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Annie Mac Announces all-new Malta Festival for 2015

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BBC Radio 1 presenter Annie Mac has revealed plans for an all new festival on the island of Malta for 2015. 

Taking place from April 3rd through 5th next year, Lost & Found will feature a mix of established and up and coming artists from across the electronic music spectrum. 

Along with techno and house acts like The Martinez Brothers, Jamie Jones, Kerri Chandler, Carl Craig, Eats Everything, Tiga and Cajmere, the festival will play host to Radio 1 regulars like Toddla T, Benji B and B.Traits.

The UK will see solid representation from the likes of Dusky, Jackmaster, Julio Bashmore, Skream and newcomer Patrick Topping, with the likes of Duke Dumont, Route 94, and MK rounding things out. Watch the teaser video below.

Listen to The Martienz Brothers on Pulse Radio.


Just Jack Bristol Announce Huge 9th Birthday Line-up

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Just Jack will hold its 9th birthday party at Motion in Bristol on Saturday 7th February and the line-up has now been announced. Amongst the talent hitting the decks is Detroit pioneer Derrick May, the legendary Mr. G, Fabric resident Craig Richards, Optimo and Berlin heads Tama Sumo, Ryan Elliott and Mr. Ties.

Residents Tom Rio and Dan Wild will also appear alongside more guests who have yet to be announced.

The DJs will appear across three rooms, the Ramp Room, The Marble Factory and the Tunnel.

The venue will also be transformed with Circus performers, the Clown Bar, Club Trip-icana, Mystic Greg’s fortune teller booth and more.

Listen to Pulse Radio.

Nic Fanciulli Announces First Saved London Event of 2015

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Davide Squillace is the first artist to be announced for the first Saved Records showcase in London in 2015. Nic Fanciulli’s party will take over a number of rooms in the Fire Club in Vauxhall.

Davide Squillace is fresh off the back of a successful season in Ibiza, where he regularly performed at the likes of Amnesia, Space and DC-10. Saved boss Nic Fanciulli also enjoyed a successful season in Ibiza, with a new residency at Ushuaia alongside Joris Voorn. Both will be set to provide a night of top quality house and techno.

The party kicks off at 10pm and runs until 6am.

Listen to Pulse Radio.

Sankeys Brooklyn Closes: ‘We Were Lied To’, Says David Vincent

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Sankeys Brooklyn has closed just three weeks after it opened doors at its new location. The club had recently relocated from its original Manhattan club to a new venue in Brooklyn, which opened in time for Halloween.

Sankeys owner David Vincent has released a statement explaining the decision to close the club saying they soon found themselves in an “untenable position.”

You can read the full statement here:

"Today we announce that Sankeys Brooklyn will close for business. We will no longer be involved with the former venue, SRB. Sankeys Manhattan failed because our franchise partners were unprofessional on an operational, promotional and musical level and we as franchisors were inexperienced and naive in our initial approach. We gave far too much control and trust to people we thought were up to the job who clearly were not.

In September we were eventually persuaded by our franchisee and very much against our own better judgement, to help with their new venue in Brooklyn. We were promised direct and full control of all aspects of the new Brooklyn venue. We relocated key personnel from Ibiza to ensure the club would immediately come across as Sankeys, a social experiment rather than a franchised brand as in Manhattan. In order to create that true Sankeys magic it was essential for us to have complete control, the sound, the artistic vision and the management being fundamental to our success.We were lied to, we never had control of any of these things and for that matter on pretty much anything in reality.

Once we committed to the move and started work, the franchisee failed to deliver on any of the agreed terms and we soon found ourselves in an untenable position being both unsupported financially and operationally. When we arrived we were told a week before the club opened that there was no money for promotion or production, making our job impossible. We were always told we would be given three months to make this work, we actually had less than three weeks with no support as promised. We were therefore left with no other alternative than to terminate our relationship with the franchisee immediately.

We know we would have made this work, but we cannot work with people who do not share our vision or stifle our creativity. We will still continue with all Sankeys activities in Europe, the remainder of our 20th anniversary tour and first ever Sankeys UK festival. 2014 was our best season to date and we are looking forward to showcasing our "Next Generation" in 2015 for an even bigger season.

We are sorry for the inconvenience caused to our US fans, DJs and artists on this chapter, but as they say, "The show must go on" and it will but in another part of the world for now."

Listen to Pulse Radio.

New Armband Puts the Light Show In The Hands of DJs

We Are FSTVL Announces Second Phase Line-up

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We Are FSTVL has announced its second phase of line-ups. 10 stages will be hosted by a series of star names across the two days, with huge clubbing heavyweights hosting proceedings including Loco Dice’s Used + Abused, which sees Adam Beyer, Enzo Siragusa, Recondite and Tale Of Us hit the decks.

Sven Vath’s Cocoon host a stage on the Sunday, joined by the likes of Dixon, Âme and Ricardo Villalobos, whilst Jamie Jones’ Paradise sees the likes of Jackmaster and Steve Lawler joining a host of Hot Creations regulars.

Other stages will also see the likes of Defected, Toolroom and MK hosting proceedings.

