Our freshblood mix this week comes from D’Phault, who will be performing next week at an exciting new event showcasing the best newly flourishing artists in the house scene.

D'Phault has a simple desire, to let his music express what words cannot. Born in Johannesburg, South Africa D'Phault was a self-taught pianist. Joining the Soul Candi Institute of Music at the age of 18, he desired to better his skills in music as an art as well as the production of it.

Signed to Blindfold Recordings (Denmark/Barcelona), D'Phault has played alongside major International and local artists, with a sound inspired by Noir Music, Mario Basanov, Rodriguez Jr., Stimming, Pete Oak, Mano Le Tough and Bonobo amongst others.

Tainted Soles presents 'The Unknown' which will host D’Phault and other talented emerging artists. This is ‘a fresh, new take on parties’ that scouts for ‘newbies, hidden gems and rough cut diamonds and showcases them alongside established names in the industry, a fine combination of legends and the next "Big Thing". Taking place on 30 November and free of cover charge, the event will feature:

• Whitey D'Vine
• Nick Essential
• TMO ( tainted soles )
• Gerrad Be
• Deep Souls
• House Mobb
• JED the Beat boxer (LIVE)
• D'Phault
• BlewBox Production

Check out the event page here.

On 26 Nov 2014 (Wednesday before the event) there will also be an Unknown official Listening Session at the LIBERATION CAFÉ (old Melville), also with free entrance. 

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Originally built in 1907 as a state swimming pool in located in Wedding, today Stattbad is a cultural complex, with art showings, specialty food presentations, and of course, parties.

This Saturday saw the weekly Stattnacht with Detroit’s Juan Atkins playing in the venue’s large swimming pool, and Belgian techno-experimental DJ and producer Peter Van Hoesen on the Boiler floor. So with that in mind, we headed over to Wedding to see what it was like to rave in a swimming pool.

As we got nearer to the venue, we suddenly became nervous that they might be turning some would-be clubbers away. Specifically, when two younger American girls passed us going in the opposite direction, one complaining that, “all I wanted to do was get in to make out with someone,” we knew we might be in for a wait.

Luckily, we packed a few beers along for the queue, and though it did take an hour to get to the front, it did seem to pass with relative ease. At the front, we were faced with once again dealing with strict doormen. Remembering my lessons from Berghain, we remained quiet and calm, looking every direction but at the doorman’s, and after asking how many we were, he looked us both in the eye and said, “Okay. Have fun,” causing us to burst inside in the hopes of making a much needed trip to the bathroom, only to be held up for a search. Finally, we were in, and it was one more trip to the coat check, and we were free to explore the venue. Though truth be told, the hour and a half trip through the door had taken its toll.

Not quite ready to jump right into the fray, we made our way to the surrounding railing on the left side of the pool, allowing us to take in the impressive site below us as a full sized swimming pool full of young, happy clubbers danced to straightforward techno from Juan Atkins. It wasn’t long before we were enticed in.

However, one thing I didn’t anticipate was the floor’s downward curve to the deep end where Atkins was. I was almost immediately uncomfortable as we danced on the slope. Though Atkins’ quick techno cuts made for highly enjoyable listening, once he headed over to house, suddenly things went wrong. It seemed something threw him, as mix after mix of classic, disco-infused house was uncomfortably off time. The dance floor began to empty, and after another ill-conceived mix, we moved with it, hoping Peter Van Hoesen could lift our spirits.

As we made our way downstairs through a narrow hallway covered in pipes and valves, a dark, fenced-off side room caught our eye. Peering in, we could see a cavernous chamber housing a giant gas cylinder surrounded by steel pipes jutting at every angle, two red lights casting an ominous hue on everything. Moving on, we grabbed a craft beer from the bar, then slowly worked our way into the packed and compact Boiler floor.

Unfortunately, in order to reach certain areas of the venue, cutting through the compact dance floor is a must, meaning that there’s an almost constant flow of traffic. Add to that a sprinkle of partygoers who seemed intent on beings as wasted as possible with a few wildly gyrating and spatially unaware clubbers, and getting even a moments peace in which to dance proved quite difficult. Luckily, Van Hoesen was totally on form, expertly lacing raw, futuristic sounds with dramatic, emotive techno. At one point, he wound down to a break that lasted so long you would have been excused for thinking a new artist had hit the decks, only to waft the energy back up with exquisite melodies that lead straight back into slamming, no nonsense beats.

Along with techno, Van Hoesen delves into experimental productions, which can be heard in his sets as wild, seemingly random noises punctuated throughout. Winding atmospherics from Stubbusch’s “Fat Filler” gave way to tracks like The Traveller’s minimalist “A 100” and eventually the slamming electro-techno “Tundra” from J-Soul before heading back into dark, melodic territory with Answer Code Request’s “The 4th Verdict”. Along with his incredible range and ability to splice many genres into a totally coherent journey, the sheer size of his sound seemed to beckon for a larger setting. As enthralling as it was to see someone like Van Hoesen in the small Boiler floor, I couldn’t help but wonder if a festival stage might be more fitting.

Wanting to catch some of Australian-born Kate Miller, we headed back up to the pool to see how things were fairing there.

While the 8am crowd had thinned out, Miller’s measured techno laced with uplifting melodies immediately sucked us in. Miller’s presence behind the decks matched her expert selection with tracks like “Cortex” from Jeroen Search & Dimi Angelis, its fluttering melodies easing us into the morning, giving us one last push to dance. It’s no wonder Kate as seen such success after relocating to Berlin in 2011. Feeling the night coming to a close, we decided to leave on Miller’s high note, collecting our coats and heading out into the grey Berlin morning.

Despite the incredible sounds from Peter Van Hoesen and top-notch grooves of Kate Miller, the night felt a bit more like work than fun. The queues, the crowd, and the pool’s oddly shaped dance floor proved a bit more than we could handle. However, I can’t help feeling like a return trip is needed, as the venue itself is a blast to explore, the entrance price was cheap, and the Boiler floor – when somewhat less packed closer to morning – was one of the coolest rooms I’ve partied in. And despite a few rough dancers and piss heads, overall the crowd was pleasant, friendly, and ready to enjoy some world-class music.

Listen to Pulse Radio.

We’re giving away two tickets to Maya Jane Coles Presents at The Warehouse Project in partnership with Russian Standard Vodka.

