The Secret Garden Party served a storm in a veritably quaint & quirky teacup, doused it in honey & hay-bales and threw in a firework for good measure.

Musically, The Secret Garden Party is understated – less hype around the DJs, more attention on the revellers and special touches. And it’s an ethos that works. It’s steadfast in its bookings, with both electronic and live band elements catered for – David Rodigan on the main-stage was a particular highlight, whilst The Drop – a dipped hay-bale stage – played host to a Joy Orbison, Optimo and Jackmaster back-to-back-to-back set.

Maya Jane Coles curated a secret stage whilst the Pagoda’s programming stood consistently strong across the weekend. An overtly fine discovery for me was Max Raabe & the Palast Orchester, an outfit of classical musicians all donned in black tie attire playing 1920s caberet with an air of prestige I’ve never encountered before. Authentic class and style found in blazing sunshine and a cloud of bubbles & bunting.

As eclectic and curated as the music is, it’s the magical touches that truly set The Secret Garden Party apart – always elaborate and always a delight, the surprise field of sunflowers planted especially. An elaborately built Emerald City stage stood steadfast in the lake. The infamous Pagoda – a lakeside institution for the electronic music heads to unite and bask in Funktion One – enveloped us in its sunshine-soaked glory. The allure of the forest-dwelling Labyrinth stage, or Sunday evening’s planes nose-diving and flirting in the sky, drawing a giant heart with their tail smoke – only the night before, Gardeners had been treated to a fully and insanely immersive firework display, the trees and fountains alight with visual projections, fire dancing by the waterside and bubbles blown from the sky.

Secret Garden claims simply to be a serious party. And with the level of love felt on a production level amongst the staff and organisers, to the jubilant gardeners armed with smiles and elation at every turn, it’s quite rightly become synonymous with beautiful people and stunning event execution. Granted the audience has modernised over the years, but it has without a shadow of a doubt retained its magic impeccably. A marriage of madness and methodical planning renders it the quintessential festival experience. In the 2015 diary already.

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Guy Gerber is a non-conformist. The Israeli techno producer certainly prides himself on doing things his own way, taking full advantage of his own artistic freedom and striving relentlessly towards the clear visions he has for his work. Guy is having a particularly busy Ibiza season, with his Rumors party now becoming a weekly event at Beachouse in Playa d’en Bossa, Wisdom Of The Glove taking over Insane at Pacha Ibiza four times this season, and his first ever appearance on Boiler Room. On top of this, the huge ’11 11’ project with Diddy has got everyone talking – a true manifestation of Guy’s left of centre thought process.

On a typically sweltering Ibiza afternoon, Guy took some time out from relaxing by the pool at his hotel to really go deep and tell us exactly what’s on his mind at this pivotal moment in his career. During our hour-long chat, Guy talked to us about everything from the negative influences infiltrating the White Isle, his relationship with art, his album with Diddy, and much more.

Guy on Boiler Room:

For me, it was the first time they actually had a party there. What was cool about it was the fact I had an idea for a long time to do a ‘spoiler room’. That was my idea to do it in a certain way. Most of the time I feel like it is more like a show. The people come, the DJ plays and that’s the way it is. I think the nature of Boiler Room should be about rooms that no one can see what’s happening.

What was cool about that one at the house, the people were there and had already been partying for a few days and some of the people arrived fresh. You don’t see it as much with the other people partying on the camera, but the vibe of the house was an actual party. I think another thing that was really cool was that there was an actual dance floor in front of me. People were actually dancing and it felt like a party.

On Rumors at Beach House and Wisdom Of The Glove:

Rumors last Sunday at Beach House, it was amazing. Playa d’en Bossa felt like Tulum, but it was still Ibiza. It was a beautiful atmosphere, it was a nice set-up and it’s free so it was a mixture of a lot of people, some special people. It was a very bohemian atmosphere. It felt like I was actually doing something. I love playing raves and I love playing festivals, but when it’s mine and I actually have to be there most of the time, I like to be in a nice environment.

Another thing that is interesting for me, and something that is a part of my agenda or world, is that I prefer that there is a concept. A concept and within that a context – without that I think the level of the art is a bit lower.

I had a very good set this Sunday [at Rumors]. Once in a while you have this set when everything fits and all the tracks sound nice and you play some new tracks, which you don’t know and it surprises you. I have another one on Sunday and last week it was magic – now how do I bring this magic again? Some tracks I know where I like to put them, but then they had it last week so you’re repeating yourself.

When they shut us down at Plan Be it was an embarrassing moment. It was painful, we got shut down and I didn’t even play on the opening night. I didn’t play one track. I stepped aside and then we opened at Beach House. Plan Be was supposed to be more underground, after party vibe and more trashy in a cool way.

This one at Beach House is more like leisure time and more spiritual. And to be deeply honest I prefer this thousands of times more than what we had before. This is more me. People can come to the beach, you don’t have to commit to the party, you can do your thing and you can leave when you want. The party was absolutely amazing, it was a dream party. It felt like Tulum a few years ago. It felt special and felt like everyone was participating in the party. Here you make a difference because you support something and you’re a part of something.

Also with Wisdom Of The Glove you’re not just coming to the party, you’re part of a movement. That says something. You’re supporting something that supports you. You’re not just coming to get fucked up – you’re coming to support an idea. The idea is not just like Guy Gerber’s idea, the idea is our idea. All of us, we all feel the same. If you want to support this vibe, then that’s the party for you. It doesn’t go against any other parties.

On art:

The reason I got into this in the beginning was that I thought it was more rock and roll than rock at that point. Most rock bands to today, you don’t have so many rock stars.
Later I was surprised, because I’m from Israel and I started to go to Berlin, to London, Tokyo and New York – I realised how much techno is related to art. There’s a minimalism in it, concept behind it and an agenda.

I like to make art that people can understand. It’s art about life. I want to challenge people about situations in life. I feel that many of the artists are trying to say what people want to hear. When they post the picture, they want the picture to be liked. Someone should be saying ‘Hey, what’s going on?’

One thing I want to do, I’m going to reveal it right now, a world premiere. I want to do an exhibition of some art that I’m working on. I’m not a painter, I don’t want to do anything besides music, but I’m working on an exhibition. Just to do something that is a little bit different, just for myself. Just to try to bring art to people’s art.

Have you seen that weird film with Joaquin Phoenix trying to be a rapper? I want to do the same, but in the art world. My idea is that the people from my world will say “Now he’s an artist? Fuck this guy” and people from the art world will say “He’s a DJ, now he thinks he’s an artist!

