Pure retro class.
Its a massive collection of samples, with over 3.3GB of content
that breaks down into 38 construction kits and numerous extra
synth, bass, piano and percussion loops, plus loads of single


sponsored by


Logic Channel Strips

Audio Units

This month we look at Logic Channel Strips,

a brand new concept from Loopmasters that
focuses on the processing chain and the plugins that are needed to create a channel strip on
a sequencers virtual mixing desk.
Adam White, who records as Monomade, and
has had releases on Paul Oakenfolds Perfecto
label, has devised a range of channel strips that
producers can use in their productions to create
sounds and FX directly from Apples Logic
sequencer. This plug-in aid is only available to
Mac Logic users and utilises the pre-bundled ES
soft synths and plug-ins that come as standard.
If a bass sound is needed for a specific genre,
the producer calls up one of the predefined
channel strips and uses this as the start point
for the sound that they need; this idea basically
sees Logic Channel Strips sitting somewhere
between a sample library and a plug-in. The
versatility of this is that, if a pre-recorded
section of MIDI needs that something extra,
call up a channel strip and apply it to create the
sound. Once the channel strip is in place, the
producer can then tweak this additionally to
suit his or her needs.
There are 15 Bass, 9 FX, 15 Leads, 15 Pad and
15 Pluck Presets that all start from Logics
stock ES synthesizers. Each one has then had
additional processors added to it using Logics
in-built Compressors, Delays, Filters, Limiters,
Bitcrushers etc. This also means that there is
no need to fork out extra money on additional
plug-ins. Not being tied down to a tempo
allows even more flexibility and automation
on each of these channel strips, and with
everything being created especially on the
standard Logic plug-ins,
there are no worries
about transporting
sessions from studio
to studio or between
collaborators as long
as they own Logic, all
is good. Expect to see
packs like this for other
dedicated DAWs soon.

I use FL Studio to produce all my music, and my debut

single Get Busy was also produced on it.
The record Get Busy is very groovy and uplifting. It
also has a shock factor, because no one expects the
heavy dubstep bass drop after the intro and chorus.
The whole idea of me making this record was to bring
together the old skool and new skool sounds, and
make them my own. I started by using a piano sample
but changed it slightly. Then I got an acapella for the
main chorus and added an old skool breakbeat drumkit to it. I added a lot of reverb on the main piano riff,
and also added delay on the vocal. On the drums, I
added compression to make the kicks heavier. The
reason I did this was mainly for clubs, so it hits people
in the face when they hear it. On the drop where the
dubstep sound kicks in, I used a bass and added lots
of effects to it to make it sound powerful. I used an FL
Studio plug-in called Hardcore, which made it sound
distorted, and gave it that extra angry bass sound. I
also changed the drums on the drop to a plainer beat
with a heavy ride and weighty kick and snare, which
makes part of the record stand out and shock people.
After that I took it back to a 4/4 kick with the main
chorus and riff. The whole point of this record was to
combine different elements of music, which I feel I
achieved. Get Busy was made to be played loudly in a
rave and I never thought it would have been picked up
by a major label, but it was.

The construction kits come in ranging tempos, from 95 to

135BPM, and feature over 1650 individual samples from synths,
bass, drums and piano to percussion, guitar, claps and more:
perfect for producers who want to either create that old school
disco sound, or even lend a hand to the Scissor Sisters-style
dance tunes of the present day.
All the usual major formats are covered, including Apple Loops,
ACID, Wav and Rex2, plus sampler instruments for Reason NNXT,
Kontakt and EXS24. Club Classics will work with all popular
sequencers, including Logic, Cubase, Pro Tools whatever takes
your fancy.

Welcome to Plug-in
Corner, our monthly
expos of some of the best
plug-ins around for creating
electronic music



Plugin corner is sponsored by, your login for plugins!








sound quality



The original loop creation

software now brought
up-to-date to compete with its


Fell out of favour with some

users who switched to other
production software.

