Before you read this and catapult yourself into a vicious debacle about who knows what and who doesn’t, understand, and treat this piece as more of a query into the state of Hip Hop at the moment. I’m not writing this to tell you that the points made here are set in stone, I’m not telling you anything in fact, I’m asking you. 

Last year Hip Hop turned 40, you know this, you probably also know how drastically it’s changed over the years. Change is good; we need it to progress, but to what extent? And where does one draw the line? If that proverbial line even exists.

Okay, the title of this article is either going to make you say things like “Are you f**ing kidding me?” or on the other side of the spectrum, you might be one of the opinion “It died a long time ago”. Apart from a very few artists out there right now like Prof, who is signed to Minneapolis label Rhymesayers (home to Atmosphere, Brothers Ali and others), who as far as I’m concerned are also part of a squad of rappers out there dropping lyrical bombs on beats so deep your grandmother starts battle rapping Shakur, and Biggie Smalls, at the same time, but there is some serious fluff out there being labelled Hip Hop. 

The Prof – The Reply

Anyway, it’s been a massive talking point here in South Africa, birth place of the legendary POC (Prophets of the City), South Africa, the same place that watched the morphing personality of Watkin Tudor Jones (Max Normal to Die Antwoord), the same place where we are donning guys like Tumi and the Volume, PH FAT, Cybot, veteran DJ Ready D and now with new kids on the block killing it behind the hardware. The list goes on, all without the genuine recognition they all aptly deserve, but that’s another story entirely.

Tumi and the Volume 

The question asked entitled in the header, “Is Hip Hop Dead?” I ask the question because I’ve heard so many industry heads and rap-cats standing there at an event scratching their heads wondering what the hell is going on!? What happened to the good old days when DJ’s were blasting anthems from the Wu while MC’s were huddled up in corners rapping the caps off other MC’s? Sometimes, most times, it kind of feels like R&B is in fact, being called Hip Hop now? Justin Bieber dropping Eminem raps?? I don't blame Hip Hop for throwing in the towel. 

What's going on in the once very authentic, poetic genre we knew as Hip Hop? Say it isn’t so, say the question is just a mere question, and not the case.  

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Having gained support from Nick Warren, Hernan Cattaneo, Ian Pooley, Anthony Papa, The Timewriter, Terry Lee Brown Jr and more for his productions, Australian-born turned London transplant Adam Jace has been making waves in the deeper shades of house and techno for a few years now.  Having already released on labels like Plastic City, Sudbeat, Thug Records and Acryl, he now has turned his attention to brand new London label, Arkhive, the offspring of the club night of the same moniker. The first release on this new label comes from Jace with his "Suckerfish" EP, and has already become a staple of deep house and techno sets across the city. To celebrate, Adam has provided Pulse with an exclusive mix for you to listen to and download, and answered a few questions for us, which you can read here.

How was your 2013? Any big highlights? 2013 has been a great year for me. I’ve played some awesome gigs around London and I’ve done some amazing traveling in and around Europe too. I’ve also spent a quite a bit of time in the studio over the last year, which has been most productive since taking a bit of time off to redefine my sound.

How did you initially hook up with the Arkhive crew for the "Suckerfish" EP? I met Arkhive London founders Olly, Matt and Ben through mutual friends in London, and it wasn’t long before we both realised that we shared a common passion for the deeper side of electronic music. The guys had plans to launch a label and approached me for some unsigned tracks. I’ve since been playing at their resident parties and plan to be more involved with upcoming releases and events.

How was has the response been with the Suckerfish EP so far? The EP has had a great reaction from London-based producers and DJ’s we've approached who’ve been using both tracks as early door staples for months. The dubby, deeper shifts in sound currently happening in the UK I think has definitely helped the EP fit nicely into lots of DJ's sets, which is great.

Suckerfish is an interesting name. How did that one come to you? I found this really cool filter sample, which I ended up using for the track’s main hook. With a bit of delay and some other effects the sample developed into somewhat of a ‘sucking’ type sound. My imagination went a bit wild from there.

Have any big projects or news for the coming months? So far I have a fair few remixes planned for 2014 as well as some more collaborative work with Rodean, a good friend and very talented producer from back home in Sydney.  

Buy the "Suckerfish" EP out now on Arkhive London here.