That’s already a good starting point. The context is very important. I’m not an artist, I’m the DJ that’s making art. I love art, but I’m not educated, I’m not reading books – I’m like the average person, I don’t go deep. I want to show that an average person like me can create some attention just as an experiment for me.

It’s a very simple idea and people will say “Fuck, I could’ve done it!” Anybody could do this. It’s cool and it says a little bit about the time we are in. And it will have some emotion in it.

On Ibiza:

People go to the party, get high, hug each other and then go and put knives in each other’s backs. People don’t say exactly what they think. In Ibiza there’s lots of money involved. It’s a war – people will do whatever it takes to shut people down. Or they collaborate, but it’s not for the love. Not everyone, there are a lot of things that are great, but there are a lot of things that are just not right and people go with it.

This place is about music, hedonism, enjoying life, coming together – it’s sad that in the back there’s all this negative energy. When you’re doing your thing and people try and put you down, I feel more sad for them because if you are so big and powerful and you’re bothered by somebody small then what’s the point of being so big and powerful? If I was so big and powerful I wouldn’t give a shit about these people doing other things. You’re getting stronger and stronger for what? When is enough? When do you have enough money?

Ibiza is still a great place. It’s not how it used to be, but it’s still pretty much amazing. I think it will never get ruined. Even with all the things I don’t like here, there will always be magic.

On providing a challenge:

I don’t want to complain, I want to criticise the situation because I want to challenge the situation and provide an alternative.

I think I take myself less seriously and I don’t obey anyone. I don’t bow before anyone. I’m not trying to play the game the way people expect to play the game. I feel that if you’re an artist and you work so much in your life to get to a point where you can do your own thing – people tell you it’s a hobby, you’re broke, your parents are worried, all your friends are advancing and you’re still doing this thing with the guitar and people are looking at you as a weirdo. You fight, fight, fight to tell them and then you make it.

I think a lot of people feel like me. Also in the crowd, they don’t like what’s happening and there should be a voice for these people. Every time I’ve done something it has never been against others.

On partying:

There are things I want to do in the week that are not just partying – I’m not 25 anymore. If I’m in the parties all the time how will people understand? I need to live some normal life so I can say something about it.

Artists’ creation level drops down. It’s fun going to all these parties. If you live here there are so many good parties, so many people live here, so many of your friends – it’s great. I want to have some kind of normality inside me because I was pretty crazy for most of these years.

On working with Diddy:

Years ago he sampled a track of mine and he asked me for the parts, but I had lost them because I’m never organised. It’s so funny right now, because this was so many years ago and I told the story so many times, but when I was telling it, it was not actually happening. Now, it’s actually being released.

I looked at it in a way, maybe as a defence mechanism, to not take things too seriously. I was focusing on the funny part of it – the fact I didn’t have the parts, I went to New York, the file was corrupted. There’s the famous story when I was in the studio and I tried to open the file to play him something and it was corrupted. I focused a lot on the funny part rather than saying ‘I went to the studio and I nailed it, it was amazing and I’m so good!’

Still, I think I have great ideas, but I’m not such a good producer. I don’t work with methods, I don’t work professionally – it’s more like sculpturing. I put things together and I experiment. The more the project evolved, it was a goal for me to prove that people can be weird and still get to the top.

This is definitely a big album. It’s not just two tracks and the others are filler, it’s all tracks with meanings and big sounds. With him, I had to do something that fit with him.

People can say whatever they want – sometimes I’m grumpy, sometimes maybe I can be selfish, but I really feel I’m giving something back to the people. The album is going for free, I worked a lot on it and I wanted to do something that people love.

On Israel:

What Israel is doing – you can say it’s right or wrong. There are many sides to the situation, but one thing’s for sure – the world sharing it on social media is wrong. Millions of other things are happening, nobody is sharing those things. A lot of people hate and a lot of people have a problem with us.

On electronic music today:

If you ask about the situation of electronic music right now, the people always say the music is not good. There are a lot of great tracks around right now – you have people like Jamie xx doing great tracks. It’s amazing.

Also in techno there’s some really great stuff. It does get commercialised, but there is still great music. Lots of parties are shitty, but there are still lots of great parties. The situation of electronic music is very good, but of course, there’s some horrendous stuff.

On EDM:

People are trying to get headlines in magazines. Personally I don’t think they’re that bothered. I find all the fights boring with people dissing EDM. It’s embarrassing to even give it any attention. Yes, it sucks big time, it’s music for retards, but it’s more stupid to talk about it.

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For Throwback Thursday, get ready to hop into a time machine to the naughty nineties - when the superstar DJ was born.

The likes of Sasha, John Digweed, Nick Warren, Dave Seaman, Danny Howells and Paul Oakenfold were jetting around the globe, reinventing genres, playing the world's best parties, and having a great time together doing it, even running into a few American heroes along the way.

They're young, wild, and largin' it. Luckily someone was with it enough to snap a few photos...

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Revellers were over-spilling into the garden where friends sat in circles deep in conversation, people braved the bar and others bobbed around to the sound of the music thundering inside – a typically busy scene at DC-10.

Entering the shadowy main room, German Tobi Neumann was warming up the Paradise crew with some solid house cuts in amongst the cutting lasers and the smattering of garish ‘80s-style decoration.

Over on the Terrace, Paradise’s Geordie mainstay Richy Ahmed was laying down some stomping house tracks, typified by Urulu’s remix of ‘Envy’ by Oli Furness – its dubbed out stabs and piercing vocals pushing the sweaty crowd. Richy worked the party-goers relentlessly and aggressively, with track after track of punchy bass lines serving as a reminder that he wants you to dance, and to dance hard. Possibly anticipating Nicole Moudaber’s presence, Richy’s tough selections had the room set up for Nicole’s turn.

The terrace was bouncing by 2.30am when Nicole Moudaber effortlessly began to step things up an extra notch. Trading some of the swung rhythms that Ahmed provided for some straight driving tracks, Moudaber continued to build the momentum as the pummelling sounds of the terrace forced the crowd into moving their bodies. Tracks such as Oliver Huntemann’s remix of ‘Shame Cube’ by Sian did particular damage.

The Paradise crowd on DC-10 terrace isn’t quite ready for a pounding techno set and Nicole adapted accordingly, still going hard, but serving up swinging rhythms and more grooving tracks which proved ideal fare for the crowd.

The influence of Carl Cox can be heard in a set like this, as her selections seemed to echo the big man’s selections, serving up that particular techno sound that sits closely alongside tech-house, but with a distinctly tougher edge and big room feel. It’s fair to say the Terrace at DC-10 is more synonymous with a groovy tech-house sound, especially with years of association with Circoloco, so it is different to hear a harder, techno-tinged, edge to the music. Paradise has made some interesting and different bookings this season that without doubt give a broader range of sound to the club.