Maya Jane Coles has curated the night at Manchester's Store Street venue on Saturday 29th November and a host of top house and techno artists are set to appear. Alongside Maya will be Heidi, Magda, Ten Walls, Dense & Pika, Kim Ann Foxman, South London Ordnance, Alex Arnout, Krysko and the Zutekh DJs.

Entering the competition is easy. Simply answer this question and follow the instructions:

What is the name of Maya Jane Coles’ debut album?

1. Head to the Pulse Radio Facebook page and write your answer in the comments section of the ‘Win 2 Tickets To Maya Jane Coles Presents At The Warehouse Project’ Facebook post.

2. Share the Facebook post.

The winner of the competition will be announced at 1.30pm on Monday 24th November.

Good luck!

https://www.facebook.com/RussianStandardUK

Listen to Maya Jane Coles on Pulse Radio.

Death On The Balcony
One Time Too Much EP
D-Edge Records

6.5/10

Hailing from Leeds, UK, Death on the Balcony is a duo that's helped to put their home city on the tech-house map thanks to their work on a host of inventive and always on-point labels, not least Culprit, Dilate and Dirt Crew. Their latest sees them turn out for D-Edge owner Renato Ratier's increasingly respected D-Edge label, itself an imprint that's helping to define a whole new era of South American house music. From that perspective, it's a solid match too.

Up first is the deep, sombre house-aligned timbres of ‘Keep Our Love Alive’ with its lush chords, great vocal sample and ticking beats. It’s sophisticated stuff, and it really captures a nice mood as well as making you want to dance, meaning it's a particularly useful DJ tool. Then comes 'One Time Too Much', a more tech-cut with freewheeling drums, echo effects on the vocal cries and a a real late night sense of playfulness and mischief. Last but not least is ‘History Repeats’, a loose and trip jam with cool hammering melodies, nice echo chambers for the groove to resonate in and plenty of cool synth patterns that make for a colourful track. There are three more essential and vibrant cuts that prove Death on the Balcony manage to improve with every new release.

Tracklisting:
1. History Repeats
2. Keep Our Love Alive
3. One Time Too Much

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Afro house doyen Black Coffee touches down in Room One for FabricLive alongside a group of likeminded performers and DJs at Fabric London on Friday 21 November. Presently in the midst of an extensive national tour of his native South Africa titled "A Night With Black Coffee", Durban born Nkosinathi Maphumulo is widely revered as a musical icon, legend and inspirational role model across the continent of Africa if not the world. His debut performance at Fabric London headlining Room One for FabricLive seems the natural and obvious next progression following on an exemplary 2014 season for Circo Loco at DC10 in Ibiza. As Black Coffee's most ardent and fiercely loyal fans, our pride and excitement ahead of this career milestone is indefatigable. 

Black Coffee will be heading up affairs in Room One accompanied by Wbeeza, Butterz with Elijah & Skilliam and Zed Bias. Fabric London's Friday night flagship event FabricLive, ‘exists to unite morphing strains of club music. Why? Because music evolves in elliptical circles and, as an art form, it seems to exist completely in cycles. And throughout these new and changing musical manifestations FabricLive has always existed to simply curate and align the best of these new sounds, acting as a respected stamp of approval to unite disparate sounds and scenes under one roof and often on the same night’. The Evening Standard goes on to say, “For excitement and thrills, no other night touches this one. FabricLive just keeps on cutting it.”

Brace yourselves, London! FabricLive is in for an unforgettable sonic journey at the hands of Africa's most awe-inspiring magician of beat. 

Listen to Black Coffee on Pulse Radio

A new wave of artists has been revealed for Snowbombing 2015. 

The Martinez Brothers are set to return once again after playing the Honda Snow Park Terrace last year, along with Jackmaster, Tom Demac, and Tensnake. Making their festival debut will be MK and Tiefschwarz, who'll be joined by Paul Wooford and Sub Focus. 

These line-up additions come on top of an already huge bill including Carl Cox, Fatboy Slim, Âme, Anja Schneider, Modeselektor, Damian Lazarus, and Dubfire.

Check out the 2014 highlight video below.

The 16th edition of Snowbombing will take place on 6th-11th April 2015 in Mayrhofen, Austria. For full listings and tickets, head to www.snowbombing.com.

Listen to Pulse Radio.

Various Artists
Four To The Floor Part 1
Diynamic Music

7.0/10

The Dynamic label has been on fire recently. As well as serving up more huge hits from the boss Solomun, so too are they about to start a new series of EPs that showcase the next generation of talent.

The first in the series features four new producers and duos, all with their own unique style, but one that fits in perfectly with the Dynamic vibe we all know and love. EP1 features Night Talk, Roberto Calzetta & Twin Soul, Rafael Cerato and esteble.

Swiss duo Night Talk aka long-time friends Remo and Lukas are first with ‘Mind Games’. Their track is a tech house monster full of tension, drama and great synth work. The ditty melodies are late night gems that really will bring people together on the floor. Then comes the duo of Roberto Calzetta & Twin Soul, two young ambitious guys from the south of the Netherlands that have been working together since 2008. Their ‘Bliss’ is a soothing late night jam with lazy drums and elastic melodies that make for a deep set mood and groove.

'Constellation' comes from Nervous associate Raphael Cerato and is a spiritually enriched bit of slithering house with stare night sky melodies and groaning synth lines. Lastly, estelle comes correct with the oriental sounding drums and shuffling beats of ‘Marlborough Sounds’, which is sure to become a serious anthem at Dynamic events around the world. This new series is a welcome addition tot he Diyanmic ranks and proves there is lots of great new talent out there.

Tracklisting:
1. Mind Games
2. Bliss
3. Constellation
4. Marlborough Sounds

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Music journalists love to use the word ‘seminal’ when discussing music which has being trading in the upper echelons of critical opinion for lengthy stretches of time. What exactly makes a label seminal? Longevity alone certainly suggests something is going right. In dance music in particular, the world of labels is hugely saturated, with it becoming common practice for DJs to start up their own imprints. Many of these labels simply seem to make up the numbers, failing to add real worth to the scene.