Its good to see that ACID

Pro 7 has been revamped to
make it a viable alternative
for DJ/producers looking
for a piece of software that
aids music creation by
being fast and not too


8.0 /10

In a land that time forgot lived a secret tool called ACID Pro. Now its back to
add a little kick to productions


Sony ACID Pro 7 is a DAW powerhouse that combines full multi-

mixing, new and improved MIDI sequencing, and lest we forget,

track recording and mixing, MIDI sequencing and legendary ACID a newly revamped loop-based environment, making it even
looping functions with pro-level editing tools and studio-quality tighter and more accurate than before. The addition of interactive
tutorials is designed to help new users get started quickly, and
they offer a point of reference for their productions if they get
Long before the mighty behemoth that is Ableton Live, canny
producers in the know would use a program called ACID Pro to be stuck.
Sony are also keen to promote an ACID Pro-based social network,
able to create tracks via a loop-based system without having to
allowing users to upload songs to the online
go down the complicated road of sampling and time stretching.
music community directly from the ACID Pro interface, allowing
This bit of software made the creation of tracks fast, furious and
producers to get together and share ideas, music and views.
simple, but for some reason it never quite sustained the lead it
And there is more, as users of ACID Pro 7 are gifted with Sony
had on newer software that emerged, and it seemed to fade to
Creative Softwares most extensive content collection of over
grey over the years. Now newly re-developed with the might of
Sonys Creative Software arm, ACID is back to reclaim its crown as 130 high-quality loop libraries, optimised to work with the ACID
product line for even more music creation content.
the DJ/producers production tool of choice.
With the new backing and development of Sony, ACID Pro 7 has
In trying to claw back its place in the market and to give ACID
gained a more professional feel, and what was once considered
a program for bedroom producers has grown into a package that Pro 7 a jump-start over its now established rivals, Sony Creative
not only beginners can use, but pro producers and engineers can Software has teamed up with some pretty cool third-party
developers to include additional software when purchased. This
turn to as a valid program for music production.
The new ACID Pro has also positioned itself as a program that can software includes the Garritan Aria Engine for the included ACID
be used for post-production work, and is ideal for anyone wanting Pro player and custom sample library, the ACID Pro Effects Rack,
created in conjunction with iZotope, Submersible Music KitCore
to create DJ or podcast mixes for broadcast, as well as being a
and Native Instruments Guitar Combos. A pretty impressive
digital audio workstation that enables faster, flexible and more
bundle of software, and this is not even considering the 3,000
creative music production, especially when it comes to creating
music loops and 1,000 MIDI files available for producers to use.
Some of the improvements to ACID Pro 7 include the new mixing In use, ACID Pro 7 is pretty fast and easy. By combining loops
together, producers can build up a track or remix in no time at all.
environment, enhancements to MIDI track freeze and tempo
curves, improved beatmapping and the addition of new import/ It really is as simple as that. It doesnt take long to craft an idea
into a full-blown track. Users of Ableton Live will be aware of how
export options. It also now boasts more powerful and intuitive
quick it is to produce.
DAW functions, with multi-track recording, 5.1 surround sound
Use the EQ properly
When mixing down tracks, try
to use the EQ to cut
frequencies, not boost them,
and cut out everything that
doesnt add something to the
track for nice clean mixes.

Treat your room before

you bin your speakers
The best way to get your studio
and your mixes sounding
better is acoustic treatment. A
good set of monitors wont
sound right in a bad room, so
deal with that problem first.

Headroom is more
important than loudness
Dont get caught up in the
loudness wars. DJs have gain
knobs to turn channels up, but
there is no knob that will fix a
mix that has been pushed too
hard and sounds squashed.




Here is the good news: as its every

aspiring DJs dream to record
professional-sounding, slamming
tracks from the comfort of their own
home, and with money too tight
to mention, were offering DJs and
producers the chance to get a headstart when it comes to creating that
killer tune. Yes, its another DJ Mag
To be in with a chance of winning the
updated ACID Pro 7, simply answer this
What does DAW mean?
Send your answers and the usual
contact details in an email to mick. and well pick
one lucky reader out of the hat.