Listen to Adam Jace on Pulse Radio.

One of our favourites, Death by Misadventure has started the New Year in full-swing. After launch last year, the duo, Isaac Klawansky and Tamara Dey have religiously been putting out music from the electronic, dark-dance outfit for free download from their website: www.wearedbym.com 

It seems that’s still to be the case, much to our delight. Adding to the plethora of remix’s that DbyM have had done by various artists, January’s free download offers a remix of Hello Beautiful’s – You Decide. Here it is below. Also, click through to their Soundcloud site and bag everything you might have missed during the festive season. 

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It was the coolest thing happening in mid-90s London, eventually reaching a breaking point by the end of the century after outgrowing itself. And Photographer Ewen Spencer was there along the way, documenting the UK garage scene in 1998, capturing the emergence of a subculture at illegal raves and clubs like Twice As Nice. Now, Spencer has put together the mini documentary 'Brandy and Coke,' which looks back at some of the most notorious parties and DJs from the time, including MC Creed and Mike ‘Ruff Cut’ Lloyd, and Twice As Nice boss Steve Gordon, along with all the colourful Gucci loafers and champagne you can handle. 

The documentary accompanies Spencer's UKG, a collection of his best photos from the era, which you can view on his website here.

Listen to Pulse Radio. 

Taken at December’s Electronic Music Conference in Sydney, Beatport CEO Matthew Adell gives an inspiring speech, offering his advice to the younger generation on how to carve out a niche in the dance music industry. The CEO chats his upbringing in Chicago, discovering house music at a warehouse party on Chicago’s south side, as well as the current explosive growth of dance music, and what he believes the future might hold for the world's new favourite genre. Watch here.

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This weekend, Alex Metric and Destructo kicked off their ongoing UK 2 LA Tour at Holy Ship!!! The London-based DJ/producer will be touring alongside American artist for a total of 13 dates in cities across Canada and the United States.

Aboard Holy Ship!!!, they joined the likes of Diplo, Skrillex, Boys Noize, Duck Sauce, Laidback Luke, and many more on a weekend-long journey in the Caribbean. This weekend, the two will play in Toronto, Boston, and Providence followed by more dates this month in Orlando, Denver, San Francisco, and more. UK 2 LA will wrap up in Los Angeles on February 1st at Exchange. Check out the full list of tour dates below.

Listen to Alex Metric on Pulse Radio

An aspiring film director in college, Detroit native Aaron Kulik intended to move to LA after graduation. A week later, an epic closing set from Richie Hawtin at the Movement Festival altered everything, and sent him going down a different path entirely. He likens discovering electronic music to “stumbling on a hidden trail most people will walk right by.” But unlike most people, Aaron didn't walk right by. On the contrary, he fell about as far down the rabbit hole as one can go. He stayed in Detroit, where he became immersed in its rich underground culture, and set out to make his own contributions to the wonderfully weird world he was now a part of. With a profound passion for the music, Aaron gives a face to the sounds of our scene, turning the parties he performs at into next level multi-sensory experiences.

He has performed visuals for everyone from Dan Bell to Bruno Pronsato to Ricardo Villalobos, and is currently working with Seth Troxler. He's been melting faces at Movement with his psychedelic and emotive imagery since 2008, and added Wavefront to his impressive roster last year, performing on the Visionquest and Crew Love stages on Saturday and Sunday, respectively. We talked to the veritably talented VJ about his favorite electronic musicians, where he finds the inspiration for his work, and what he hopes to convey with his visuals.

 
How did you first get into the electronic music scene? I went to school at the College for Creative Studies in Detroit for video production, but when I started CCS I had absolutely no clue that I would be doing what I'm doing now. When I was there I had this mindset that I couldn't wait to leave Detroit. All I wanted to do was move to L.A. and be a movie director.

About a week after I graduated from CCS that all changed. A very close friend of mine encouraged me to come out to the Movement festival. It was actually the first year that Paxahau had taken over, which I didn't know at the time. I had never been to the festival before, and my general impression of electronic music was that it's not real music. On the last day Richie Hawtin closed out the main stage, and it completely blew my mind. The whole experience really made me stop in my tracks and reconsider leaving Detroit and moving to California. So I found a job and stayed to figure out what I wanted to do.