With this in mind, it’s nice to see an imprint develop with an ethos and an aesthetic that becomes instantly recognisable with that label and synonymous with high quality output. Poker Flat Recordings falls under this category and Steve Bug’s label can be counted as one of dance music’s key players in its 15-year existence. In its pioneering stake in the development of the minimal phenomenon, Poker Flat Recordings has become a record label truly worthy of the ‘seminal’ tag.

Steve Bug ventured into the murky world of running a record label in the mid ‘90s, when he set up Raw Elements. Bug encountered difficulties with the label and its identity failed to capture people’s imaginations – always a forward thinker, it was ostensibly a little too different for the musical climate of the late ‘90s.

Their distribution didn’t back them properly and ‘experimental’ tags which were flying around weren’t conducive to translating artistic endeavours into big popularity – releases such as Steve’s fidgety and weird first album, ‘Volksworld’, were evidently too much for some and Steve recalls one underwhelming reaction to his debut, “The writer said, ‘Steve Bug is on a drug I don’t even want to try’, it was the best review ever – I still have to laugh about it!”

The late ‘90s milieu that Steve found himself amongst was divided between the hard techno scene and the house scene, which was often seen as quite cheesy. Not many artists were pushing the boundaries – most were content to just play by the rules, but Bug wasn’t comfortable with this.

“At the time it was hard for me to enjoy playing in most clubs since I was either playing too soft or not cheesy enough” he proclaimed. “Only a few clubs were ready for our sound at the time, but that was about to change and so it did from 2000 on.”

Despite the struggles in finding an audience and an identity, Raw Elements served as a learning curve and out of these struggles two new labels were created in 1999. One was Dessous Recordings, focusing on deep house sounds, and the other, focusing on techier sounds, was of course, Poker Flat Recordings. Rather than give up the first time around, Bug persevered and used his past experience and his unique vision to create one of the last decade’s most influential labels.

The focus of the label wasn’t just the music – it also incorporated the desire to build a family of artists who were friends, which saw a number of Steve Bug’s friends producing music for the label in the early days. Steve sees the process as having naturally evolved, “Over the years the family tree grew and some leaves fell off, but the tree is still healthy and every few years we have new shoots showing their contribution to the family”.

Around the time of the label starting, Bug relocated from his native Hamburg to the creative hotbed of Berlin, a move which undoubtedly pushed proceedings further in the right direction for Bug. As the musical landscape began to morph, in Berlin and across Europe, Poker Flat found itself at the forefront of the burgeoning minimal scene which went on to capture the imagination of so many clubbers in the mid ‘00s. Berlin proved to be the perfect breeding ground for the label and for Steve Bug to push this unique sound. Although Berlin became his adoptive home Bug still sees the importance of Hamburg, “Maybe I need to go back to Hamburg to create another uber-monster minimal tech-house hit!”

Steve Bug’s unadulterated approach to A&R has served to fortify Poker Flat’s enduring influence. Bug highlights, “The tracks have to have a certain groove and they have to be soulful in a way.” He continues to explain, “Something I would play, I’d rather it be timeless than the hippest thing at the moment. I simply have to feel it.”

This feel for what he wants on the label has resulted in some classics over the years, which have come to define imprints output and caused many a riotous scene on the dance floor. One that springs to my mind is Argy’ ‘Love Dose’. After hearing it a number of times over the summer, 9 years after its original release in 2005, ‘Love Dose’ serves as a particularly shining example of what typifies Poker Flat Recordings and the enduring appeal the label’s releases still have. I tell Steve that ‘Love Dose’ is one of my stand-out records and he replies, “For me, Guido Schneider’s ‘Re-Moved’, Dan Berkson & James What’s ‘Ghosts’, Martin Landsky’s ‘1000 Miles’ and my track ‘Wet’ are kind of standing out.”

It is testament to the originality of the label’s output that many of these records often still get spun by the scene’s top DJs, as Steve echoes, “But in general I think we managed to keep a pretty high standard over the years. There are many great releases that are still playable today.”

The label still continues to plough on into the house and techno scene and it’s currently in the process of releasing a series of EPs featuring fresh takes on Poker Flat classics, the latest of which contains an Audiofly rework of the aforementioned fan favourite, ‘Love Dose’. More proof of the relevance and quality of Poker Flat came along with the release of Alex Niggeman’s huge track ‘Materium’, which saw countless DJs spinning it over the summer.

Steve Bug set his stall out in 1999 with the’ Double Action (Everything Is At Stake)’ EP – 15 years and over 150 releases later Poker Flat Recordings is still with us and still on the frontline of house and techno. In the ruthless and ever-evolving music industry it isn’t easy to maintain such a high level of success, especially with the fickle nature of dance music in particular, which can become so beholden to du jour trends and fads.

With Poker Flat still going strong, I ask Steve what the future holds for the label – “Hopefully another 15 years full of great music.” We’ll echo that statement, here’s to another 15 years.

Four Jacks (15 years of Poker flat) EPs out now on Poker Flat Recordings.

Part 1: http://www.beatport.com/release/four-jacks-pt-1-15-years-of-poker-flat/1385877

Part 2: http://www.beatport.com/release/four-jacks-pt-2-15-years-of-poker-flat/1392129

Part 3: http://www.beatport.com/release/four-jacks-pt-3-15-years-of-poker-flat/1400819

www.facebook.com/pokerflat.rec
www.twitter.com/poker_flat
www.youtube.com/PokerFlatRecordings
www.pokerflat-recordings.com

Listen to Poker Flat Recordings on Pulse Radio.

The Chemical Brothers’ Ed Simons will not be taking part in live performances so he can focus on his academic work.

He will continue to DJ and make music with his bandmate Tom Rowlands and the pair are set to DJ at the Bugged Out Weekender in January.

Ed Simons said:

"I have committed to academic pursuits over the last few years so I won't be able to be part of the live show. It’s been a really difficult decision but it doesn’t work for me to be away from home for the periods of time touring requires.

The academic work I’m continuing with is too meaningful for me to break from right now. I’m really excited to see how the new show looks and on the plus side, one day I will get to see a Chemical Brothers show from the audience’s perspective."

Listen to The Chemical Brothers on Pulse Radio.

Details for Circoloco Ibiza's New Year's Day 2015 party have been revealed, with Carl Cox taking headline duties. 

Also joining in the party, which starts at 3pm on New Year's Day, are the likes of Jackmaster, Nicole Moudaber, Cassy, Andrea Oliva, D'julz, Clive Herny, Adritique and Steve Rachmad. 