In the main room Art Department were spinning house cuts with a little more variation and organic feel, weaving between hard hitting grooves such as ‘What’s the Point?’ by Point G and The Martinez Brothers and Dexter’s manic cut ‘1992’, which hit the dance floor particularly hard. The Canadian duo provided the perfect foil for the proceedings in the terrace – the music was a fitting alternative to the straight-up big room sensibility of Moudaber’s set. The pair kept interest at a peak with their choices all containing that extra edge and spark that grabs your attention.

Meanwhile in the terrace, Jamie’s massive following had flocked to witness him bang out his trademark rolling house grooves, closing out the night in style. 

Paradise attracts a mainly British crowd, and at this time of year, the numbers are continuing to swell, providing yet more evidence of the party’s success on the White Isle this season.

Listen to Nicole Moudaber on Pulse Radio.

As resident of the highly lauded Troupe, Cera Alba has been making waves in the London scene for quite some time now.  

Though after a string of well received tracks on labels like VIVa, Hot Creations, and Gruuv, he caught the attention of DC-10 don Matthias Tanzmann's Moon Harbour, eventually signing to the label.  

It's no surprise, as Alba's dubby, funk driven style can be heard in both his productions and his mixes, like the Fresh Blood he's provided today. Download it below, then check out our interview. 

For those who don't know you, please tell us a little bit about yourself.  My DJ/producer name is Cera Alba. I write and produce house/techno/electronic music and I prefer the tougher side of things, although I do have affection for many types of music. I was born in Newcastle and lived there until I was 11. Then my family moved to Nottingham at 19 and I moved to Leeds to study at university. After I lived in Leeds for 8 years, I decided to move to the capital, and I’ve lived here since 2012.

How did you get into electronic music? It sounds cliché, but I’ve always been into electronic music, literally since I was 4 or 5. The first two cassettes I bought were ‘KWS – Please Don’t Go’ and ‘The Shaman – Ebeneezer Goode’. Granted these are both pop tracks but they have their influence from the first electronic tracks produced. I’m pretty sure they are using Roland drum machines and synthesisers (106/101) or even a Korg M1. After these humble beginnings I strayed into many styles of electronic music. Finally I came to rest on the underground sound I produce and play today, although that sound has become more and more popular over the years. Not that I’m complaining as its given me career I could only dream about.

You've released with some of the best labels out there, including VIVa and Moon Harbour. What's your process when you head into the studio? Thanks. My process normally works best around finding an influence, so if I hear something that I like I tend to manipulate it in the studio. I might take a large part or breakdown in a mix and want to recreate the feeling I had when I first heard it or on a smaller scale I might hear a certain hi hat roll I like and try and make my own version. The second way is more random, I will take a lead or bass note from an instrument then just play over a kick drum and see what comes out. Either way, I need a starting point for me to get excited about, after that I can start to see where the project is going.

I also understand you recently signed to Moon Harbour. How long ago did that happen, and how has that been? This only happened recently, it’s obviously really exciting. For me, their output has always been excellent and to be a name on that label is a privilege. One of the best parties I’ve been too was Moon Harbour’s Off Sonar party in 2009. It was in a shopping mall by the beach 4 floors up! Matthias Tanzmann and Reboot destroyed it.

What's your studio setup like at the moment? Are you an analog fan? I use a Mac Quad-Core Tower, Genelec 8040a’s, Akai AR40, Dave Smith’s Tetra, Omnisphere, Trilian & Moog Sub Phatty (not mine unfortunately). Yes sure I’m definitely a fan but it’s not everything. I think the advantages you get with analog come with what you do with it. Obviously I would love a Moog Voyager XL if anyone wants to buy me one?

What do you have coming up in terms of releases? I have a pretty heavy release schedule over the next 6 months and have more music nearly ready. 1st September will see my 4-track EP on VIVa Music released. Then later in September my Moon Harbour VA is out. I have an EP on Troupe Records in early October then my EP on Lost Records is out mid October with a Cuartero remix. In November I have an EP on Abstract Culture with a Trikk remix. Then my EP on Made Fresh Daily is out with remixes from Sasse and Timmy P.

What else is on your horizon for 2014? I’m playing a festival called United on September 14th alongside some other top UK house DJ’s. I have a residency for Troupe, which is great as they put on some top parties. I have a residency for The Warehouse in Leeds too, love playing there. As for the rest we will have to see what happens.

Can you tell us about the Fresh Blood mix you provided for us? It’s a spectrum of the different sounds I like to play from deep to techno all squeezed into a nice bite-size chunk.

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Until now beloved boutique festival and our #1 pick of 10 must attend Australian summer festivals of 2013, Strawberry Fields, has been drip feeding us their lineup for this November. With Innervisions affiliatesÂme and Melbourne’s very own Grammy nominated artist Hiatus Kaiyote already on the bill amongst others, the Victorian festival has now dropped a full second round lineup of eleven international acts. Check them out below.

Strawberry Fields 2014 Lineup (* indicates just announced)
Ame
Antix
Brawther
Gabriel Ananda *
Giraffage *
Grouch
Hiatus Kaiyote
HNNY *
Interactive Noise
Maribou State
Matthias Meyer *
Max Graef *
Neelix
Nightmares on Wax (DJ SET) *
Oscar Key Sung
Oisima
Opiuo
Pachanga Boys *
Pedestrian
SQL & Child
Stimming *
Superpitcher *
Trus’Me

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There has been much speculation over the cause of Chicago legend DJ Rashad's death since his untimely passing in April. What was initially thought to be a drug overdose (a police report mentioned "drug paraphernalia") was then labeled by his family as complications arising from a blood clot in his leg.

Now according to NBC Chicago, autopsy results confirm that a drug overdose was indeed the cause of death. The statement from the local medical examiner reveals that the autopsy found heroin, cocaine and Xanax in his system, and that the death was an accident.

RIP, legend.

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Other People, Nicolas Jaar's label which launched last year, is releasing a compilation in September entitled 'Work'.

The release coincides with the imprint's first birthday and will feature two unreleased DARKSIDE cuts that were recorded during the sessions for their debut album 'Psychic', and a cover of Nick Drake's 'Things Behind The Sun' from Dave Harrington.

'Work' will be released as a double vinyl LP on September 29th.