After that, I realized I needed to start going out and meeting people. So that's what I did. I started going out to parties by myself and, simply put, just kind of fell in to it. And I finally felt like I belonged. Like these are my people. I never could have imagined that going to that festival would legitimately change my life, but it did.

How did that turn into what you're doing now? At first it was just going out, having a good time, partying and meeting people. The very first video flier I ever created was for Proper Modulation in March 2007 with Seth Troxler, Shaun Reeves and Miss Fitz. I brought a video camera to the party and just started shooting. It allowed me a chance to actually be a part of the scene I loved so much. So all of 2007 I was going to parties and doing that. I'd set up the camera, shoot a little video, dance, shoot a little more. I didn't want to interfere and I understood the ethos of what we were trying to do in terms of hosting a dark party. But that kind of got me started.

In terms of live performance, it started in 2008. My very first gig was a party at Old Miami with Ryan Elliott, Seth Troxler and some others that March. It's a big step when you transition from just hanging out and shooting video to doing something live. I remember rendering and getting clips ready the night of the party. I brought my whole setup, my computer and everything, but of course I wasn't ready. It was fun, but it takes time. So the first gig didn't go very well, but that was the beginning.

When did it become something you were seriously pursuing? I went to Miami for Winter Music Conference a month or so after that. I did a party there and started realizing hey, this is kind of a blast! Generally speaking though, it was just a fun side thing for about five years. It's only in the last year that I've realized I really want to do this. I can't express enough in words how much this music means to me. It moves me deeply. Since my talent is filmmaking, that's how I am able to contribute to the scene. It became about trying to communicate what's going on in my crazy brain into some kind of video that can take the party to another level.

Who are some of the electronic musicians that have been especially influential for you? What first got me into the music was minimal, so definitely Richie Hawtin and all the M_nus stuff. That was really popular in the underground back in 2006. But then it got to a point where you were seeing a lot of sub par minimal tracks, kind of like how deep house is getting now, and I really wasn't feeling it.

Around that time, a dear friend of mine, Eric Spleece, gave me a CD compilation he had made of Moodymann tracks. I'll never forget putting it on for the first time in my car leaving an afterparty. It started with Sweet Yesterday by Moodymann and Pitch Black City. It is one of my all-time favorite tracks, and I remember listening to it that first time and thinking 'Wait a minute! There's more than one genre!?' That was my introduction to house music, and it started my love affair with the genre. So Moodymann is a huge influence for me.

What I'm really into now is what Seth Troxler calls 'underground pop.' It's a mixture of all the elements I love about electronic music: dark, weird, sexy, with a little bit of vocals. To that end, a favorite right now would be anything that Life & Death puts out. I cannot praise that label enough. I love their pop sensibility.

One of my all-time favorite artists has been Kalabrese, an unbelievably talented guy from Switzerland. I'm currently working with Seth and I love what him and the rest of the Visionquest crew are doing. Generally speaking, I like vocals, emotion and a mixture of song-writing in my electronic music.

Who are some visual artists you are inspired by? I really love surrealism, so definitely Salvador Dali, Alex Grey and Max Ernst. Anything with that other-worldly, spiritual realm I can try and recreate. I love detail in paintings. What I'm more inspired by is art and culture in general. There's classical music, jazz, architecture. All these things that make me want to celebrate what it is to be human, and yet at the same time with that little twist, that bend towards the weird.

What is the ultimate goal in terms of what you're trying to convey with your visuals? I want the visuals to go with the mood and the theme of the night, and I definitely don't want to dictate what the music means to you or how you view the music. As you watch my visuals while dancing, or maybe sitting down and taking a break, I want them to evoke a wide range of emotions. They're meant to make you feel everything from introspective to happy to sexual, and to make you think about mortality and what it is to be human.

I incorporate a lot of space imagery, cultures, and different civilizations into my work, because I want to celebrate humanity. As dark and screwed up as it may be at times, it's also amazing. I want to take the experience of hearing this music, which already invokes an array of emotions and takes the listener to these other worldly places in their mind, and push it over the edge with my imagery.

What specific things do you draw inspiration from, and include in your work, in order to elicit those responses? For starters, outer space and any other human being on the planet. I am unbelievably fascinated with people, nature and the universe. Those are never ending sources of inspiration. Women (laughs). I want to celebrate eroticism and sexuality. Not surface level sex, but that deep connection humans can feel towards one another.