Keep it subtle
When using effects, keep
things subtle. Listen to how
the pros use little amounts of
reverb and other effects to
bring out elements.


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Fresh from finishing a tour of Europe, Nicole

Moudaber is prepping her forthcoming collaborative
release on Drumcode with Victor Calderone, as
well as a further union with Danny Tenaglia. Theyre
bound to be big room, dark, funky techno tracks
with tribal twists and dashes of vocals, the exact
same flavour shes become famous for smashing on
the dancefloors.
As someone who has been very much a part
of dance music since the 90s, promoting and
managing parties and DJs, its perfectly fitting to
find her now as a force of her own. She may live
in London, but her second home is Ibiza, a place
that, like the rest of us, she fell in love with, just
over 10 years ago. Passionate about singers
and songwriters, Nicoles Lucky 7 makes for a
heartfelt selection

Whats the track that sums up your

I was a big fan of French artists. Dalida. I
dont know if youve heard of her, shes a
massive Italian/French artist. I remember I
used to always listen to her and imitate her,
go to her concerts.
Another one is Veronique Sanson. I had a
French upbringing. I didnt really live with
my parents when I was a kid, I was always
with my grandparents and my aunt. I had a
young aunt who was a fan of Dalida and
she used to always imitate her and so I did
that, too. The track would be Gigi

Whats the first record that you ever

Wow. That would definitely be a Fela Kuti
record, Beasts Of No Nation the Afrobeat,
mega Nigerian artist followed by lots of
Donna Summer and Aretha Franklin, and lots
of funk and soul.
Fela Kuti died a few years ago, and when I
went to Lagos back in April with my dad, I
met his son Seun Kuti, and Im actually
trying to nail one of his vocals on one of my

Whats the most embarrassing record in

your collection?
Some trance shit. I used to be into trance a
little bit, back in the 90s. I have loads of
cheesy trance records. I dont wanna say
that! Maybe I Need A Miracle or the Paul
Oakenfold one. I liked my trance, I hate it
now, but I did play it. Then I switched to
prog. It was quite nice and uplifting.

Whats the track thats guaranteed to

make you cry?
That would be a Jacques Brel record. Hes a
Belgian singer/songwriter. A lot of major
artists have worked with him, like David
Bowie, Leonard Cohen and Nina Simone.
That record is called Ne Me Quitte Pas,
which means Dont Leave Me, that makes
me cry. Definitely when I first heard it, I was
in my teens, I was quite emotional, quite

What album are you currently into?

Oh my god, I just downloaded three albums
of Concha Buika. She sings flamenco with


jazz fusion. Incredible singer. Theres one

that I really recommend called Mi Nina Lola,
and one of her tracks, called La Boheme,
was featured in Vicky Cristina Barcelona, the
Woody Allen film. Its perfect afternoon
listening. I do like to switch off and listen to
flamenco, its quite intense and passionate.

Whats the most valuable record in your

Lots of my collection is in storage, I need to
pull them out. I remember the ones that I
really value are all the albums of Mylene
Farmer, because she really took my attention
when I was growing up. You could say she
was like the Madonna of the French culture.
She really impressed me and the meanings
of her songs were
incredible. Obviously I
could relate to her.

Whats your all-time

favourite track of
Definitely The Show
Must Go On by Queen.
Ive had my ups and
downs, and I always
remember that song.
Because sometimes, I
have to carry on and
do my thing.
Recently, I lost my
father and I had to
perform, and that is
pretty intense, and
that track is a
reminder of the
reality that Im in
right now.
I was talking to Carl
Cox about it, and I
was in that moment
and I was about to

perform, and my dad had just passed

away, and he was giving me an example of
Michael Schumacher, whose mum died in
the middle of the race and he knew about
it, and he actually won that race.


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