Tracklist
A1 Nicolas Jaar - The President's Answering Machine
A2 Soul Keita - Freedom
A3 Dave Harrington feat. Tamara - Things Behind The Sun
A4 VISUALS - A Pixel
B1 DARKSIDE - What They Say
B2 Ancient Astronaut vs. Powell - SSCS (Powell's 'Lift Off' Mix)
B3 DARKSIDE - Gone Too Soon
C1 Ancient Astronaut vs. Jelinek - B2 (Jelinek Remix)
C2 Dave Harrington - Form And Affect
D1 Ancient Astronaut vs. Francis Harris & Gabriel Hedrick - B2 (Dub)
D2 Nicolas Jaar - The Boy Who Asked Too Much

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We at Pulse Radio celebrate women and so too should you. Here are two events this weekend that you can attend to celebrate the glory that is woman! 

If you are not at Oppikoppi Odyssey celebrating, get yourself to Truth on Saturday on where you can dance the night away to Marcela, Erica Elle, Lady Lea, Missread, Nicole Weitz, Vanessa Holliday, Claudia Lovisa, Solara, Sweetiz, Thalia and Gwen C on three massive dance floors. 

Fembots happening in Cape Town this Friday, Marcela Ospina, Nicole Weitz & Vanessa Holliday  is also playing here before she heads back to Johannesburg. 

We at Pulse Radio think that every day is Women's Day, 

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We at Pulse Radio celebrate women and so too should you. Here are two events this weekend that you can attend to celebrate the glory that is woman! 

If you are not at Oppikoppi Odyssey celebrating, get yourself to Fembots, happening in Cape Town this Friday, Marcela Ospina, Nicole Weitz & Vanessa Holliday are also playing here before they head back to Johannesburg. to play at Truth, clearly a busy weekend for these perveyors of funk. 

Fembots happening in Cape Town this Friday, Marcela Ospina, Nicole Weitz & Vanessa Holliday are also playing here before they heads back to Johannesburg. A busy weekend for these perveyors of funk. 

Truth on Saturday on where you can dance the night away to Marcela, Erica Elle, Lady Lea, Missread, Nicole Weitz, Vanessa Holliday, Claudia Lovisa, Solara, Sweetiz, Thalia and Gwen C on three massive dance floors. 

We at Pulse Radio think that every day is Women's Day, 

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Pulse Radio Exclusive Interview – Kyle “Das Kapital” Brinkmann

• Hi Kyle, welcome to Pulse Radio. 2014 has been a stellar year for Das Kapital. You have been extremely busy at the moment, with two radio shows, DJ commitments, running a label, producing, along with charity work. How do you find the time for everything?

Simply put, if you don’t MAKE time for everything, you won’t FIND the time for it. It’s a lot to deal with when it gets frantic, but I’m fortunate to have a solid team working with me, and really just do my utmost to give my work all the energy it is due. I struggle, occasionally, but pushing this hard makes the difference between being an aspiring artist and having a career doing what I love. In that sense, I get out what I put in, and then some.

• We sure you get asked this question a lot but from Kyle Brinkmann to Das Kapital, where did the name come from? Was your youth spent pondering about philosophy and politics? Do you really live on a Farm but yet can’t ride a bicycle?

Oh wow, hahaha. Okay, to answer your first question, yes, I really was just a kid with a lot of interest in philosophy, politics and economics. It made more sense to me to learn about real-world ideas rather than frivolous fiction books because I could apply non-fiction books to my real life. I chose the name “Das Kapital” (Karl Marx’s 1861 magnum opus) for a bunch of reasons. I’m not a communist, if that’s what anyone was worried about. Otherwise, yes, I do live on a smallholding / piece of land out in the Northern Suburbs of Cape Town. I’ve repurposed a piece of my family’s property to act as a studio, so I can write music whenever without worrying too much about sound complaints. As for the bike thing, YUP! I was down to one training wheel at about 6-years-old, and said, “you know what, NO THANKS.” And that was the end of that.

• You have a radio show on Assembly Radio, as well as the In Das We Trust segment as part of DJ Warras' The 5Th Element show on 5FM. How are you enjoying your two shows, and do you approach them differently? Has it changed the way you envision your music?

I really enjoy showcasing new music, so having my two shows is really fun. The “Das Kapital Radio Show” on Assembly Radio is my place to play and talk about anything and everything I like each week, regardless of format or content (I am allowed to use naughty words, because it’s internet radio). It’s had a solid listenership growth since I started the show on the University of Cape Town’s Radio station a couple of years ago. It has had some wonderful international support, with exclusive guest DJ mixes from Tiesto, Cedric Gervaise, Maya Jane Coles, KOAN Sound, Jakes (H.E.N.C.H.), Mumbai Science, DJ Rafik, amongst others. In Das We Trust is my new baby on 5FM – about bringing the latest in forthcoming and exclusive dance music to mainstream national radio. It’s a platform for me to showcase the music getting love from DJs to the people that would only hear it in clubs or at festivals otherwise. The support from 5FM and its listenership has been blinding, and I’m really looking forward to seeing how the show will continue to develop as it continues.

• You also a do a bit of score composition for Film & Television, could you tell us a little more about that? Do you approach film and television scores in a different way from your own music?

I’ve made original music for ad campaigns and film trailers in the past (most notably 21 Jump Street). It’s an interesting dynamic, as it’s really about fulfilling a brief, rather than being experimental. In that sense, it’s very different to how I would write my own singles, or remixes – I’m asked to do what I do, but the client has a specific end goal in mind. How I achieve that goal is ultimately what makes my music “mine”, but really it’s down to what THEY want out of the track. That said, it’s a load of fun, and would love to do more work for film, moving forward.

• You founded Do Work Records in 2013 and signed young talent like Leechi, RVWR, Hendrik Joerges, Vitamin E. Tell us a little more about this label, and the type of artist and releases you envisage for it? Are there any new projects in the works?

Do Work Records is the label run by my manager, and me, with a lot of aspects that make it MORE than just an outlet for music. We are taking a lot of new talent and guiding them into the global industry. South Africans have a weird complex that we are somehow a backwater territory, and in that sense a lot of artists think they’ll never really have a shot at competing in the greater dance music community – which is absolute bollocks. Right now, the focus is on finding promising artists and helping them push their music forward, on both a custodial / managerial level, and as a means to release their music to a greater audience. We are extremely hands on with the music we sign, and drive the artists to improve with each new track. We don’t sign them exclusively, as that would limit them at this point, but incorporate them into the “family”, to help them do what’s best for their careers. The music and artists are varied in styles and discipline (right now, the forthcoming releases vary from Techno, to Grime-influenced beat music, to vocal Progressive House, and beyond) but the underlying ethos of the label is “if it’s good, it’s good. We have about 15 new tracks back from mastering and lined up for release right now, and you’ll be hearing a lot about those in the near future.