I also get a lot of inspiration out of the whole 60's movement. I always feel if I could have been born in another time and place it would be 1964 San Francisco, during the Haight-Ashbury scene, but before it got to be a circus. When you had Ken Kesey and the merry pranksters out shooting film and projecting images.

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What equipment do you use to create your visuals? It started off with a program called Final Cut Pro. It's an editing program that has been the standard for many years. It's what I learned in college, and for years I used it for everything. It was only about 2010 that I started teaching myself a program called After Effects, which allows you to do far more complex compositing and animations. I started realizing how much more control I have over my final product, and now I make about 90% of my work with it. I'll start, for example, with a Salvador Dali painting. I'll cut it up and take other elements, things that I've shot or that I'll sample, and I'll recreate a composition, kind of in the same way a producer will take samples from different tracks and jumble them up and make something new out of them. That's generally how I create the visuals, and that's where the work is really put in, in making the videos.

The live aspect is a program called VDMX. I've been using it since about 2008, and I can't stress enough how awesome it is. It is everything I want a program to be. VDMX allows me to take all the different videos I've created over the years and mix them, again, kind of as if they were records. I feel like a lot of other visual artists use many of the effects within the program. For me, though, those effects come across as cheesy, and just not what I'm going for. So a lot of the work is put into making individual videos. And then I know the videos well enough that I can adjust the color and slowly fade in from one to the other when I'm doing it live.

When someone hires you to do their visuals, what's your process? Do they usually give you some sort of direction, or just know what your aesthetic is and trust you to bring something quality to the event? I'd say probably 80-90% of my gigs have been 'Hey, do you want to do visuals?' I say sure, and I show up with my computer without really speaking to the DJ beforehand and just do my thing. It's fun, but over the years I've been longing for collaboration and an opportunity to work with the producers and DJs that I love to actually make something together.

As proud as I am of my work and of my live sets, when you work with someone to intentionally plan something together, it's always going to be better. To that end, just last year I started creating visuals for Seth Troxler to tour with, and it's given me a taste of what I want to keep doing. I remember asking him what he wanted when I first started working with him. He said he wanted “something with space and horses.” It got me running, and I just started making stuff with space and horses. Having a little bit of guidance is always helpful as an artist. You don't want someone to be overbearing, but having some parameters is good, and has proven to be really beneficial for me.

What have been some of your favorite gigs over the years? I got to perform visuals for Dan Bell's Accelerate party in 2008 with him, Sammy D, Cassy, just all these rock stars on the bill. I ended up setting up above the DJ booth and played visuals until eight in the morning. That was definitely one of my most enjoyable experiences.

There was this venue called the Compound in San Francisco that was amazing. It was this little sound studio that could fit about 150 people. It was a 360 degree audio experience, and I had screens on all four walls for 360 degree visuals. That was really cool.

Finally, Movement 2011, when Ricardo Villalobos played the Main Stage. I got to perform for that and everything went perfectly. I just had an amazing connection with the music and was really proud of my set.

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What are you working on at the moment? In addition to a new set of tour visuals I'm making for Seth, I'm very excited to be collaborating with Kenny Dixon Jr. (aka Moodymann)! I'm making a music video for his track 'Freeki Mutha Fucka.' I mean, talk about coming full circle. His music has been so meaningful to me, so to get the chance to work with him is a dream come true. There are a couple other collaborations in the pipelines, as well, but I'm not ready to name them publicly at this time.

While he can't share any of his current videos just yet, Aaron sent us a few stills to give you a taste of what he's working on! Check them out below, and view more of his videos here.

Connect with Koolik Visuals on Facebook here.

Listen to Seth Troxler on Pulse Radio

Amsterdam Dance Event has grown to one of the world's largest and most important electronic music conferences and festivals since its inception in 1996. This year's ADE, taking place from October 15th-19th, is expected to draw over 350,000 visitors from around the globe looking to engage in discussions and panels on a varity of industry related topics, and of course, hear both emerging talents and musical trends, and showcase established brands and artists to an international platform. 

For more information visit www.amsterdam-dance-event.nl

Listen to ADE on Pulse Radio. 

