When we get on the phone to Alexander Coe, better known as dance music icon Sasha, he's resting up in a Sydney hotel room, having just jetted over to Australia from a tour of Asia. After 25 years in the DJ game, endless touring around the globe is still the norm for the 45 year-old Welshman. Whilst many of his late '90s, early '00s progressive house contemporaries have become lost in the bustling new generation of electronic artists, Sasha's legacy has endured - a testament to his strive to always push the boundaries of technology and what dance music can be.

Sasha has always maintained a strong following in Australia, and on the eve of four gigs across the country this weekend we catch up with the pioneer to talk DJing at his son's school, EDM in America, new productions and the possibility of another Involver mix CD.

Hey Sasha, where have you just arrived from? I just did a week in China and Thailand and before that I was in Amsterdam for ADE.

What are the crowds like in China? How do they take to the music? They're really into it. I mean EDM is really big over there but I played some club shows and they loved it.

You seem to be endlessly touring but are also a family man now. Is tough being away from home for long periods of time? Yeah it's tough, but it is what it is.

Are your kids into your music? Do you DJ for them at home or do they ever hang in the studio with you while you're making music? [Laughs] No, not yet. They're still too little. They do listen to a lot of music but it's mainly Katy Perry. Actually I did a DJ set at my little boy's school.

Really? That's awesome. Yeah he came home from school one day and his assignment was to write down a piece of music that he likes to listen to with his family, so he wrote down Katy Perry - I think it was 'Firework' he chose as his favourite track. So I called the school and said I could do a DJ set with all the kids' favourite songs. So on the last day of term I went in and set my computer up and did a DJ set for the kids. It was quite hilarious.

Did they dance? Yeah they were going mental.

I bet they were. So you recently played with Danny Howells in Beirut. It must have been a long time since you guys have played together. Yeah I haven't played with him for a while, it was great to see him. That was a great outdoor gig at a place called St. Georges Terrace which is right on the water. Fantastic venue.



You mentioned that EDM is big in China...It's big everywhere!

Yeah that's true, even here in Australia. And obviously where it's going completely nuts is in the USA, which is where you and John Digweed were pushing dance music about a decade ago during the Delta Heavy tour. Does it feel strange to you that it took so long to take hold over there? I think it always had to become more commercial in order for Hollywood and America to get it on a larger scale. When dance music blew up in England you had all these underground records going to number one like 'Higher State Of Consciousness' and Orbital and 'French Kiss'...these crazy acid house records. But that never happened in the States because the market there is so different and the way that the charts work with radio and everything. So it had to become commercial for America to get it. And it certainly did that, didn't it.

Absolutely. Although what seems to be happening there now is house music is taking a hold too, which might become the new EDM. Do you think it's going to get to a point where the younger fans in America start digging a bit deeper? I don't know, I'm not sure that I buy into that to be honest. The underground house and techno scene in America is thriving; there's some great clubs and places like New York are taking off again. There's great events happening every weekend all across America and everyone's busy and happy. I don't think the same people who go out and listen to Calvin Harris and David Guetta are going to want to go to Output and listen to a four hour set of music without vocals in it. I don't know if there is necessarily a crossover. Even though a lot of festivals book both kinds of lineups, I still see them as two completely separate scenes.



I remember listening to big dance acts like The Prodigy when I was a teenager and they were my way into underground dance music. Yeah but The Prodigy are cool. A lot of electronic music that's massive right now is really commercial pop and not a lot of that sound is very cool.

That's true. So the Global Underground mix series made a comeback this year with Solomun after a four year hiatus. Have you had a chance to listen to it? I haven't no.

Would you ever do another mix for the series if you were asked? I think all the cities have been used up and all that is a part of my history now, so no I don't think so. I just think it would feel weird to go back and do that.

Have you ever considered doing another straight-up DJ mix compilation? Or has the 'Involver' series, with it's remix concept, changed things for good for you in that field? It's not enough of a challenge for me anymore really. Every weekend I go out and try to put the perfect mix together, and we release some of those sets online and I think that covers that side of things. So I think just doing a straight up mix CD is a bit of a boring format as far as I'm concerned. I wouldn't be able to help myself from re-editing and remixing and I'd just end up doing another Involver.



Can we expect another 'Involver'? Or will it remain a trilogy? Well the format is great and I really enjoy doing them, and the spacing of them seems to be quite natural. So there's no reason why I shouldn't do another one in the future. But it's a full commitment, it's almost as much work as doing an original album, so it's definitely not something I can knock out every year. Maybe in a couple of years time when I have the right bunch of tunes together and I feel like it's the right time.

At the moment I've got my eye on other things, I'm doing a lot of original music. I've been writing a lot of stuff for the label, some club stuff with some of the other guys on the label, so some really exciting things are in the pipeline. I've been writing a lot of original music too and have been pitching for some film and TV stuff...a lot of interesting soundscape and electronic stuff and some vocal material as well. So I don't really know what I'm working on at the moment, I've got about 40 or 50 demos on the boil but I don't know what it's going to end up being. The club tracks for the label are definitely going to be released over the next six months or so, but the other stuff...I don't really know what it is yet, it's just stuff that's sounding fantastic.