• Previously you have been named one of GQ Magazine’s 35 Coolest People Under 35, and were recently named in Mail & Guardian’s 200 Influential Young South Africans. Firstly what does it mean to be accredited for your style and contribution to the arts as young person? Secondly, do you consider yourself more of a music industry entrepreneur?

It’s a bit unreal that I am able to take the thing I am most passionate about (music) and influence the lives of other people with it. I am constantly thankful that there are people that enjoy what I do, and to be included in lists like the “Mail & Guardian’s 200 Young South Africans” is an honour I can’t really put into words. If I can inspire people to make a career out of the thing they love the most, no matter how hard that may be, then I’m doing something right. As for being an entrepreneur, I guess so. Producing and DJing can only do so much for you in the long run. I’m undyingly devoted to music, so I find myself doing everything I can to create and add to a sustainable culture of electronic music, particularly in South Africa as a part of the world scene.

• In this age of Social Media, retail and technology brands are aligning themselves with the South African music industry. Can you tell us about your engagement with brands and how you approach your collaborations with them as an artist?

When brands and companies align themselves with artists, it needs to be from a level of mutual respect, understanding, and benefit. I know a lot of artists that want to dive headlong into all the “perks” that come with getting better known (i.e., where is all my free shit?!), but don’t really think about much else. When I work with brands and companies, the aim is to make the collaboration organic, and for both parties to know exactly what they’re getting out of the deal. There’s no sense signing a contract with a brand just because you can, when in the end it will just look like shitty product placement. I work with PUMA because I am a fan of their clothing, and really appreciate how hands on they are with the artists they support. They’ve stood behind new South African artists for some years now, and have really allowed the people on their roster to make excellent strides forward as recording artists, and in a personal style sense (because yeah, I think fashion is important too… we’ll see about a clothing range in the near future, maybe.) Otherwise I currently have a good relationship with ROLAND South Africa, as their gear is some of the most important in dance music, which I’m sure you can understand. They’re great people to work with, and they’re happy to help me push my production levels even higher.

• We remember the day you founded Kyle Brinkmann Breast Cancer Survivor Project, tell us a how is it progressing and how can one contribute?

In total, the Pink Drive has received about R30 000 from our collective donations, of which around R10K went to my charity, and the rest was sent directly to the parent account. All of that money is for breast reconstructive surgery for breast cancer survivors, as well as provision of mobile mammography units, within under-privileged communities. I met with Noelene Kotschan, the head of the Pink Drive, not too long ago, and we need to meet up again to see how the funds have been used. The Breast Cancer Survivor Project will continue to run ad infinitum, and I am aiming to throw some charity events to contribute towards it fairly regularly. All donations are welcome, and would help change the lives of women in need.

• This weekend sees you headlining at the Oppikoppi Festival and Griestfest later this month. As an established headliner at prominent South African Festivals, are there any platform you still want to take on locally? And more so, what are your international ambitions?

In South Africa, my aim is to start making the “Do Work Takeover” a more regular occurrence. In 2013, myself, Leechi and RVWR took control of the dance stage at Synergy Live Festival for 3 hours, with live musicians, dancers and MC Tan hosting the whole thing. As the label is set to release a load of music from new artists, whom I believe to be some of the finest to come out of South Africa, it would make sense that we continue upping the scale. Ultimately, I want people to leave festivals and parties feeling like they were part of something special, and we’re now in a position to do that, consistently. International plans? Release more tracks. Collaborate more. Remix more. Ultimately, I’d love to play abroad more, and that will come once I’ve cemented the foundations to what I’m doing here. It’s not so much an “if”, but rather a “when.” And I believe that “when” will be “soon”.

10. Tell us a little about the compilation of this mix? Any special bombs in here that’s influencing you at the moment?

My “2014, Basically” mix is a lot of the best part of this year’s dance music put in one place. I did my best to show where things are headed, both globally and within my own music, showcasing some of my favourite artists, friends and labels from around the world (and a few of my own tracks and remixes for good measure). I’ve also included an exclusive first play of a new remix I did for USA act Bronze Whale on Waxhole Records, so check it out at 52mins. The mix has Techno, House, Breaks, Acid, Dancehall, Electro, Trap, and Jungle elements… I mean, I know it’s hard to pin down, but that’s me, really. If it’s good, it’s good.
 

We caught up with Das Kapital ahead of his headline performance at Oppikoppi Oydessy 2014 this weekend and Grietfest at the end of the month, as we get down on basically everthing that makes Das Kapital. Tell us a little about the compilation of this mix? Any special bombs in here that’s influencing you at the moment? My “2014, Basically” mix is a lot of the best part of this year’s dance music put in one place. I did my best to show where things are headed, both globally and within my own music, showcasing some of my favourite artists, friends and labels from around the world (and a few of my own tracks and remixes for good measure). I’ve also included an exclusive first play of a new remix I did for USA act Bronze Whale on Waxhole Records, so check it out at 52mins. The mix has Techno, House, Breaks, Acid, Dancehall, Electro, Trap, and Jungle elements… I mean, I know it’s hard to pin down, but that’s me, really. If it’s good, it’s good.

2014 has been a stellar year for Das Kapital. You have been extremely busy at the moment, with two radio shows, DJ commitments, running a label, producing, along with charity work. How do you find the time for everything? Simply put, if you don’t MAKE time for everything, you won’t FIND the time for it. It’s a lot to deal with when it gets frantic, but I’m fortunate to have a solid team working with me, and really just do my utmost to give my work all the energy it is due. I struggle, occasionally, but pushing this hard makes the difference between being an aspiring artist and having a career doing what I love. In that sense, I get out what I put in, and then some.

We sure you get asked this question a lot but from Kyle Brinkmann to Das Kapital, where did the name come from? Was your youth spent pondering about philosophy and politics? Do you really live on a Farm but yet can’t ride a bicycle? Oh wow, hahaha. Okay, to answer your first question, yes, I really was just a kid with a lot of interest in philosophy, politics and economics. It made more sense to me to learn about real-world ideas rather than frivolous fiction books because I could apply non-fiction books to my real life. I chose the name “Das Kapital” (Karl Marx’s 1861 magnum opus) for a bunch of reasons. I’m not a communist, if that’s what anyone was worried about. Otherwise, yes, I do live on a smallholding / piece of land out in the Northern Suburbs of Cape Town. I’ve repurposed a piece of my family’s property to act as a studio, so I can write music whenever without worrying too much about sound complaints. As for the bike thing, YUP! I was down to one training wheel at about 6-years-old, and said, “you know what, NO THANKS.” And that was the end of that.