Above & Beyond have released a new video of an acoustic performance of their hit track “Sun & Moon,” taken from their forthcoming ‘Above & Beyond Acoustic’ concert film. Set to premiere on THUMP on Friday, January 24th, the film contains live acoustic renditions of some of the trio’s most popular songs, performed by a 15-piece band. Footage was taken during Above & Beyond’s four sold-out shows at the legendary Porchester Hall in London. The London events were so successful leading to another two sold-out events at The Greek Theatre in Los Angeles this past October.

“Sun & Moon,” from their ‘Group Therapy’ album, originally premiered three years ago at Electric Zoo and quickly became one of the group’s biggest tracks having been played at festivals and events all around the world.

Last month, THUMP released the acoustic version of “Love Is Not Enough,” which you can see below.

Listen to Above & Beyond on Pulse Radio

Check out the latest remix by minimal legend, Ricardo Villalobos and German producer, Max Loderbauer. The single, ‘Everything’, is featured on Neneh Cherry’s Blank Project LP. Blank Project is the latest collaboration between the talented songstress and electronic producer, Keiran Hebden (a.k.a. Four Tet). Hebden is an extremely talented and versatile producer who has been making music for decades and has dabbled in a number of different genres, including hip-hop, electronica, techno, jazz, grime and folk.

Villalobos and Loderbauer have worked together in the past. The two produced a special remix project together in 2011 titled Re:ECM. Read about it here. Their ‘Everything’ remix is a 10-minute groovy and bass-heavy take on the leftfield pop track. Sit back, relax and give it a listen.

Listen to Ricardo Villalobos on Pulse Radio

Sydney producer Lancelot has dropped his newest track 'Givin' It Up' on the famed Ajunadeep label, with the track also set to appear on an upcoming EP which will be released in Australia on 20th January. The EP will also feature a track called 'Make Ends Meet', accompanied by a remix from UK garage god MK. 'Givin' It Up' has been making waves with its deep house flavour since it debuted on T. Williams' BBC Radio 1 show recently.

Lancelot will be backing up the EP's release with a national DJ tour, which includes a set alongside UK tech-house icon Mark Knight (star of this week's Pulse podcast) in Sydney on Australia Day. Lancelot will also be wrapping up the tour by debuting his live show at the Secret Garden Festival.

Lancelot national tour dates
17.01.14 - Elsewhere, Gold Coast
18.01.14 - The Bowler Bar, Brisbane
26.01.14 - The Greenwood Hotel, Sydney (with Mark Knight)
09.02.14 - Our House, Launceston
14.02.14 - The Spice Cellar, Sydney
16.02.14 - Parkside 2nd Birthday, Wollongong (with MK)
21.02.14 - OneSixOne, Melbourne
22.02.14 - Mr Kims, Adelaide
01.03.14 - Secret Garden Festival, Sydney (live debut)

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Jamie Jones gives us a rare look inside his home studio and explains how Hot Natured uses the Akai Pro MPC Renaissance in their live show in this short video. He chats about the inner workings of the live show, from the set-up to how each member of the crew uses their Akai tool to re-trigger drum loops and samples they’ve programmed. Jamie gives viewers a quick look inside his home studio, discussing how he uses started using his Renaissance to create some of the older Chicago and New York House sounds. He also chats about his favorite features, the Paradise residency at DC-10, touring all summer and his plans for the future. Check it out below. 

Listen to Jamie Jones on Pulse Radio

It was the band's first #1 hit around the world, melting brains and frightening children in Britain so much when it appeared on Top Of The Pops that the show received the most complaints in its history (that was all Keith Flint and his freaky haircut's fault). But have you ever seen the video for The Prodigy's'Firestarter' without the song? Instead replaced with weird sound effects? We thought not....here's your chance. Weird. 

Listen to The Prodigy on Pulse Radio

Ahead of his return to Australia - which includes a set alongside Chaos In The CBD and the legendary Mr. G at the Charades party in Sydney this Friday - we fire some questions at Trus'me, the Prime Numbers head honcho and purveyor of all things house.

Pulse: What do you love most about coming back to Australia? We see you co-headlined the Sash NYD party, how was that? Trus'me: Food is the main draw if I'm honest, the standard here is just crazy - you guys have no idea. Love the people of course and the weather goes without saying, but there is something that fits snug with northern English men like myself and Australia in general. Although I've been to Oz countless times, I've never took in NYE. Wow! Sydney NYE was a blast from start to finish; watching the fireworks from a mansion on the hill, to boarding the Spice Afloat and ending NYD (my birthday), closing S*A*S*H...we slept for two days after all that.