Just like last year's bash, which saw Sven Vath on headline duties, both the Main Room and Terrace of DC-10 will be open, and will likely head well into the early morning. 

Photo by Tasya Menker Photography

Listen to Carl Cox Pulse Radio.

Pacha Ibiza has revealed details on its 2014 New Year's Eve Bash. 

Starting at 9pm on December 31st, Pacha will transform main room of Pacha into a Restaurant Cabaret complete with dinner, shows form Lio, and music from Lio resident Sergio Mussa and Angel Linde. Flower Power resident DJ Pippi will play in The Funky Room, along with Scott Gray and more.

From there, the entire club will open. Hosted by Be Crazy, resident Jean Claude Ades will warm up, followed by Innervisions honchos Âme. 

Listen to Âme on Pulse Radio.

After another big year for Frenchman Agoria, which saw the Infine boss play dates across Ibiza, the Infine boss is now set for a debut release on Hotflush. 

Out next month, the three track EP dubbed "Hélice" showcases Agoria's natural knack for both house and techno. The title track is eerie, peak-time techno, while the B-side's "Make It Real" is a nod to the classics with an easygoing bounce, and ESS adds his touch of garage to the remix. 

“Helice” will be released December 1st, 2014 via Hotflush Recordings.

Listen to Pulse Radio. 

This weekend Sydney is in for a real treat with one of the biggest lineups the city has witnessed all year descending upon The Greenwood Hotel. We're of course talking about Lost Disco - the trusted party brand set to deliver the goods in Circoloco's absence. Different name...same awesome crowd, vibes and music.

The one and only Seth Troxler will be playing an afternoon set in the courtyard before he jets off to Melbourne (so make sure you get down early!), followed by the triple whammy of Optimo, Pachanga Boys and Ame. And let's not forget the huge local lineup of DJs playing across the Bare Essentials and Something Else rooms, and warming up the main Courtyard stage.

Full set times are below. Let's dance.

Lost Disco Courtyard
22:30 > 24:00 Ame
20:30 > 22:30 Pachanga Boys
19:00 > 20:30 Optimo
17:00 > 19:00 Seth Troxler
16:00 > 17:00 COOP
15:00 > 16:00 Softwar
14:00 > 15:00 Karim
13:00 > 14:00 Alan Thomas
12:00 > 13:00 Brother J

Bare Essentials Chapel
21:30 > 23:00 Tech No More
20:00 > 21:30 James Fazzolari
18:30 > 20:00 Zeus
17:00 > 18:30 Persian Rug
15:30 > 17:00 FAF
14:00 > 15:30 Tyson Brunn

Something Else
21:30 > 23:00 Braille DJs
20:00 > 21:30 Jaded & James Petrou
18:30 > 20:00 Dave Stuart & Ben Ashton
17:00 > 18:30 Aaron Robins & Tristan Case
15:30 > 17:00 Aidan Taber & Aaiste
14:00 > 15:30 Declan Esau & Jeremiah

Listen to Pulse Radio

In an industry where the players and rules of the game are constantly changing, one extraterrestrial phenomenon has remained constant: the presence of Ellen Allien and the BPitch Control dynasty she created to reignite the revolutionary side of electronic music. What started as a way to keep the underground movement alive in Berlin during the ‘90s, BPitch Control has now become a home to a vast community of freedom-seekers, including the Seattle born/Brooklyn bred Camea.

Speaking to Pulse Radio’s Emma Li Salditt from the BPitch HQ in Berlin, we find out how BPitch was born, where it’s heading now and what family truly means to the crew. Ellen has also recorded this week’s Pulse podcast –listen here.

What are you guys up to today? Ellen Allien: We just got into the office, it’s raining today in Berlin. I had a meeting today about our booking future, new agents and things.

Camea: I was just finishing up the master of my set at Robot Heart at Burning Man to send out to those guys so they can release that soon.

When do you think that’s going to be? Camea: Well, they have it pretty lined up right now because there was like seven artists each night for seven days so I think it’ll probably be in December. It seems like they’re doing one a week.

Ellen: Wow, that’s a lot of music!

And it’s really good music too! I can’t stop listening to Thugfucker’s set at Robot Heart. Camea: Oh I know, it’s amazing! I was like, "Oh my God, I need every single one of these tracks!" It was a sensational mix for sure. They had a pretty strong opener and then they got deep.

So we recently got the chance to see you two play in Brooklyn for the BPitch Control showcase put on by Blkmarket. How did it feel playing back in Brooklyn, Camea? Camea: Oh it was great, always amazing, I had opening duties that day so I got to spend a lot of time with friends after. Even though I haven’t lived there for seven years, when I go back it still feels like home. I am so happy and its like the same amazing people are still there. I feel like when I go back it’s like no time has passed at all, it’s like coming home. I also love the chance to go record shopping while I’m there.

Do you two have any favorite record stores in Brooklyn? Ellen: Yeah, Rough Trade is great, they have a great collection of new records. I think on the second floor they also have concerts, no? Like rock concerts. But I order most of my records from web shops, like Clone, Hardwax, Decks, Juno, Boomkat. I like to have a look on Discogs to see what’s going on, but I have all the classics [laughs]. It’s fun, I love to see how the good old classics pop-up and then disappear and you can’t find anymore of the main hits from the past because the young people really want to have the old shit now, you know? And I love that, people get so nerdy about it, it’s the addiction of music.

Ellen, you originally started your BPitch label to express that there was still an emotional, creative side to electronic music, that it wasn’t all becoming commercial. You did this for yourself but you helped a create a movement in Berlin. How has BPitch allowed you to open this other dimension of electronic music? Ellen: I opened up the label because I couldn’t find any other label that wanted to bring out my music, or they started telling me how the music had to be. Back in the days, we had house labels, techno labels and nothing in between. They closed labels like SpaceTeddy, so I decided to open the label because the movement started getting a bit weird, a lot smaller. There was a big community of commercial techno, like very bad techno. Really really cheesy music.

On the other hand, the underground scene suffered because of the overground scene. The underground scene became smaller because people thought oh, we’re not special anymore - techno is over. Many clubs closed. I mean I was a kid, this was my church, my home and my future…..and then everything closed down. It was a big depression for everybody. I was really depressed.