It sounds like you might have an 'Airdrawndagger' follow up in the works there perhaps? I just don't know how relevant albums are anymore to be honest. Isn't it better to just release good music consistently on a regular basis rather than wait ten years between albums? I don't know whether the album format itself is relevant, I'm a bit torn over that.

There is a lot of debate over that, however they do seem to keep coming out. Yeah they do. The Aphex Twin record is fantastic, Thom Yorke's record was great. There seems to be that calibre of people who can still release records. I think it will become obvious when the music comes together - I've got a lot of vocals I'm still waiting to receive from people and we haven't got into the mixing stage yet, they're all still very much simple demos. Maybe it will be a series of EPs or singles, I don't know. I'd hate to say the 'A' word because I'm just not sure.



I reckon you should hook up with Tom [Junkie XL] and Charlie May again, get another studio in Amsterdam and have some fun making another album. [Laughs] I think Tom is a bit busy at the moment with Mad Max and all the films he's doing.

He's killing it in Hollywood at the moment. Yeah he's absolutely smashing it. I was there a few months back and he had the number one and number two films in the Box Office that week.

Wow. So you guys still keep in touch then? Yeah. He's crazy busy, the work ethic that he has, the hours that he puts in and the people he has around him now...he's just an absolute workhorse. I knew he was a hard worker when I was with him in Amsterdam but he's taking it up another level now.

You're back in Australia now playing a few gigs this weekend. You've always had a big following here. I know it might be tough, but can you remember the very first time you played here? I played this massive rave at...I think it was the Hordern Pavilion. It was absolutely huge and it was in the 'Papua New Guinea' days, so it must have been '93 or '94. God, 20 years ago. I know it was my very first trip abroad, even before I went to the States I went to Australia before my DJ career really started to take off.



There's a famous story, or myth, about you playing in Australia many years ago. I wanted to ask you about it to see if you can confirm it. It was at an after-party in Canberra, and apparently after the gig you walked out of the club in a bit of a state, looked up at the sun and yelled, "I'm melting!" [Laughs] I have no recollection of that story! But it's probably true!

There's another one I've heard about you in a ditch somewhere outside DC-10 in Ibiza. That's an old story. They're all lies.

Sasha 2014 Australian Tour Dates
31.10.14 - Studio, Auckland
01.10.14 - Chinese Laundry Garden Party, Sydney (Day)
01.10.14 - The Met, Brisbane (Night)
02.10.14 - The Court, Perth
03.10.14 - Prince Of Wales, Melbourne

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North Bondi’s Biddigal Reserve, known affectionately to locals as 'the grassy knoll,' has become nothing more than a "drunken, disorderly pub or day club," according to one really pissed off local resident.

In an article penned in the Wentworth Courier, Lian Ellison vents her anger on how the traditionally child and family-friendly area has been infiltrated by "twenty to thirty-somethings armed with cases of beer and bags of alcohol, ready to stake their claim on the grass for the next four or five hours."

"Families and children have been ostracised and a majority of parents no longer visit the grassy knoll as it is unsafe, downright stressful and uncomfortable."

These unsafe and downright stressful elements, according to Ellison, are alcohol, drugs and "loud DJs", leading to anti-social behaviour such as "public urination and defecation in the bushes surrounding the upper area and children’s playground."

"We see a complete lack of respect for the personal space of others," says Ellison. "The crowds are huge due to the reputation this area has garnered, but it is unsustainable for the small area that Biddigal Reserve actually is.”

In short, she mad. Are you a Bondi resident? If so, what do you think about what's happening at the Grassy Knoll? Does Eliison make a sound point, or is she just old and jelly? Let us know your thoughts below.

[Via The Wentworth Courier]

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Jorge Savoretti
Rise Up
Raw Rootz Recordings

9/10

Although only two releases in, Raw Rootz Recordings has already made a splash in the house music world. And now, Argentinian Jorge Savoretti continues the bourgeoning label’s run of great form with their first release and his first on the label, the killer groove-heavy ‘Rise EP’.

‘Rise Up’ is instantly likeable. Its catchy, infectious bassline immediately locks onto your hips and doesn’t let go for the entire track, and the jacking, densely layered percussion only serves to make the groove even funkier and even more inescapable. The spoken word vocal is used effectively rather than indiscriminately, and the trippy echo effects applied to it give it a sense of playfulness that complements the fun, upbeat energy of the track perfectly. But what are really the winners here are the chugging, incessant synth stabs and off-beat breath sounds, which elevate ‘Rise Up’ from a functional dancefloor cut to a rollicking, balls-out crowd destroyer.