You have a radio show on Assembly Radio, as well as the In Das We Trust segment as part of DJ Warras' The 5th Element show on 5FM. How are you enjoying your two shows, and do you approach them differently? Has it changed the way you envision your music?I really enjoy showcasing new music, so having my two shows is really fun. The “Das Kapital Radio Show” on Assembly Radio is my place to play and talk about anything and everything I like each week, regardless of format or content (I am allowed to use naughty words, because it’s internet radio). It’s had a solid listenership growth since I started the show on the University of Cape Town’s Radio station a couple of years ago. It has had some wonderful international support, with exclusive guest DJ mixes from Tiesto, Cedric Gervaise, Maya Jane Coles, KOAN Sound, Jakes (H.E.N.C.H.), Mumbai Science, DJ Rafik, amongst others. In Das We Trust is my new baby on 5FM – about bringing the latest in forthcoming and exclusive dance music to mainstream national radio. It’s a platform for me to showcase the music getting love from DJs to the people that would only hear it in clubs or at festivals otherwise. The support from 5FM and its listenership has been blinding, and I’m really looking forward to seeing how the show will continue to develop as it continues.

You also a do a bit of score composition for Film & Television, could you tell us a little more about that? Do you approach film and television scores in a different way from your own music? I’ve made original music for ad campaigns and film trailers in the past (most notably 21 Jump Street). It’s an interesting dynamic, as it’s really about fulfilling a brief, rather than being experimental. In that sense, it’s very different to how I would write my own singles, or remixes – I’m asked to do what I do, but the client has a specific end goal in mind. How I achieve that goal is ultimately what makes my music “mine”, but really it’s down to what THEY want out of the track. That said, it’s a load of fun, and would love to do more work for film, moving forward.

You founded Do Work Records in 2013 and signed young talent like Leechi, RVWR, Hendrik Joerges, Vitamin E. Tell us a little more about this label, and the type of artist and releases you envisage for it? Are there any new projects in the works? Do Work Records is the label run by my manager, and me, with a lot of aspects that make it MORE than just an outlet for music. We are taking a lot of new talent and guiding them into the global industry. South Africans have a weird complex that we are somehow a backwater territory, and in that sense a lot of artists think they’ll never really have a shot at competing in the greater dance music community – which is absolute bollocks. Right now, the focus is on finding promising artists and helping them push their music forward, on both a custodial / managerial level, and as a means to release their music to a greater audience. We are extremely hands on with the music we sign, and drive the artists to improve with each new track. We don’t sign them exclusively, as that would limit them at this point, but incorporate them into the “family”, to help them do what’s best for their careers. The music and artists are varied in styles and discipline (right now, the forthcoming releases vary from Techno, to Grime-influenced beat music, to vocal Progressive House, and beyond) but the underlying ethos of the label is “if it’s good, it’s good. We have about 15 new tracks back from mastering and lined up for release right now, and you’ll be hearing a lot about those in the near future.

Previously you have been named one of GQ Magazine’s 35 Coolest People Under 35, and were recently named in Mail & Guardian’s 200 Influential Young South Africans. Firstly what does it mean to be accredited for your style and contribution to the arts as young person? Secondly, do you consider yourself more of a music industry entrepreneur? It’s a bit unreal that I am able to take the thing I am most passionate about (music) and influence the lives of other people with it. I am constantly thankful that there are people that enjoy what I do, and to be included in lists like the “Mail & Guardian’s 200 Young South Africans” is an honour I can’t really put into words. If I can inspire people to make a career out of the thing they love the most, no matter how hard that may be, then I’m doing something right. As for being an entrepreneur, I guess so. Producing and DJing can only do so much for you in the long run. I’m undyingly devoted to music, so I find myself doing everything I can to create and add to a sustainable culture of electronic music, particularly in South Africa as a part of the world scene.

In this age of Social Media, retail and technology brands are aligning themselves with the South African music industry. Can you tell us about your engagement with brands and how you approach your collaborations with them as an artist? When brands and companies align themselves with artists, it needs to be from a level of mutual respect, understanding, and benefit. I know a lot of artists that want to dive headlong into all the “perks” that come with getting better known (i.e., where is all my free shit?!), but don’t really think about much else. When I work with brands and companies, the aim is to make the collaboration organic, and for both parties to know exactly what they’re getting out of the deal. There’s no sense signing a contract with a brand just because you can, when in the end it will just look like shitty product placement. I work with PUMA because I am a fan of their clothing, and really appreciate how hands on they are with the artists they support. They’ve stood behind new South African artists for some years now, and have really allowed the people on their roster to make excellent strides forward as recording artists, and in a personal style sense (because yeah, I think fashion is important too… we’ll see about a clothing range in the near future, maybe.) Otherwise I currently have a good relationship with ROLAND South Africa, as their gear is some of the most important in dance music, which I’m sure you can understand. They’re great people to work with, and they’re happy to help me push my production levels even higher.

We remember the day you founded Kyle Brinkmann Breast Cancer Survivor Project, tell us a how is it progressing and how can one contribute?In total, the Pink Drive has received about R30 000 from our collective donations, of which around R10K went to my charity, and the rest was sent directly to the parent account. All of that money is for breast reconstructive surgery for breast cancer survivors, as well as provision of mobile mammography units, within under-privileged communities. I met with Noelene Kotschan, the head of the Pink Drive, not too long ago, and we need to meet up again to see how the funds have been used. The Breast Cancer Survivor Project will continue to run ad infinitum, and I am aiming to throw some charity events to contribute towards it fairly regularly. All donations are welcome, and would help change the lives of women in need.

This weekend sees you headlining at the Oppikoppi Festival and Griestfest later this month. As an established headliner at prominent South African Festivals, are there any platform you still want to take on locally? And more so, what are your international ambitions? In South Africa, my aim is to start making the “Do Work Takeover” a more regular occurrence. In 2013, myself, Leechi and RVWR took control of the dance stage at Synergy Live Festival for 3 hours, with live musicians, dancers and MC Tan hosting the whole thing. As the label is set to release a load of music from new artists, whom I believe to be some of the finest to come out of South Africa, it would make sense that we continue upping the scale. Ultimately, I want people to leave festivals and parties feeling like they were part of something special, and we’re now in a position to do that, consistently. International plans? Release more tracks. Collaborate more. Remix more. Ultimately, I’d love to play abroad more, and that will come once I’ve cemented the foundations to what I’m doing here. It’s not so much an “if”, but rather a “when.” And I believe that “when” will be “soon”.

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To quote an internationally recognised superstar, “Who Runs The World? Girls!” With Women's Day just around the cornet and in the month of August, one set aside to celebrate all that is wonderful about the fairer sex, Soul Candi Records has an excited and happy to announce the signing of the beautiful Infinix!