I thought, 'Okay, I should stop DJing, I should do something else.' For years I worked in a platinum record shop and one guy, a friend, told me to open a label. He said, ‘You know everybody, you work in a record shop, you do a radio show, you’re such a big music lover, you have so much passion.’ So he helped me open my first label, Braincandy. I have to say I fucked it up, I didn’t know what I was doing. I lost a lot of money because I worked with the wrong distributor, he was more commercial and gave me bad advice - but it was mostly my mistake. But this is how it works, you fall and then you get up.



Then I started BPitch Control. I started opening my own BPitch Control parties with another guy, Bastian Krondorfer from the gay scene at SO36. We were mostly booking female DJ’s first and then we mixed it up, in very big locations, more alternative locations. Like Tacheles, Arena, SO36. We have great visuals, it was all pretty complicated actually, we rented everything. Then Bastian wanted to stop so I carried on alone with the BPitch Label. At these parties a lot of young people came and gave me demos, and then I found out that they were all searching for a home. There was a strong communication at that moment - a new movement that we were starting - the kids are doing it. It was the time to do it, they wanted to keep it alive. We were all living together, once the wall came down. It was a very new feeling for us.

I opened the BPitch label and we sold a lot very fast, like, 'bang!'. The Berlin hype started in America, France and Spain, so we started getting bookings. We worked with a booking agency and then I started my own booking agency because the old one we had didn’t want to work with bookers in other countries. We needed bookers in every country to help us, so I felt like I had to start fresh with BPitch Control. Now you have thousands of labels and booking agencies, you can choose as an artist. It is a professional industry now, which is a good time for artists. And also for us as DJ’s because we can really focus on the music. Now the times are better. Well, maybe not for record companies but they just have to find better solutions, contract wise. It’s all comes down to talking about new ideas.

Camea is for example one artist which I found like this. I asked her to come with us because I really respect what she did. Actually I followed her with her label, Clink Records. I always bought Clink Records at Hardwax. There was this one time at Hardwax I put a Clink Record on and I asked Pete, 'Who’s behind Clink Record actually? I like it so much, it’s much better than mine.' It was so elegant, even the artwork. And then I turn around and Camea was there!

Camea: Haha yeah, I was really funny that I was there! I think it was actually the second week I moved to Berlin, I had just gotten there and was like, 'I want to go to Hardwax!' It was such a big deal for me, I don’t think I’d been there before. I walk in and look up at the wall and there’s just this huge stack of Clink Records behind the counter! It was featured, I said, ‘Oh my God!’ And then there was this lady talking about Clink, and I thought, ‘Is that Ellen Allien?’ I was afraid of her [laughs] because she’s just like so powerful, you know? And she’s just like, “Oh hi, I’m Ellen,” and I’m like “Hiiiiii, yep that’s my record on the wall.” I pretty much ran out of there I was so scared. You were there with Margaret Dygas record shopping. It was really exciting for me.

Ellen: I was so happy to meet her! She was working with other people at that point and I asked her to join us and she said, 'Oh no! I just went with somebody else.' And then at one point we just came together. Its not easy, you know?

Camea: Yeah, just listening to what Ellen is saying makes me remember just how much we’ve gone through together to get to where we are. Like this struggle she was having…

Ellen: Haha and you too!

Camea: Yeah exactly, our struggles were very similar. Just like having to run a label and not knowing at all what you’re doing. Trying to switch from an artist to a business person and understand how that works. The whole entire game of promoting a record comes into it too, and this is just stuff you don’t think about when you’re buying your first record and you’re thinking you just wanna play for your friends in a club. Next thing you know all of a sudden you’re faced with business decisions and all of these things. Same thing with agencies and everything, its just such a learning process. And everybody’s just paving the way as we go. Nobody knows where it’s going to end up, or turn out, or what the rules are. So very slowly you’re trying to get to this place where everything is running smoothly. I mean Ellen, you started DJing how many years ago?

Ellen: I started DJing in ‘94.

Camea: Yeah, I started in ‘99. It’s been a long, long time trying to get it right.

Ellen: It took a very long time to get everything settled, but now the times are different, we have so many more DJ’s. We get so many demos now, because so many labels are just closing, they don’t take anyone new anymore because they can’t sell them. So people are just searching for a home again. People are struggling to get their music out and actually have people listen to it.

Camea: Yeah, so much good music gets ignored these days.

Ellen: Because there’s so much good music out there these days, I can find so many good tracks.

Going off this current conversation, where do you guys see BPitch in 5-10 years from now? Ellen: Mm good question. I mean the question is how do we grow. It can maybe one day become a club? I mean I will always work with music and would love to always work with people. Like running the business, with artists we can exchange ideas and music and emotions through music - that’s very important. And it will be there until I’m dying. How, I don’t know but it could be many things. Maybe a gallery, a meeting point or a bar? We’ll see how everything goes, I can’t decide that. The people have to decide. I just follow the people in the way that makes them happy, and I am okay with that. Let’s see.

We also want to find out more about your new EPs. Camea your last one was 'Neverwhere'? Camea: Yeah and then I did a remix project with that one, which was vinyl only. We did some videos with it too, which was really cool. Right now I’m actually finishing up my next one. I’ve been working on it for quite a while and was just in an engineer studio last week getting everything sounding good. I’m really close to being finished, it should be out in the next months I’m sure!

Ellen: Yeah, it’s a very nice one!

Camea: It’s very trippy. Burning Man inspired. I got out there and let my mind wander a little bit and got a lot of inspiration out there. Just listening to such great music and looking at all the different art that people had brought.

Was it your first time at Burning Man? Camea: We’ll I had been there a long time ago, 2003 I think? So a long time ago. I am a much different person now from when I was a kid and went. It was basically my first time all over again.

Ellen, have you been to Burning Man? Ellen: No and I don’t think I’m so interested. It’s because I don’t like dust [laughs]. I think I would love it, with Camea there and many of my friends, and all the craziness. Also, during the summer I am based in Ibiza, I have my residency there. I am living there and I play so much in Europe. For me to get there, it wouldn’t be easy. And with all the dust...

Camea: Yeah I can say, the dust was the worst part of the experience with me. The first few days everybody is keeping clean in the RV, but then you just get to that point where nobody cares anymore. But still, it’s totally worth it. In the end actually I think the best part is that you realize that it’s not about your friends, it not about the music, it’s not about anything except your personal experience. When you get to disconnect for all of it and you just GO.