Label heads Raw Rootz and Bassculture artist Marcman offer up classy remixes which strengthen the quality of the release. Raw Rootz don’t mess with what makes the track great, i.e., the cheeky vocal edits, lead synth stabs and funky low end groove, but instead simply take those elements and turn the chunk factor up to eleven. A punchy, rolling tribal rhythm is added and the bassline is downtuned for maximum hip wiggle-age, while the main synth gets sent through some grainy filters to give it a rawer edge. Marcman delivers a thumping, Chicago house influenced remix complete with swingy beats, dirty TR-909 percussion, and even a cheeky old school break that is sure to delight the veterans. The vocal receives some additional edits to make it fit in with the bouncy drums, and the lead synth similarly gets a small tweak so it’s worked nicely into the late 90’s vibe of the remix.

‘The Signal’, the second original track is a chugging tech house burner with a mid-2000’s progressive house edge. Reminiscent of that delightful middle ground between big, mainroom house and hypnotic, druggy progressive that never should have gone out of style, ‘The Signal’ rolls along with punchy beats, a ballsy bassline, crisp percussion and a driving, robotic lead synth which is joined by trancey, hands-in-the-air stabs at exactly the right moment. Anyone who danced to a John Digweed set in the mid-2000’s is going to - excuse my French - flip their shit over this.

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Flying Circus has outlined its NYE plans for 2014, returning to Akiin Beach Club in Tulum for a 12-hour rave. Ending the year in Mexico has evolved into something of a tradition for Audiofly—this will be the sixth time they've thrown the event.

Back in Tulum following 2013's move down the coast from Playa Del Carmen, the Anglo-Italian duo will be joined by the usual cast of Flying Circus regulars and local favourites. Blond:ish, Daniel Bortz, Mia Lucci and Balcazar & Sordo will all DJ, with dOP and Dance Spirit playing live. 

Tickets to Flying Circus NYE are available here on RA.

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TomorrowWorld has just announced the festival will begin selling tickets for its 2015 festivities beginning on November 10, 2014. The magnificent fairy tale returned this past September for its second edition nestled on the beautiful grounds of Chattahoochee Hills, Georgia and will return in 2015 over September 25, 26, and 27 at the same location.

TomorrowWorld was a massive success this year. For the festival that has only been around for two years, it has already solidified its position as one of the most magical places in the country. Tickets go on sale exclusively for pioneers starting November 10, with the presale ending on November 13. Pioneers will receive a special access code in an email, which gives a unique discount code and an option for a payment plan.

This pre-sale guarantees tickets for all pioneers, with Full Madness passes selling at $327 and Full Madness passes with Dreamville selling at $367. Tickets for general admission will start at $357 and $407 at a later date.

To purchase tickets and for more information head to the official website

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Summer’s always an amazing time in South Africa and the party industry seems to grow massively every year. This year we see a boom of outdoor festivals, international headliners at global parties brought here for the first time, and SA’s own eclectic industry of national artists stepping into the spotlight. Check out our calendar below. Also see our calendar of trance outdoor parties this season. The following calendar includes club and street festivals as well as outdoor party highlights. 

Please note: We've noticed that most of the events we have listed here are in areas around Cape Town. We apologise for any inconvenience caused to those in other areas of the country and promise to investigate more further afield for out next calendar.

END OCTOBER:

Check out our Halloween parties here. 

NOVEMBER

1 Nov Psy.ology: Mekkanikka (CT)
1 Nov Red Telephone Presents: Daylight Vibrations (CT)
1 Nov Community (CT)
2 Nov International Yacht Series (CT)
7 Nov Groovy Troopers (CT)
8 Nov Nomadique Music Block Party (4th Birthday) (CT)
15 Nov Remanufacture: Stomp (CT)
22 Nov Sexy Groovy Love Day Party (CT)
22 Nov Equinox Experience: Expose (CT)
22 Nov Missing Link and Cape Town Parties - Broken Toy (CT)
28 Nov Synergy Live Festival (CT)
28 Nov Rage Festival (CT)
29 Nov Space Ibiza Jozi (JHB)
29 Nov Summer Sound System Festival (CT)

DECEMBER

3 Dec Vortex Open Source (CT)
6 Dec   Riverfest (CT)
12 Dec A Taste Of Sonar, Johannesburg (JHB)
12 Dec Aloe Roots Outdoor Festival (CT)
13 Dec Tribe 2014 (CT)
13 Dec One World Outdoor Music Festival (CT)
15 Dec Sonar Cape Town (CT)
16 Dec Sonar Cape Town (CT)
25 Dec DJ Shimza's 6th Annual One Man Show (CT)
29 Dec Smoking Dragon New Year's Eve Festival (CT)
30 Dec Electric Vines New Year's Eve Festival (CT)
31 Dec Rezonance New Year's Eve Festival (CT)

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Famed British DJ in self-imposed exile, DJ Harvey, made a rare appearance in Manchester on Friday night at Gorilla with a show presented by Red Bull Music Academy and The Warehouse Project, performing a three hour set to a room full of up-for-it Mancunian party people.