Where have you been playing/touring/travelling lately? We see you’ve been very busy in Tel Aviv, Jerusalem and Singapore - any great stories for us of late? Yes Tel Aviv! I've fallen in love with this place, the people, the crowd and my god, the food. I have never been to one place like this before and had so many new experiences. I toured the USA extensively also last year - pushing my label Prime Numbers and my sound, focusing more so on the west coast of America. 2014 is all about South America - this time round I'm working on an extensive SA tour as we speak and I'm really looking forward to breaking this market.

What does 2014 hold for the Prime Numbers imprint? And what of your own productions are coming up? Next up on my label Prime Numbers is a whole heap of remixes and there will be a  remix package of my last LP 'Treat Me Right’, as well as a 12” release of my big track from this year 'Somebody’ with a Mosca remix. I've always respected Mosca's outlook and am keen to work with people like this on the label. The other remix 12”s will be Axel Boman, Roman Flugel, Truss, Truncate, Marcelus (Tresor) and Skudge. They will then be complied as a special triple vinyl set. Solo stuff; I have an EP for Skudge with remixes of Mike Dunn and various other remixes coming out over the next few months. I’m working on my own solo releases of three 12”s on prime Numbers after the remixes, then again as a special triple pack LP. 

What can we expect from your set at Charades in Sydney on the 17th? Always looking to keep them hands in the air, while telling a story from house to techno, trying to keep it full of groove and pure sex.

Finally something we ask all our acts: If you were stuck in Antartica in an igloo with nothing but a year's supply of salmon steaks and a turntable, what 3 records would you bring with you?

Marvin Gaye - 'What's Going On'

The Stones Roses - 'The Stone Roses'

New Order - 'Substance'

Trus'me Tour Dates
17.01.14 - Charades @The Imperial Hotel, Sydney [BUY]
18.01.14 - Survivor Club, Melbourne
25.01.14 - Ink Bar, New Zealand

Listen to Trus'me on Pulse Radio

Today, Mixcloud debuted a totally updated version of its website called Mixcloud X. The updated website has a much more slick, sleek feel, redesigned with key changes from recent improvements to the company’s iOS and Android apps, including new customisable Profile and Cloudcast pages.

For listeners, the most promising new change comes with the ability to create several hour long custom play lists from any station with the Play Queue feature, which is essentially an on-demand, personalised station. Appearing at the bottom of the screen, the play list can be changed on the fly, and offers uninterrupted listening while users browse the site, as the player now docks persistently. 

Mixcloud X has also introduced Branded Profiles for Brand Partners (pictured above), which offer brand clients a customisable, ad-free page to host their branded audio content. Existing Brand Partners include: adidas Originals, Burn, Corona, Malibu, Pioneer DJ Radio, Red Bull, Soho House, Top Man and many more.

Listen to Pulse Radio.

AXECESS JOZI in association with Channel O will be the biggest gathering of the top urban music acts in South Africa this year, featuring international megastar BIG SEAN. AXE has bolstered the already impressive line-up with the addition of popular local urban music DJ’s. DJ Feel, P.H,Khenzero, DJ Tira and DJ Dimplez will be hitting the decks to electrify audiences at Mary Fitzgerald Square on 1 February 2014 alongside the biggest urban artists in South Africa and the man himself, BIG SEAN.  

AKA, Da Les, Pro, Ma E, Maggz, Khuli Chana, Teargas, Reason and Dreamteam are among the local artists confirmed to perform at AXECESS JOZI. The mega-festival is a pioneering format for all urban music fans as the best and most banging beats will be showcased from early afternoon to the late hours of the night. The heart of the Johannesburg CBD will be electrified as hip-hop and urban music fans will witness the sexiest broads, biggest artists and an outstanding production by G&G Productions. Two different stages will set the scene for AXECESS JOZI creating a unique daytime experience before leading into the opening of the AXECESS JOZI mainstage. 

The annual event is set to become a firm favourite on the festival calendar of South Africa. The phenomenal gathering of urban music fans will be one to experience, so make sure to get your tickets from Computicket to avoid missing out. Fans should log on and sign up to AXEcess.com to get ‘AXEcess’ to festival experiences not available anywhere else.