I played three nights, and then I had a free night and my boyfriend and I just took our bikes out, we decorated them crazy with lights and decorations and we just rode out in the Playa in the middle of the night. I just got lost looking at all the art installations. We met strangers and had great conversations with people, and that’s really when you just disconnect from everything that you know and love and you just totally go out there into the unknown.

Ellen, we love your vocals in your newest EP, 'Freak'. Ellen: They are so weird! It was so much fun to make. I was like freaking out, screaming and jumping in front of the mic. Freak came out in September I believe. There are now remixes coming out actually! There was one guy, a great American producer that loved the ‘Free Nation’ track so much that he did a great ‘Free Nation’ remix! And then he asked if he could make a Freak Remix, just for fun. Now we have two remixes from him, so I asked two friends of mine in Detroit (AUX88) to do a remix, and they did a great ‘Butterfly’ remix.

Radioslave is also doing a remix, so now we have a whole remix collection. It wasn’t planned, it just fell into place, which was great. Now I am working on a bonus track for that, too. BPitch is also coming out with some new artists, like Jesse Perez from Miami, I’m a big fan of his, he’s a bomb! And Ejeca, the house project from the UK. I’ve played Ejeca tracks in my set for two years now, and it’s always the best track in my set, thank you Mr. Ejeca! So we have one brilliant release from Ejeca coming out.

We would actually like to bring out less music. This is the plan for 2015, but it’s not so easy. Many people are searching for labels and they jump from label to label so we have to come up with an idea of how we want to carry on for the next two years. We are not able to bring out too much, like medium releases. We are trying to fit a lot now and it’s not so easy for all of the artists, a lot gets lost.

Ellen tell us a little bit more about your summer in Ibiza. What were some highlights for you? Ellen: Oh man, there are so many stories. The highlight is always on Mondays, because Mondays are CircoLoco parties at DC10. Those Mondays are amazing, I drink a lot [laughs]. I am surrounded by amazing artists and friends, all having so much fun together, and listening to the best music and the best DJ sets ever. Every DJ is playing one and a half hours and everyone that comes to Ibiza is in a good mood, you know. There’s a big back stage where all the promoters are and many interesting people are back there to talk to. If you want to dance you can just go to the dance floor. I love to find Spanish people in the crowd actually, not just hang out with DJ’s from the UK, Germany and France. It’s nice not to only talk to the DJ’s, too. The Spanish fans make the island very nice for me. I go to Ibiza not to promote my business or anything, I just go to bring my energy. I’m not interested to do any business over there, this island is a getaway for me. My sister lives there and my nephew grew up there, so it’s a bit of a family affair. For me Ibiza is more an emotional experience than a business working tool. My boyfriend is actually working for Circoloco in Ibiza, we met during my residency there. So Ibiza is like a love story for me, it’s like a home for us.

We have one more question for you two. If you guys had one day left on Earth, what tracks would you just have to listen to? Ellen: For me it would be Bjork. Everything on her debut album, it’s the best one of her’s. It’s amazing, I still play it in clubs. For me she brings the emotions of the future of women in music, our freaky-ness or whatever.

Camea: Oh my God, I don’t know honestly. That is such a hard question! Honestly, knowing me, I’m such a sappy, emotional person, I would probably put on some classical music. Like listen to some Vivaldi, Four Seasons or something. Just emo my way out of this world. I love listening to DJ mixes a lot at home, but if I just need to shut that all off, I’m always listening to classical music, or reggae. Reggae would be my second choice, I would sit back and bob and weave my way out of this life, until it’s all over.

Ellen: Yeah, I could do reggae too. You know, smoke a spliff and say ‘Ciao, world.’ Knowing us though, we would come back to rule the world, anyway.

Ellen Allien Tour Dates
14.11.2014 ES / Barcelona / Camea, Ellen Allien, Kiki - BPC Showcase @ Nitsa
15.11.2014 IT / Bergamo / Aérea Negrot, Ellen Allien - BPC Showcase @ Bolgia
21.11.2014 DE / Offenbach / Ellen Allien, Kiki - BPC Showcase @ Robert Johnson
22.11.2014 CH / Zürich / Camea, Ellen Allien, Kiki - BPC Showcase @ Hive
28.11.2014 HU / Budapest / Ellen Allien @ Akvarium
29.11.2014 UK / Birmingham / Ellen Allien @ The Rainbow Warehouse
05.12.2014 AU / Monkerai / Ellen Allien , Garry Todd @ Riverwood Downs
06.12.2014 AU / Sydney / Ellen Allien @ Subsonic Festival
12.12.2014 JP / Osaka / Ellen Allien @ Circus
13.12.2014 JP / Tokyo / Ellen Allien @ Galaxy
19.12.2014 BE / Antwerp / Ellen Allien @ Café d'Anvers
20.12.2014 IT / Florence / Ellen Allien @ Tenax
27.12.2014 UK / London / Ellen Allien @ Koko
31.12.2014 IT / Bologna / Ellen Allien, Shinedoe - BPitch Control Showcase @ Link
01.01.2015 IT / Naples / Ellen Allien @ Duel Beat
02.01.2015 DE / Berlin / Ellen Allien - BPC Showcase @ Watergate
03.01.2015 ES / Madrid / Ellen Allien @ Mondo
09.01.2015 MX / Playa del Carmen / Ellen Allien / DJ QU / Camea - BPC Showcase @ BPM
16.01.2015 ES / Ibiza / Ellen Allien / Circoloco @ DC10

Camea Tour Dates
14.11.2014 ES / Barcelona / Camea, Ellen Allien, Kiki - BPC Showcase @ Nitsa
22.11.2014 CH / Zürich / Camea, Ellen Allien, Kiki - BPC Showcase @ Hive
19.12.2014 CH / Lausanne / Camea @ La Ruche
20.12.2014 DE / Berlin / Camea - Mint @ Bi Nuu

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After making a historic U.S. debut last year, the world's longest dance festival Mysteryland returns in 2015 for its second edition at Bethel Woods Center for the Arts, New York, the site of the legendary 1969 Woodstock Festival. With a clear focus on culture, art, talent, creativity and sustainability, the festival takes visitors to inspiring and surprising worlds where literally anything is possible. Mysterland have just announced that tickets will be available for presale on 4 December, 2014. 