After forging a reputation in the acid house era, throwing debauched beach parties at Brighton's Black Rock, Cambridge born Harvey spent a significant portion of the nineties scoring events at clubs around the world - playing long genre-spanning sets, elbow to elbow with pioneering selectors like Francois Kevorkian and Larry Levan, before they were known, let alone revered, this side of the Statue of Liberty.

The beautifully politically incorrect label he co-curates with Gerry Rooney, Black Cock Records, his hedonistic warehouse parties in Los Angeles, where he now calls home, and a long stint playing exclusively at thirtyninehotel, the club and gallery he began with his wife in Honolulu, Hawaii, help ensure Harvey's name is practically whispered in some circles. But it's his nose for magic in the record shops which draws DJs, collectors and party people to his gigs in equal measures - and his ability to crack even the most ardent hoarder over the head with great music they'd never heard before.

Friday night in Gorrilla - formerly the Green Room on Whitworth Street West - was no different. Harvey appeared around 1am, peering out across the crowd from the DJ booth (a ten foot high window, cut out of a wall of blue, rectangular electrical units at one end of the hangar shaped venue), after an easygoing, but engaging mix of vintage house and disco from Manchester heroes The Unabombers - a perfect warm-up that did enough, but not too much.

Looking cheeky yet ever so slightly sinister, with long, gray hair slicked back over his skull - not unlike the French actor, Vincent Cassel - Harvey immediately moved the sound in a tougher, more acidic direction, and the lighting engineers responded accordingly, injecting the room with colour, strobes, and dry ice. The audience was a mixture of mostly 30 and 40 somethings - the Electric Chair / Electric Elephant faithful - but there were plenty of younger clubbers too, responding in earnest to the rolling kicks, snares, and 303 lines whilst white lights met with white smiles the length and breath of the venue.

As expected, Harvey's set meandered from genre to genre, telling stories in his trade mark no bullshit quick and deft mixing style. The rare disco, dusty and of an authentic vintage, sounded rich and nostalgic whilst it flowed from the Martin Audio sound system, but arguably his excursions into sleazy, otherworldly, psychedelic funk, acid and taut Chicago house generated the most drama on the dance floor, and created the lasting memories.

It's probably largely futile for all but the sharpest spotters to attempt track-listing a Harvey set, without lots of time and a recording - but imagine being taken on a drive back and forth from hypnotic, Spartan acid techno, to eccentric proto-house; organic funk to soaring, filled out disco house, a la Rune Lindbaek, and you've got the scent of what I'm trying to describe. It was sometimes stunning, other times disappointing (disco after techno in a warehouse style venue can struggle; though that is, of course, a matter of preference) but consistently a very good time.

Is Harvey worthy of the hype? "I thought he was brilliant; one of the best I've ever heard", Sarah, a nurse from Withington, gushed outside the venue. "I love house music - but not all night. Harvey keeps it from getting boring". Mike from Glasgow concurred: "yep, absolutely top stuff - like you, I'd have preferred some more techno in that room - some more filth - but I loved it all anyway. Wicked night".

Five more dates have just been added to the upcoming Warehouse Project series. More information can be found here.

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Fans of Burial will finally see the release of ‘Lambeth’, a radio rip of which has been circulating online since 2009.

Burial has become famed for maintaining an extremely low profile and the sporadic nature of his musical output.

Hyperdub have been celebrating their 10th anniversary this year with a series of compilation releases. ‘Hyperdub 10.4’ will be the final release of the series and is out on Monday 3rd November.

Hyperdub boss Steve Goodman AKA Kode9 says:

"It’s Burial beats [but] the music on top of it is maybe different to what people are expecting from the last few releases he’s done, which have been more like montages, cut-up of different tracks," (via FACT).

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CIROC works with top talent from around the world. They will be collaborating with the personalities to boost the profiles and projects of the artists and themselves.

Of the four involved, two are musicians – Da L.E.S, and DJ Dimplez. They are joined by couture artist David Tlale and presenter and model Bonang Matheba.

“Together, these personalities embody the character that makes up a uniquely CÎROC experience and lifestyle. As we welcome them to a new stage upon which to celebrate their achievements, the CÎROC Circle is also indicative of South Africa’s new-found international celebration status,” says Dominic Meaning, Head of Reserve.

Da L.E.S is a hugely successful hip hop artist with massive reach and fans across radio and the club scene. The massive March tune "Fire" caused a heatwave across the airwaves over the last few months. On the album Mandla's Money, he's said: “The whole structure and formula of Mandela’s Money is like Fresh2Def. There is a really powerful intro stating what I am about, using excerpts of Mandela’s speeches. Then I go into the second song which is about me. It then goes into some club bangers and three songs about girls. This first is No Kidding which is really romantic. You Already Know features Sphum and it talks about the intimacy of sex".

He tweeted about the project that it created a “Serious Circle of Luxury in this family”.