Tickets are on sale for General – R350, VIP – R550 at Computicket.
086 915 8000
Gates open: 13:00 pm 

Facebook Event: https://www.facebook.com/events/627474133957855/
Facebook: http://www.facebook.com/axesouthafrica 
Official Website: http://www.axecess.com    
Twitter: http://www.twitter.com/axe_sa  

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Started in 2008, Trouble Vision has become one of London and the UK's best and brightest brands, voted Britain's Best Club Night' by the readers of DJ Mag in 2011. Though not stopping there, the guys have thrown parties as far flung as Croatia, as well as continuing to bring the underground's finest like Todd Terje, Theo Parish and and Prins Thomas to their home club of Corsica Studios, as well as clubs like Motion in Bristol. 

Along with Just Jack, nights like Flux, and Real Nice, Trouble Vision have pushed their unique brands across the country and pond to locales like Croatia, Ibiza and more in recent years. But making the leap from brand new night to hometown hero to international success doesn’t come without a few bumps and scrapes, along with some wild tales, unforgettable nights, and lessons learned. So as part of a four part series, we asked each of these four fiestas a series of questions to get all the dirt on what it’s like to take the party out of the city and into the wild. So as part of a four part series, we asked each of these four fiestas a series of questions to get all the dirt on what it’s like to take the party out of the city and into the wild. If you missed part 3 with Real Nice, check it out here, otherwise, read on for part 4 with our chat with the guys from Trouble Vision. 

What's been the most fun party you've done outside of your usual club? The boat parties we've done at Stop Making Sense in Croatia have always been epic. Usually manned solely by our residents, there have been some seriously rowdy moments. On deck sit-downs, men over board, Prosecco flying… They're always ones to look forward to.

What lessons did you learn early on? Only book artists you’re genuinely into and don't lend yourself to trends too much. It’s a much harder job when you’re promoting an event your heart’s not really into. And trends change. You don't want to be left high and dry when they inevitably do.

Have there been any examples of when it's been especially hard work to get the party out there? No event is straightforward. Over the years I’ve put on line-ups for parties I’d expect to be sure-fire sell outs, and for one reason of another it just hasn't happened. It’s essential to be up to date with online social networks and how they function. Websites like Facebook, for example, change their functionality almost weekly, so a tactic that works for one event may well not apply for the next.

Have you ever had experiences where the party may not have gone as well as it could have due to unforeseeable circumstances? Nope, thankfully not! Other than the weather, but guess you just have to take that as part of the game.

What are some of the experiences that make it worth it? It’s always that feeling at the peak of a night when you’re standing at the back watching the party go off that genuinely makes all the stress worthwhile. I can’t imagine I’ll ever get bored of that, and it certainly trumps the feeling when a party doesn't go so well!

And any experiences that don't? I suppose putting together a line up that your personally 100 percent behind, and it just not having the appeal that you thought it would can be pretty disheartening. But generally, the positives out weigh the negatives each and every!  

Be sure to check out Trouble Vision's highly anticipated two-part fiesta, Double Trouble Vision, featuring Moodymann, Martyin, Medlar and Trevino, happening January 31st and February 1st. 

Head to Trouble Vision's Facebook Page and nightsintransition.com for more info.

Listen to Trouble Vision on Pulse Radio.

Well this is interesting, and a rather grand opportunity to be part of what may be a musical experience of a lifetime. South Africa’s Jeremy Loops is a musician from Cape Town. Folk music is his primary influence, but his eclectic style, borrowing liberally from Jazz, Rock and Hip Hop, defies genre constraints. Live Jeremy is often called a one-man band, by creating songs using a loop pedal to layer up a variety of instruments, the guitars, harmonicas, banjos, beatboxing, singing, and frequent collaborators are the mainstays of his shows, while rabid crowd participation takes his performance to the next level.

Watch Jeremy Loops Live at The Assembly 

Now check this out, we stumbled upon this, that was posted on his Facebook page today the 15th of January: 

“Friends, I'm looking high and low for an outstanding female vocalist for a song on my album. Do you know her, or better still, are you this person?