Mysteryland is the longest running electronic music, culture and arts festival in the world, active since 1993 with international editions in Chile, the Netherlands and the United States. Taking place over Memorial Day Weekend 2015, Mysteryland’s second installment will expand to present an even more immersive festival experience, starting with new and improved campgrounds with increased capacity and camping options, plus more musical programming to offer campground visitors a full three-day festival experience.

Watch the Mysteryland 2014 Official Aftermovie below:

Mysteryland aims to create a diverse global community of creative, free-spirited fans coming together in the most inspiring natural landscapes to celebrate, explore and discover new boundaries in the ever-evolving electronic music culture. To achieve this goal, Mysteryland collaborates with the cutting-edge curators, artists, and performers of all genres who personify New York City’s cultural sounds and mediums of self-expression. The first wave of Mysteryland 2015’s music, culture and art curators will be released in the coming weeks.

To create an even better camping experience, Mysteryland 2015 adds a new outdoor camping stage dubbed “The Pineapple Paradise” in addition to the return of the Camping Circus and BangOn! bus, for a total of three Holy Ground stages. An exclusive pre-festival kick-off party for Holy Ground campers will take place on Friday, May 22, 2015 from 2PM - 2AM, for a total of 12 hours of music, art and revelry. Additionally, opening parties called “The Breakfast Club” will kick off each day of the festival starting at 11AM to lengthen the weekend festival experience for all Holy Ground campers.

Tickets
Pre-sale tickets go on sale December 4 10AM (EST) - Register at the official Mysteryland Website. 
The pre-sale for MasterCard cardholders begins December 3 10AM (EST)
General on sale begins December 5 10AM (EST).

Festival information
Mysteryland
May 22-24, 2015
Memorial Day Weekend 2015
Bethel Woods Center for the Arts
Bethel, New York

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Tilt
Resonator
Pro B Tech

5/10

For a dance music group that has been around for over 20 years, it is surprising that I know little about Tilt. But a simple Google search of the group shows some evidence why this might be. Tilt started off as a trio, consisting of Mick Park, Mick Wilson, and John Graham who, through the love of rave clubs and chance meetings with luminaries such as Sasha and Paul Oakenfold, got together in 1993 to produce and release their own material of acid house with a twist of progressive undertones. Their early days consisted of singles and remixes, most notably their rendition of Robert Miles’ infamous Children. An album didn’t surface until 2004, when they released ‘Explorer,’ but by this time, Graham had left the group with Parks and Wilson continuing to release singles under the moniker, as well as recruiting Andy Moor. Their previous singles and ‘Explorer’ didn’t have a strong presence in the UK charts, and soon after the release of ‘Explorer’ Wilson, departed the group. Another personnel change saw Moor depart, and Nic Britton join the group. And so finally, Tilt has settled as a two piece, with original founding member Park, who is joined by Britton to deliver this latest LP – ‘Resonator.’

Having survived all these years, through a torrent of member changes and ever changing musical landscape, it’s a credit to Tilt to be able to still be delivering some pretty consistent production. However, they haven’t really helped their profile much, with ‘’Resonator’ being only their fourth album release, and almost a six year hiatus from 2005 to 2011. And for me, ‘Resonator’ seems to be reflective of this, emanating a sense that it is still catching up, falling short of the modern crowds’ criteria for a dynamic and vibrant dance album. This is even reflected in how they are releasing the album, both as a vinyl and a digital download release: one is indicating a connection with the old school ways, whilst the other aligns with the modern day delivery of music.

Whilst listening to ‘Resonator,’ it’s hard not to feel a little nostalgic. Tilt certainly continues to capture the essence of what made acid and progressive house such a fan favourite all those years ago: sumptuous soundscapes, driving basslines, hypnotic melodies, and irresistible synth progressions. Tracks like Analogue Slide with that all too familiar prog bass sample; or the stereotypical 30 Hits Of Acid that plays on the drug affiliation with electronic music; even the driven The Hurt featuring the smooth vocals of Sam Mollison, are a testament to this. But unfortunately, there is not much point of difference throughout the album. After a while, the vibe does get mundane and pedestrian, and you start to yearn for more dynamic and varying qualities. An 11 item tracklist does help with this either, especially when most of the tracks are full length, 12 inch vinyl duration. Granted, there is Make You High, a downtempo pop offering, but it is more of a head scratcher rather than a head nodder. Additionally, it is the Hernan Cattaneo and Martin Garcia remix of Falling Again that supersedes the original. Its buttery, soulful, Balearic charisma is hard to ignore, and is definitely the album highlight.

I wanted to like this album. Coming into it with no bias as I’d known little about Tilt, and having read and heard their history, I was excited to hear what new offerings they had, and how such old school dance music figures translate their vision into the modern ear. Whilst it wasn’t a shocker, it didn’t knock me off my feet either. Fans of Tilt may be completely enamoured by this release, but for the general dance music fans out there, ‘Resonator’ may just seem a bit too ordinary.

Tracklist:
30 Hits of Acid
Analogue Slide
Falling Again (w/ Grace)
Here is not Now (w/ Sam Mollison)
Kiss Magnetic
KU
Make You High (w/ Natasha Cadman)
Northern Heavy
Resonator
The Hurt (w/ Sam Mollison)

Bonus Track
Falling Again (Hernan Cattaneo & Martin Garcia Remix)

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Despite complaints about page reach, Facebook is one of the best online promotional tools for DJs, producers, bands and labels, with many having paid for ads over the years to increase their fan base.

Now, they may have to pay more: Effective 2015, Facebook will be reducing the amount of “overly promotional” posts from Pages in newsfeeds. Posts that aren’t paid ads will become less visible if they meet the following criteria:

1. Posts that solely push people to buy a product or install an app.
2. Posts that push people to enter promotions and sweepstakes with no real context.
3. Posts that reuse the exact same content from ads.

Basically, if you’re going to advertise anything, Facebook wants you to pay for it. Facebook says they’re doing this because surveyed users say many ‘organic’ posts in their feed are too promotional. Here’s a thought: unlike a page if you don’t want to read about their products.

Another relevant policy went into effect on November 5th. Pages can no longer offer incentives in exchange for page or post likes.