DJ Dimplez is a figure in the South African scene, with his track “Yaya” having been a recent number one on 5fm. In the South African Hip Hop Awards 2013, he won Dj of the Year 2013, Hustler of the Year 2013, and Promoter of the year Gauteng 2013. Pop Bottles™ is his latest events movement. These are Sunday afternoon events that cater for all types of people that enjoy different types of Hip hop. These sessions have pulled in crowds of over 700 people, dubbing it the one of the most successful hip- hop events in Joburg.

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Steffi's new track 'Power Of Anonymity' is now available to stream. The track shares the same name as the album, which will be released on 24th November via seminal Berlin imprint Ostgut Ton. 

Steffi said:

“I wanted to start working on my new album without any personal or external expectations and I was seeking an emancipated, unshackled approach in the album’s construction. I intended to include Electro and IDM elements as these are my roots: it's the music that I first started djing. After almost 20 years I got the feeling that I've come full circle, so I wanted to make an album that I, as a DJ, would like to carry in my record bag".

“Power Of Anonymity” European Album Tour Dates:
01 NOV UK, London, fabric
08 NOV DE, Berlin, Panorama Bar
14 NOV DE, Munich, Bob Beaman
15 NOV DE, Cologne, Heinz Gaul
21 NOV IT, Milan, Dude
22 NOV IT, Rome, Rashomon
28 NOV NL, Utrecht, Tivoli
29 NOV UK, Glasgow, Sub Club
05 DEC NL, Amsterdam, Trouw
06 DEC DK, Copenhagen, Culture Box
12 DEC FR Paris, Rex
13 DEC DE, Offenbach / Frankfurt a.M., Robert Johnson
14 DEC DE, Berlin, Berghain
27 DEC IRE, Dublin, Twisted Pepper
28 DEC FR, Lyon, Le Sucre
31 DEC NL, Rotterdam, Maassilo
01 JAN DE, Berlin, Panorama Bar
(more dates for TBA)

Listen to Steffi on Pulse Radio. 

For the first time in eight years, legendary duo Deep Dish is heading back to LA to headline Avalon on Saturday, November 1st. Deep Dish last played Avalon in 2006 to a sold-out crowd, leaving their mark on the city of Los Angeles. Finally, the two are making their official return.

2014 has been a big year for Dubfire and Sharam. In March the two reunited after eight years, performing as Deep Dish once again at Ice Palace in Miami. Since then, the two have been making their rounds, stopping off in Ibiza, Las Vegas and EXIT Festival. This is a legendary night in the making, don’t miss out.

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With only a year under its belt, Sullivan Room Records has succeeded in establishing itself as an imprint that never lost sight of its history. With countless memories cultivated by music lovers during Sully’s eleven year run in the concrete urban jungle that is New York, one would only assume that an imprint bearing the same name would certainly have to carry a heaping level of responsibility. SoundPark sat down with founder, Meandisco, to discuss the year after Sullivan Room closed its doors and the imprint that was nurtured from it.

We caught up with you around the same time last year, which happened right after Sullivan Room was forced to shut down. How has everything been going for you since then? M: This year flew by tremendously fast and looking back I’m amazed how fruitful it has been. I’m grateful for the support and wonderful feedback I received so far and you guys having me back to catch up. The result of being able to dedicate myself to the label, studio time, multiple events, and gigs has definitely been paying off. Seeing the progress is motivating and inspiring creatively.

The party must go on - as you proved by continuing to throw events and taking on more gigs outside the club. Which one of these events has been most memorable? M: The party does go on! I’ve started doing more events, and taking on more gigs, which allowed me to further promote the label and releases. From hosting “THE LOOP” parties to joining forces with my event partner Abdel to develop “CONFLICTED”, a weeknight party series that features such talent as Anthony Collins, DJ W!ld, Gel Abril, and others. As well as playing and supporting my boys throwing “STRANGE PEOPLE” events in NY, with such talent as Stefan Z. Although our CONFLICTED Wednesday nights have been lots of fun to play, this year I’ve had some great memories playing along a stellar line up at “RESOLUTE”, and a great “MONDAY SOCIAL” night in LA’s Sound Nightclub. And of course, getting the opportunity to play at Burning Man for New Days Eve Party by Kostume Cult.

The response to your first year of events has been solid, are there any plans to create some type of residency? M: I’m thankful to have so much wonderful talent come on board, as well as agents, venues and the teams for helping make it “solid”. I’m planning a few Sullivan Room Records events and an idea of a residency to feature more talent from the label. In the meantime, I’m happy for opportunities to join esteemed events around NY to promote my main focus, the label. Friday November 7th I’m back to play for “RESOLUTE” with Nina Kraviz and our beloved Connie, who has a remix coming out on the label shortly. November 13th I will be playing in the city with my personal favorite of late, RE.YOU.

While a year isn’t that long, it’s still plenty of time for some evolution to occur. Focusing on the Sullivan Room Records, how has it started to evolve? M: The evolution is taking place together with the artists, music and fans. It expands further into a broad horizon of House & Techno, for which the brand stood for years. Now the label reached a new horizon with a building fan base in areas it has not been present previously as a brand at all. There has been a massive growth in a social media segments, as well as beatport and soundcloud. This year, I’ve had instances, where I was approached with “Hey, I play music from your label..” by a complete stranger, walked into a party, hearing a record from the label, and being sent videos of tracks played at parties...