The fierce yet sumptuously glamourous Infinix has officially been signed to Soul Candi Records as an artist. This talented Vocalist/DJ is forcing her way into this generally male-dominated industry and demanding attention. If her ear-grabbing talent doesn’t instantly get her noticed then her sultry style and lush features most certainly will.

Infinix is a superstar in the making and the Soul Candi team couldn’t be more excited to have her join the ranks. 2015 holds prospects of her first album to be released through the label and a few other special treats as well! 

Follow Infinix on:

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Hector has one of the most interesting stories in dance music. He was first introduced to Fabric mixes from the English friends he met who were studying in his native Mexico, he eventually moved to London, worked at Phonica Records and spent his summers working and DJing on the villa party circuit on the White Isle. We sat down with the Desolat man to discuss the early days handing out flyers with Jamie Jones in Ibiza, losing his entire record collection and the burgeoning scene in New York.

I know you were working in Ibiza for a long time – when did you first start playing? It was actually me and Jamie Jones – we played together in London a long time ago in a night club called Vertigo. We used to gives flyers, posters and CDs to every single bar – all the small bars. And because I was working at Privilege giving out flyers for Manumission, I had my first chance to play a party called People From Ibiza and I got to play in the main room for about 2000 or 3000 people. At the time that was amazing for me. They also gave me the chance to play at Coco Loco and I was playing at every single small villa party – me and Jamie. At that time there were no villa parties, so it was really cool, there was amazing people and an amazing crowd at these parties. That was the beginning of really underground stuff. All the places I was going to for 10 years. I used to go to Underground all the time and I knew the guy, but they didn’t know that I was playing until we had a conversation about it. When Juanito, the owner, realised it was me who used to hand out the flyers he appreciated it even more and said I must play all the time! The same thing happened to me at Amnesia, I used to do flyering for them as well or I used to just be there on the Terrace from the beginning until the end.

You were surrounded by the right people then. Yeah. Like Jamie got to play for Ministry of Sound at Space for the first time and I was like ‘wow’! For me, I was playing for Privilege more and more and then I got the chance to play the Main Room at Space, a long time ago. That was really scary. The way the whole thing changed though – I used to play very often in Ibiza and this one time someone broke into my house. Because we used to do the villa parties, someone knew I had so many records and turntables and it only takes one person. They stole my whole collection – my mixer, everything. I didn’t know what to do anymore. That was basically how I started, by collecting records and stuff – it was gone. Everyone on the island heard about this story, it was like the first time in Ibiza that something like this happened. Because I started to know a lot of DJs people like M.A.N.D.Y., when they were super-huge, Steve Bug from Poker Flat, all these guys and these labels heard about the story and wanted to contact me. I went to see M.A.N.D.Y. and they came with a box of their entire back catalogue, so all the ones I had, they gave me all the records – Poker Flat as well and a lot of other labels, so I started to recover a little bit. My friends when, Jamie and me used to hang out together, they organised a party to raise money for me. When Phonica Records first opened I went there with a list and I started talking to Simon and told him the story – he obviously thought it was horrible and helped me. At the end of the summer when I had recovered about 70% of my collection I got offered a job at Phonica. Then I started to get gigs in London, one in an old public toilet called Kubicle, and then I got the chance to play at Fabric. I was opening for Ricardo [Villalobos] and also played when Loco Dice played for the first time at Fabric. From there people started booking me.

And it was because Dice was coming into Phonica that you became involved with Desolat. [Smiles] I used to sell records to Dice. This skinny guy who liked hip-hop, who was so shy and I’d pull records for him and he came back to me for more. Then I remember because of him there’s a record I’ll never forget – Mathew Jonson ‘Decompression’. When he dropped that in DC-10 the game changed. That was the track that everyone went ‘wow’! That’s it, we became friends. What I like about him was that he didn’t put me into Desolat straight away because we were friends. He wanted me to develop as an artist in the way he did so he could help. I was with Crosstown Rebels agency, I moved to mobilee and then from there he finally said it was about time. The last three years with them have been amazing.

It must be amazing to evolve with them. I’m very thankful and I’m also very thankful that he let me grow as an artist – to go experience the shit gigs and promoters not paying me, instead of having the agency look after me. I came from zero to get to this point – I know the shit gigs, the really sketchy ones where you don’t get paid and you play to five people, you travel 20 hours to get to places. Then I got the chance to go and play in Tokyo at Womb, which has become my favourite club in the world.

In terms of this season you played Music On for the first time – how did you find that? That was my big, big dream. He’s got it right. I like that it’s all about the music. It’s really not like all these lasers and fire and all that shit. It is about the music. All the artists are just playing the best – the Oxia guys rocked, the Pan-Pot guys played amazing, Anja Schneider was amazing. When Dice and Marco used to play together that was the bomb. Now Marco has taken control and the music is really good and for me it’s my favourite party.

There’s something about the Terrace as well isn’t there? In the early hours of the morning it’s mental. Yeah, it was really good that day because it was empty, then you arrive and you’re just about to start and then by 2am it’s crazy. That Terrace is amazing.

You’ve played at Carl Cox as well this season. Yeah, that was really good because I talked to Carl a long time ago, when he used to work in a record shop. We always talked about how important it was to do warm-up sets. He loves doing warm-ups and playing from the beginning. It’s one of the most important sets of the night – you have to set up the mood of the people, you have to really get everyone going. I was in New York when he played at Output and he played from 9pm until close. So I thought ‘I’m going to do my thing, but in my style’. I played deep, then I played a little bit harder, but I was free to do whatever I wanted. They appreciate you’re doing your thing, they’re not expecting bomb after bomb. I had a really good time and the team is amazing there – from security to all of Carl’s team at Safehouse, they’re all take care of the artists so well. You feel like a family there.

You also like playing the really small space as well though. I love playing the small spaces because that’s how I started. In London, Kubicle was an old public toilet that only fit 80 people. It’s very intimate so you have a very close connection with the people. Everything you play, it’s just amazing. I like to discover places like in Ljubljana which could just be a small black box, but they have an amazing sound system. You can only fit 200 or 300 people in there, but they all go crazy. You can play deeper and deeper and they go crazy. I like to play when it’s so hot that ceiling starts dripping. This is something I want to do in New York with my warehouses. They’re small venues. That’s the idea because you can play at Space or Amnesia to thousands of people, it’s good but it’s so different in the small clubs. It’s more me, I can go to any style, I don’t have any pressure.
The people will be there just to see you as well. Exactly – and everywhere set I play is totally different depending on the mood of the people. When I play in the small clubs I can play whatever what I want. For my birthday at Club der Visionaere in Berlin I played for 16 years, vinyl only. Only records, no CDs, nothing. I had the best time. People were leaving and coming back, some people stayed for 16 hours. It was just something that I enjoyed a lot.