[Nina Ulloa covers breaking news, tech, and more. Follow her on Twitter: @nine_u]

[Via Digital Music News]

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Darius Syrossian has had a big year. He helped bring back David Vincent’s infamous ‘Tribal Sessions’ party at Sankeys Manchester, held a summer residency at Ibiza and kicked off his New York residency at the newly opened Brooklyn Sankeys this past Saturday, November 15th.

An accomplished DJ and producer, Darius has been active on the scene for more than 20 years. Starting off as vinyl record storeowner, his roots are deep in the electronic music industry. Pulse Radio had a chance to catch up with Darius and chat about his long-standing connection with the Sankeys brand, his New York residency, plans for the future and more. Read on and enjoy!

You’ve been involved with David Vincent and Sankeys for quite some time, holding a residency at the Ibiza location over the summer and re-launching Tribal Sessions with David in Manchester. How did you get to know each other? I have known David Vincent for many years, I used to run a vinyl record shop and back then David used to use me as a resident because he said he knew how I could adapt to any guest we had - be it Detroit techno or U.S house or German minimal, but I still managed to have my individual sound.

Then when I started producing my own tracks, I got signed to some big labels and moved on to worked on my own stuff and David focused on building Sankeys Ibiza.

After I left VIVa in January 2014, we agreed to bring back Tribal Sessions and Ibiza was a roaring success, and all of the Manchester shows have been a sell out!

Sankeys opened its doors in Brooklyn on 31st October– have you gotten a chance to check the place out? Well it’s funny David described it down the phone to me, but then I filmed him when he showed me on Skype and the place is its exactly how he described it!

What I want people to know is, the legendary hacienda, was designed on the 80's US warehouse venues, and places like paradise garage, and also David always liked that RAW, industrial vibe when he built Sankeys Manchester and Ibiza, and people in the UK and Europe love it.

But we have to say thanks to the early US guys for starting that whole thing off back in the 80's now its funny, David doesn't want that commercial bright lights, glitzy ritzy, clean cut club look that it seems has gripped America, with the bottle service and VIP culture that has taken such a strangle hold, and it’s funny he is bringing back the actual ORIGINAL AMERICAN IDEA, back to America, hahaha! And let me just say, we are under no illusions that this is going to work over night.

Sankeys Ibiza in its first year was struggling badly, but David believed in it, from his heart, and look at it now - a roaring success and we are applying the same thing here in Brooklyn. We know those lost in the EDM culture who want all that fancy stuff will hate Sankeys Brooklyn but let them! We want to do something because its what we believe in, not to cash in and make money from what’s supposedly hot right now.

House is a feeling, and all Sankeys clubs are made for people to FEEL that feeling… You either get it or you don't.

Look at this video from Sankeys Ibiza, This is the vibe we want to get to with the Brooklyn venue:

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You’re kicking off your seven-week residency at the Brooklyn location this Saturday, Nov. 15th. Each city has its own vibe, how do you think the NY crowd will compare Ibiza and Manchester? I have absolutely no idea, but I love a good challenge. The Manchester crowds I play to are some of the best in the world – they’re amazing. Ibiza is equally as electric, but this is New York, one of the top 10 most amazing cities in the world, so let’s see.

What are you most excited about in regards to your residency? Well just meeting new people, one of the great things about my job that I love is having the chance to meet like minded people from all over the world - house and techno music brings people together and that’s what I'm excited about.

What is your dream for Sankeys Brooklyn? For it to get off the ground and have great parties! As I said I'm under no illusion that it will be easy and we have a lot of work cut out for us. But David has done so well with the venue, and I've heard Brooklyn has some of the best music lovers in all of New York, so lets see :)

Where can we find you when you’re not at Sankeys? I know a few great sushi places in Manhattan, and I’m also going to make sure I hook up with some friends in Brooklyn & Queens and some people I met in Ibiza. I’m also planning to catch up with Joeski, maybe get in the studio with him for a collab. I have seven weekends here and I’m going to utilize the time wisely and not waste it! 

What is on the horizon for Darius? You’re heading to Australia to ring in the New Year? Yes, I have an Australia tour coming up, some gigs in Asia and some offers for South America although those are not finalized yet. I have to try and make everything fit!

I’ve been locked in the studio, I have a lot of new music coming out - a remix for Sidney Charles, a track on Sante's Avotre label and two tracks on definition:music, I gave a couple of tracks to Matthias Tanzmann who is spinning them and I may put them on Moon Harbour.

Also my new Radio show starts soon, Our Rhythm Radio, so watch this space!

Catch Darius at Sankeys for seven consecutive Saturdays starting November 15th right through to December 27th. Each week he will be playing alongside the likes of dance music legend Francois K, New York house pioneer Todd Terry, new school Detroit talent Manu Gonzales as well as Hector Couto, Shlomi Aber, Sidney Charles and JKriv as well as many more.

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Yesterday the first official single by Rocca and Martini, ‘Ready To Love’, was released on F! Records and aired on 5fm on the DJ Fresh show. The track was made with Joe Louis and features Phasky, former SA Idols top 9 contestant and winner of SABC 1 CanDo.

The track is full of the epic progressive house romanticism which is growing in EDM, which Rocca and Martini do so well in their sets, and which is made raw and beautiful through Phasky’s expression. Below is a preview of the track and one of their mixes. Check out the full track on iTunes here.

“Today was a really monumental day for us and our career.. We are extremely elated to have our first single released and available to all our lovely fans.. This is a first of many for us and we can't wait to share more of our music with you all”.

When asked what to expect at their gigs Rocca & Martini simply say "It’s all about the experience we (create) for our fans and the high energy we create with the biggest electronic dance music tracks of today along with some compositions of our own, leaving everyone on the dance floor, or even in their own personal space, satisfied."

Early in 2012 the Rocca & Martini Brand really started moving up the popularity ladder and as the year went on they landed a sponsorship with Skull Candy, Local Apparel sponsorship by JuiceBOX (SA) as well as a sneaker sponsorship from Feiyue. This was just the beginning of their rise as they went on to place second in the 5FM's ultimix at 6 DJ competition and place in the top 3 for a Nescafe sponsored Toya Delazy Remix competition. Currently Rocca and Martini are on the line up for most the major music festivals in South Africa and are constantly gigging at the hottest clubs in the country.

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