You’ve put in some serious work, pumping out an impressive amount of quality releases over this time period. How do you ensure everything you release both represents and pushes your brand forward? M:hank you. I try to stay true to a few principles of utilizing a support network, combining talent on releases and continuously feature new artists. Sullivan Room has always stood for House & Techno, which allows the broad spectrum and more open genre, so fitting for the modern dance floor, DJs and music fans. Sullivan Room Records however, is not a “boutique” label and it does at times have limitations due to that fact. In this case, staying true to your roots and giving way to new talent represents the brand.

If you had to pick a couple, what were some of the stand out releases you were most proud of? M: As a “label boss”, I’m proud of having the ability to work with all the talent I have on board, which each in their own way stand behind a style, musical ideals, direction and skills. As a DJ, I try to keep my personal tastes separate, to do justice to the Sullivan Room brand and its history. We had a series of amazing releases, from the heavily supported “Charming Kitten” by Filsonik, Zoo Brazil’s “Golden Dreams”, Dave Seaman’s “Distraction Tactics” and, Florian Meindl’s “NYC Flash” with a groundbreaking remix by Marco Bailey.

We’re sure you have tons of excellent material in your queue; tell us about your upcoming Sullivan Room Records 1 Year compilation. M: There are quite a few releases lined up and the “Sullivan Room 11+1 Sullivan Room Records” 1 year compilations underline and project the highlights. Part A focused on HOUSE, Part B on TECHNO HOUSE and for PART C, out November 3rd, I feature some personal picks as a DJ and bring forth musical works by Lorenzo Dada, Danielle Nicole, Corey Baker, Neil Quigley, Einsauszwei, Mobius Strum, Hands Free, Martin Patino and Allan Byallo (Check out more at: soundcloud.com/sullivanroomnyc)

We don't see nearly as many compilations released today as we did in the past. What separates a promo mix from a compilation? Tell us about how you prepare for both. M: I think a compilation entitles the releases that expose a musical direction based on the label as an outlet and its author representing that outlet. On the other hand, a promo mix exposes the DJ as the author and an outlet combined and is obviously not limited to material from one label. I think with one year behind, the time and the catalog allowed the perfect opportunity to present a compilation. As the process working on the label takes much attention, each record allows its in depth knowledge. By the time I was ready to do the mix, I knew each record by heart and had the idea for the order of the tracks. I recorded the mix in hopes it would be played many times over, with an idea to take the listener on a journey.

Tell us more about the artists and mixes you’ve chosen in this feature. M: Thankfully “The Scumfrog” needs no introduction, he’s a long time Sullivan Room family member, my personal musical hero, who took part in history and the present of the brand, as a resident DJ of the club and a remixer of my track released earlier this year. I was able to, once more, musically reconnect with him at Robot Heart (hosted by another longtime friend Jason Swamy, with whom, I spent many a night in the “basement” of Sullivan Room) I’m thankful that Jesse (The Scumfrog) continuously supports the label and delivers an insightful mix into one of his nights. Slow Hearts are a multi talented duo from Berlin, who are ahead of their peers in many ways and I’m more than grateful to be able to work with such talented individuals.

Check out Sullivan Room Records on Facebook here: facebook.com/SullivanRoomRecords

And for more from SoundPark Music follow this link: facebook.com/theofficialsoundparkmusic

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James Holden
Balance 005
EQ Recordings

10/10

By now, everyone with a pulse and an interest in electronic music knows the Balance Series; luminaries such as Danny Howells, Radio Slave, Joris Voorn, Nick Warren and recently, Danny Tenaglia and Hernan Catteneo, have all featured on this suite of compilations. Spawned in Melbourne, Australia, by EQ Recordings (now Balance Music), the Balance Series commenced in 2001 with early releases from local champions Sean Quinn, Kasey Taylor and Phil K. However the watershed moment for the fledgling mix CD series came in late 2003 when the label secured James Holden for the fifth release. Amazingly 11 years old now, we turn our ears back to this instalment for a retrospective review.

Despite being only 24 at the time, James Holden garnered a definite buzz in the electronic music scene depsite not quite yet being the 'King of the Pixies' as Pete Tong referred to him (apologies to Mr. Holden if he's reading this). 2003 was a big year for the UK producer; he started his Border Community label and with it a home for progressive house and techno acts such as Nathan Fake and Extrawelt. Still three years away from releasing his debut long-player 'The Idiots Are Winning', Holden already had a slew of big singles and remixes to his credit ('Horizons' or 'Nothing', anyone?).