You’re not playing many shows in Ibiza. I’m here a lot, my girlfriend lives here. I like to support people. I support Marco, Carl Cox – I like to go and support people who give me the chance to play. I don’t want to get into too much party trouble!

Is there a reason you’re not playing as much? We are more selective now when it comes to where I’m going to play. I don’t want to be in Ibiza playing for every club and every party – then it’s not special. If you want to keep it special then that’s enough. I’m happy and I cover that with touring around Europe and South America. I’ve just come back from Peru and Mexico. It’s just about the balance for me.

At IMS Loco Dice’s manager said he was somewhat disillusioned and wanted to take a step back. Do you think maybe some of the commercial elements have taken over in Ibiza? For a person like him who’s been here for 15 years every summer, when he started to play at Circo Loco, one of the most underground parties. I remember in 2000, the vibe was completely different than going to fucking Ushuaia to see this bunch of clowns with all the bullshit with lasers, fireworks and playback. That’s a concert. It’s not a club, it’s not like it used to be when you go to DC-10 and hang out with your friends, you have fun and the best DJs are there. Imagine before, when Ricardo is playing with Richie Hawtin back-to-back and then Dice back-to-back and Danny Tenaglia jumps in and Carl Cox jumps in, Puff Daddy jumping behind the decks. What the fuck I’m going to do with people throwing cakes? Fuck that. That’s where Dice for example has been here and endured that and seen how the island has turned into this. So he’s like ‘You know what? Take a step back’. They’re destroying the island and the old vibe that we all had. We're still old school and I know things change, but that’s just the money-machine destroying what it used to be. When you can go to a little bar with your friends, have a little hierbas and see the parade – that’s gone. For me, that was so much fun, you could see all the parades and all the Manumission people walking around. I would never pay to see David Guetta, but for the kids that come for the first time and the rich people that’s what they’re into. There’s no soul, no nothing. You will never go there and remember that track – it’s just noise.

You spoke about your parties in New York – they’re not huge on underground music in America, do you have to find the good bits? Because I lived in New York last winter I saw that they have Output which is a really underground club, but they don’t have places where you can do this. For me, in London the best parties were in these locations – under the arches, in train stations. Actually in Shoreditch train station, I used to play there a lot because it was empty. In New York there is a lot of these places. I have one warehouse, I have an open air warehouse, I have a loft – I’ve already got five or six venues that I will change every time, it’s never going to be the same place. Small, intimate, that’s how I want to do it. You can just tell them the address on the day or something like that. I think the people of New York are a little behind the times because there’s too much of the commercial influence. They still have the underground like Sankeys, but that’s in Manhattan. If you do this in Brooklyn, like this one place, the loft, it overlooks Manhattan, but in a really industrial place. There’s a market there and they want it. Marcel Dettmann or Dice come and they get really excited. If you see on of these guys playing in small warehouses, it’s amazing.

Moving on to releases – you’ve done a Todd Terry remix. Yeah, that’s out now. It’s my favourite Todd Terry track. They asked me to do it, but I didn’t want to change much of the original stuff. I just put new drums on it – there’s a video of Dice playing it as his last track at a festival and people go crazy. I’m very happy with it, it’s got really good feedback. Then I’ve have the vinyl only with me, Javier Carballo and Hanfry Martinez with remixes from Livio and Roby and Guti. That’s coming out in a month, but the feedback is really good. Vinyl only is one of my favourite things to do.

I know you play a lot of their tracks – did you find it easy to collaborate with them because you know their music and you’re on the same wavelength? Yeah, they’re very close friends of mine. We share music and I really love their style. It’s not like the stuff I normally make. It was just like an experiment and from that we called it ‘The Daggers’, from the movie Thrashin’. I’m going to do more with them, that was the beginning.

https://www.facebook.com/Hector.Official.Page

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The scene in London is as complex as it is competitive. The city is known for impeccably high standards and always incredible artists making their way through its clubs. 

Synonymous with pushing boundaries in the London underground, Motek consistently strives to debut remarkable talent at each event it hosts. The likes of Mind Against, The/Das, Maher Daniel, Silky, The Element and plenty more have graced the decks at Motek. 

This weekend, Lake People and Bedouin make their London debut for Motek’s summer warehouse party. Heading up the rest of the line-up on Saturday the 9th of August are Eric Volta, Louie Fresco, Casual Affair and Motek visionary, Matt Hardinge. 

The event features a monster 4-point Funktion-1 sound system deep in East London’s Hackney Wick, an area home to hundreds of studios and galleries and the perfect space for Motek Warehouse. And to top it off, there will be transport provided by Uber to and from the area up to £20 free.

Below you can find a sample of Eric Volta’s forthcoming remix for Motek Music as well as one of Bedouin’s recent and most captivating sets yet.
 

If you have yet to be acquainted with Motek, make sure to read up SoundPark’s interview with Matt HardingeHERE: 

Make sure to grab tickets to this event on Pulse Radio HERE: 

For additional info check out the Motek Warehouse event on Facebook.

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This one is for all the amazing women out there, whom are mothers, sisters,wives, girlfriends and friends, we thank you for your strength, love and naturing and today is a celebration as the country salutes you. Essential Women's Day celebration tonight at One 5 Pub Chiawelo in Soweto. Featuring all female line up with likes of Thandi Draai, Gift, GForce, Show Tee, Miss Vivica, Cancer 69 and Cuebur as special guest performer, brought to you by Tatum Events and Cuebur Music sponsored by Soweto TV, Pulse Radio, Fly Generation.

Happy Women's Day, we love all you special ladies.

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How about this for a healthy dose of Monday morning pessimism?

Paris Hilton just kicked off a 13-date tour which will see her ‘DJ’ across the globe – everywhere from South Korea to Barcelona. She’s also just made the first of several appearances as part of her residency at Ibiza’s famous Amnesia club – and yes, the big bucks are following the heiress. Hilton is apparently being paid $347,000 per hour for her appearances at the club.

According to a source who spoke to The Sun, “She’s making £1.6 million from the four nights – £207,000 an hour. The crowds do seem to enjoy it but most are too off their faces to care that she’s simply pressed play on a Beyonce megamix.”

That roughly equates to $347,000 Australian/US dollars. Per. Fucking. Hour. Here comes the hate.

By the way, this video is still amazing:

[In partnership with Pages Digital]

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