She needs to:

1) Be able to sing well (d'oh)
2) Have a distinct personality to her voice
3) Be supremely confidence in her singing and delivery
4) Be willing and ready to put in work
5) Be suited to my style of music
6) Ideally be in Cape Town or able to get to Cape Town. (We will make exceptions for exceptional, of course)

She does not need:

1) To be famous, someone I know, or even a singer by profession. If she's your grocer, helper, teacher, or your roommate who sings to herself but just so happens to be badass, that's totally cool! (However, if you are a working musician who would like to work with me, whether you've made it or you're on the come up, you're super welcome too).

This is not:

1) A favour. If you sing and you sing well, you'll get your credits on the record and get paid accordingly.
2) A game/joke. I'm dead serious here, and would really appreciate your help in finding the right voice.
3) A competition. Leave that to Simon Cowell. We'll look at our options, and get in direct contact with everyone we think is a viable option. I would never play games with something so personal.

How you can help:

1) We need a link of her singing. A Youtube vid, a voice note recorded on a cellphone and uploaded to Soundcloud, an Instagram or Vine video, an MP3, anything. Just pop a link in the comments thread.
2) If you prefer to submit your stuff privately, you are welcome to drop us an inbox message. I would, however, suggest you're bold and put the stuff in the comments thread. You never know who's parsing through things online, and even if you don't work with us, someone else with the power to make things happen might notice you.
3) SHARE THIS POST! Even if you can't think of anyone specific, you'll be surprised how many talented friends you have who keep their skills to themselves.

I really appreciate all of your help, and I hope we can find someone.”

There it is, if it’s your thing, you’ll know that, if it’s not, you’ll probably know that as well, but pass it along; this is most certainly an album we all want out as soon as possible.

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If you're reading this, it probably means the majority of your life revolves around music in one way or another. Maybe you're a DJ and producer, maybe you just love going to clubs, raves and festivals. But imagine never being able to hear music. The thought alone is terrifying to say the least. So when Austin Chapman heard music for the first time after getting a major hearing aid upgrade, it changed everything for him. Recently, Adam was interviewed to find out what hearing music for the first time after a lifetime of deafness was like. Read a few of the highlights from the interview below.

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The first song Adam heard was Mozart’s “Lacrimosa,” one of classical music's most melancholic, moving songs. Adam described it as "sort of like my first kiss, surreal, but exciting at the same time. The realization and beauty of the song made me break down and I tried to hide my tears but I saw that everyone else in the car was crying too."

So, aside from "Lacrimosa," what are Adam's favourite sounds, songs and musicians now that he can hear? He ranks "classical 99/100, the blues 91/100 and Reggae 85/100," saying that so far, the best suggestions he's recieved are "Mozart, Beethoven, Bach, Bob Marley, blues, Queen, Beatles, Explosions In The Sky, Sigur Ros, and Radiohead," and that "Nothing sounds like 'Bohemian Rhapsody.'" The worst? “'Call Me Maybe,' Bieber, and 'What Does The Fox Say.'" Good shout, Adam. 

One thing that's interesting to note for electronic music producers is Adam's take on today's extreme noise levels, something that's been intensely debated in the "loudness wars" over the years, as modern music, especially electronic, gets louder and more over exposed with each passing year. "The bad ones (songs) are loud and over exposed," Adam says. "It's easier to find good songs pre-digital age. They end up sounding more authentic. Modern music is so much louder." 

"So, from my point of view, music has been in a confused and downward spiral ever since classical ended." Interesting thoughts from someone with a musically pure palate, and something to think about next time you think about driving your track through the roof in the studio. 

Listen to Pulse Radio. 

It’s been said on Attack that nearing the NAMM trade show, they have found themselves with leaked details pertaining to Roland’s new product releases, and hints at newer models being inspired by analogue classics. 

They go on to say that there is a new promotional video (see below) and leaked images, as well as model numbers that suggests that Roland is gearing up to launch new products based on their legendary TB-303 bassline synth and the TR-808 drum machine.

AIRA has best been described by Roland as “the evolution of the Roland TR-808 Rhythm Machine” and demonstrates Roland engineers using the TR-808 as one of the key reference points in their latest product development process. Included in the video they spotlight Roland models that include the SH-101, TR-909, Space Echo and TB-303. Expect full details to emerge at NAMM or on Roland Connect over the coming week.

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