Though for both James Holden and a relatively unknown series to the world outside of Australia, Balance 005 was a game changer. Disc 1 is an incredible way to escape reality. At the time, Holden was already being heralded for his genius production skills, but his prowess behind the decks was still to be recognised. The inclusion of now well-regarded names such as Petter, Avus and Nathan Fake (at the time, very much rookies) speaks volumes for Holden's track selection. Flowing through the opening sequence to the first Petter track 'All Together' is a deeper affair, before moving to the cracking remix of Jase From Outta Space's 'Do What You Want' by Infusion and then a pair of trippy remixes of Nathan Fake's mind-bending 'Outhouse'. The disc then peaks with the fantastic proggyness of 'You Are Sleeping' by PQM and Luke Chable, before immediately changing the mood with Petter's 'These Days'.

The second disc is an altogether different story. Somewhat dirtier, though still full of layers, the highlights on relistening are mainly Holden's technical skills. The first few tracks moving into 'Your Body' by Avus are wonderful, but the bridge across to FC Kahuna's 'Hayling' via Scape One's 'PFX Tokyo' is awesome. A similar move is made a few tracks later when 'Lifeformation' by Epilson 9 hits (Infirmal Machine mix) which breathes a second wind into the journey, when you really appreciate the harnessing (then release) of sonic energy that Holden displays.

So just on 10 years later, how does it fare? Arguably, better than the first time around. In late 2003 the electronic world was a different place not just for listeners but also for James Holden. Balance 005 was a groundbreaking release then, and like a full-bodied Cabernet Sauvignon it has aged wonderfully. The most striking part of this release is its currency, and unlike many mix compilations of the same period, Balance 005 doesn't sound dated or stale, which says more about the quality of the compilation and Holden's skill than it does for the time that has elapsed since its release. In such a context, genuine appreciation can be had as this mix is not constrained by the context of its time but rather the emotions and effect it has on the listener now.

As for Balance, James Holden's 005 single-handedly put the series on the global map, instantly placing it alongside the likes of Global Underground and Fabric and opened the floodgates for a plethora of big name DJs all wanting to helm a release. Now up to its 27th instalment, the Balance Series has flourished and is no longer exclusively a reflection of Melbourne dancefloors but an internationally respected compilation album. Dig a little bit deeper into your record collection and give Balance 005 another go. If like us you've listened to a lot more music in that time, your ears will discover a whole new experience.

Tracklist:

CD1
01. The MFA – The Difference It Makes (Original Mix)
02. Meta.83 – Antrieb
03. Jake Fairley – Oshawa
04. Zeta Reticula – Tool 1
05. Petter – All Together
06. Baby Ford & The Ifach Collective – Bad Friday
07. Zeta Reticula – Tool 3
08. Avus – Re
09. DJ ESP – No Future EP: No Future (Soundburnt Mix)
10. Jase From Outta Space feat. Claire – Do What You Want (Infusion’s Sky mix)
11. Nathan Fake – Outhouse (Fluffy mix)
12. Nathan Fake – Outhouse (Original Mix)
13. Fort Dax – Fortune Telling Fish, Curled to Suggest ‘Home’
14. PQM – You Are Sleeping (PQM vs. Luke Chable Vocal Pass)
15a. Petter – These Days (Instrumental)
15b. Baby Ford & The Ifach Collective – Bad Friday (Beats)
16. Herrmann & Klein – Leaving You Behind (Without Knowing Where To Go)

CD 2
01. Meek – Happy
02. Meerkat – Colours (JH Re-edit)
03. Avus – Your Body (Original Mix)
04. Scape One – PFX Tokyo
05. FC Kahuna – Hayling (Kosmas Epilson mix)
06. Holden – The Wheel (Pass 1)
07. Kotai + Mo – Black Acid pt 1
08. Epsilon 9 – Lifeformation (Infimal Machine Mix)
09. Carl A. Finlow – Ghetto Server
10. Gill Norris – Forme
11. Ficta – Eli
12. Petter – Tonediary
13. Form & Function – Wonderland (Original Mix)
14. Meta.83 – Metalgroove ep:End Titles

James Holden (Live) 2014 Australian Tour Dates
06.12.14 - Subsonic Music Festival, NSW
10.12.14 - HiFi Bar - Melbourne
12.12.14 - Meredith Music Festival - VIC
13.12.14 - Oxford Art Factory - Sydney[BUY]

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Autograf, known for their eclectic blend of funk and groove that they’ve lovingly dubbed “future house” have just unveiled episode one of the new 'Future Nites' series -- a fantastic remix of Dirty South‘s Unbreakable. Pulse Radio recently caught up with the multi-talented trio of producer’s Jake, Mikul and Louis who gave us the low-down on their life sized art installations, Chicago roots and the all important future. 

Autograf stepped into the scene last year with some awesome remixes. How did you initially get into electronic music? Was there an “Aha!” moment? Jake: For me the moment happened when I got a synthesizer for a birthday gift from my parents. I think the week before I had bought the Mortal Kombat Soundtrack. 1995 baby!

How did you start working together? Louis: I met Mikul because I was dating his ex-girlfriend. Then Jake started dating Mikul's girl. I think we just all share a love for girls, and music too of course. Seriously (not that any of that wasn't true), we started this project to do visual art. We started out by building a big 8-ft Autograf"Future Soup" can sculpture, screen printing large Autograf Brillo boxes, wood cut outs, stencils and wheat paste for street art and more. The project just started as a fun creative outlet for art and then at some point the music came and here we are. 

You’re from Chicago, how did growing up there impact your aesthetic musically? Who were you inspired by? Mikul: When I was in High School everyone went to shows at The Metro, so just appreciating bands made us want to incorporate more of a live element into electronic music. Someone from Chicago we're inspired by is Felix da Housecat.

What's on the horizon for Autograf? Louis: We've followed "Future Summer" with "Future Tropical", a series of releases for our Future House meets Tropical House concoctions. Now we've launched "Future Nites" a series of remixes and originals which focuses more on making songs geared toward our live show. So yeah we like the Future!

Mikul: As for the live, we just got a marimba and I'm making an electronic steel drum along with some midi controller instruments for the set.

And what is different about “Future Nites”? Live instrumentation will be an important part of our performances and songs, but “Future Nites” will stay true to the club. As summer turns to fall, and day turns to night, we hope that you’ll paint these empty canvases of endless possibilities with us. It’s about leaving your mark on the world. It’s about leaving your Autograf. That is "Future Nites".

Autograf have unveiled a fantastic remix of Dirty South‘s 'Unbreakable' as part of their "Future Nites" series. This is the first of the "Future Nites" remixes, so it sets the bar pretty high. Hear it for yourself below:

Let's talk art, what's “Future Tropical Animals?" Louis: It started out with these life-sized animal wood cut outs we made. We brushed blackboard paint on them and put them around the city. They were safari game animals juxtaposed in an urban setting on buildings. We put chalk next to these blank blackboard cutouts to invite and encourage people to participate in the art making process by drawing on them. One of them kind of turned out to look like a Basquiat, which was pretty cool. Though, I'm not really sure if that's flattering to Basquiat.

Mikul: So to continue along that theme, we made a whole series of "Future Tropical Animals" to be wheate pasted around cities. Basically, it's animals wearing tropical shirts, they look like animals on vacation. It's just another social commentary about the unnatural environments we live in.  

Autograf recently released some awesome free remixes (thanks!). We’re really feeling “Team” by Lorde. How do you go about selecting tracks to remix? Jake: We usually just latch on to songs that we hear new music over. Sometimes you'll hear a song and immediately hear a counter-melody in your head- and before you know it you have a remix.

Enjoy and download the future-house tropical remixes by Autograf below: 

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Awkward hand raises, incomplete drops and plenty of fist pumping make this a must watch. Norwegian comedy troupe, Kollektivet, showcase their alter-egos 2MNYBTNS during a blistering performance of controllerism in their latest YouTube short.

The spoof plays into the tried and true button pushing argument, but takes it too excessive heights as the mop-topped duo slam pads on a stage covered in a wide assortment of midi controllers. What starts out as a coherent beat turns into a sloppy array of sample triggers, culminated in an explosive conclusion.

Through it all though, they never forget the most important part of DJing: always keep one hand in the air.

Source: DA

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45 Remixes have been made in a competition launched by Equinox Experience, with the spotlight being shone on Israeli progressive psy-trance producer Static Movement, who is set to play at the Equinox Experience Music Festival – ‘Expose’ - on 22 November.

Static Movement’s track ‘Inner Voice’ has been remixed by a range of artists, and voting opened today at 8h00 for the public to choose their favourite of the 45 tracks. Voting closes on Friday at 17h00.

Shahar Shtrikman creates a beautiful sound which weaves together his childhood experiences of classical music, his love of metal and alternative rock from the time he spent working as a sound engineer, his use of analog and digital, and his passion for varied and interesting trance with a very solid groove. His piano skills and love of story telling shine through. In 2014 Static Movement signed exclusively to Iboga Records.

Check out all the entries on the Equinox Experience Soundcloud page, vote on the Equinox Website and find all the details for the Cape Town event at the Equinox ‘Expose’ Facebook event page.

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For the release of his third artist album, 'False Light,' Minus'Gaiser will embark on a multi-country tour this winter.

Having already hit New York and Los Angeles, the tour sees the minimal techno innovator head to clubs like D-Edge and Warung in Brazil, as well as in the UK at London's Village Underground, Glasgow's Sub Club, and Manchester's Warehouse Project, wrapping up the month with two dates in Switzerland. In December, Gaiser will play several countries across Europe, including Belgium, Romania and France, finishing the tour in January with two shows in Portugal and more dates across France.

The 'False Light' tour will see also see Berlin-based artist incorporate an all new visual element to his live shows, which he developed with Turkish artist and director Ahmet Said Kaplan and debuted at this year’s Amsterdam Dance Event. Watch a teaser below. 

'False Light' will be released on Minus on November 10th, 2014. 

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