The huge festival will take place on 30th May and 31st May in Upminster, Essex.

For more info and tickets visit here.

Listen to Pulse Radio.

Premiere: Ed Ed - Illusions EP

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Techno seems to be full of emotion and melody these days. But don't think we're complaining about it. 

The last few years have seen a renaissance of sorts for a genre that was once cornered by the bleeps and bloops of minimal. And with his latest release, 'Illusions,' Canadian-born, Berlin-based Moodmusic boss Ed Ed can once again count himself among a breed of producers to expertly capture the moody timbre and powerful, peak time synths that work so well on today's dance floors. 

His original is remixed by both Hot Creations'Mat.Joe (pictured above), who provide a touch of head-shaking house with elements of tribal, and Katermukke duo Kareem & Peter Schumann. Listen to the exclusive premiere below.

Tracklist:
1. Illusions (Original Mix)
2. Illusions (Mat.Joe Remix)
3. Illusions (Kareem & Peter Schumann Restyle)

Ed Ed's Illusions EP will be released via Moodmusic Records on December 1st, 2014. 

www.moodmusicrecords.com

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Damian Lazarus Reveals Details for Day Zero 2015

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Damian Lazarus' spiritual Day Zero festival returns to the jungles and pyramids of Mexico in 2015. 

Happening on January 10th near Playa Del Carmen, the Crosstown Rebels' boss is set to debut an all-new live show with The Ancient Moons, a four-piece band who will showcase unheard material from their forthcoming album. Joining Lazarus will be DJ Harvey, Matthew Dear, DJ Three, Audiofly, Citizen, Francesca Lombardo, Laura Jones and Fur Coat, with live performances from Mathew Jonson and Metrika.

Always one to keep his eye on local customs and traditions, Lazarus has once again sourced local produce to feed partygoers, and Mayan warriors in traditional garments will host ceremonies throughout the night.

Watch the Day Zero documentary below. 

Listen to Damian Lazarus on Pulse Radio.


Ray Okpara: 'I decided to follow the dream'

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Ray Okpara has been a key member of Anja Schneider's mobilee crew for a while now, with his first release on the label coming back in 2011. After spending a chunk of his youth in Nigeria, he's had itchy feet - moving back and forth between his hometown Mannheim and Berlin numerous times. He's now based in Mannheim again and he spared some time with us to chat on Skype - our lengthy conversation covered highlife music, Michael Jackson, Craig David, Charles Bukowski, analogue gear and everything in between. 

You spent a lot of your childhood in Nigeria – was music a big part of your life at that stage? Actually it was because in Nigeria Michael Jackson was like the superstar, just like everywhere else in world of course. I grew up in ‘80s Nigeria and music was always around us somehow. Michael Jackson, some awesome traditional music too like highlife, which had some afro-beat and calypso influences. This was around us constantly. Music has been a part of my life forever, from pop to Michael Jackson to drum & bass, hip-hop, house, country [laughs], I’m open to all different types of music.

When you moved back to Mannheim you were listening to a lot of hip-hop initially. What were your first introductions to electronic music? The first introductions were times when we were teenagers heading out to hip-hop parties. It was west coast oriented hip-hop from the ‘90s and then as we grew older the hip-hop clubs always closed early and the techno and house clubs were still open. They were the first steps into going out clubbing and these clubs were the only alternative until we didn’t like going to the hip-hop club anymore.

What kind of music were they playing at the time? What kind of parties were you going to? When I first started to go out it was a little bit more commercial I would say because I don’t you could go to a deep underground techno club from a hip-hop club! We saw people like Tom Novy, Pete Heller and George Morel – all these famous late ‘90s house stars. Also Loco Dice around 2000, we went partying to him and other people like Romanthony. They were old house heads, but in a more commercial and vocal direction. During 2000, when Ibiza was also super-hyped – they were the first experiences. In the end we got a little bit more educated in electronic music.

What inspired you to start playing records then? Actually it was very funny. Coincidentally, I started playing records at a friend’s house, Johnny D. I was playing hip-hop and drum & bass, so I was playing around a little bit. Then he went on this house mission, playing more electronic and house stuff. He said, “I’m going to start buying some house records” so he started playing house music at these house parties and then we went to Ibiza and had a crazy summer there. We came back and we had to do our own parties – what we saw in Ibiza we had to bring back home. When I got back I started buying records and said, “I’m going to be a DJ, I’m going to play records, I’m going to do it”. I think I was about 20.

Do you think Ibiza had just as big an influence as Germany? Yes, for sure. Ibiza was definitely the catalyst to where we are now. If we didn’t go to Ibiza it would’ve been different. We went to Ibiza and it was crazy, when we got back we had depression! We just wanted to have the same feeling and to go back. The good thing is that we combined, because we knew some drum & bass heads, house heads and hip-hop heads. Everybody knew if Ray and Johnny were throwing a party, it’s going to be a little bit crazy.

I also read that you played a bit of UK garage back in the day. Yes! I started off with bits of Craig David, Stanton Warriors, Sidewinder. I started off with that because that was the bridge to the hip-hop, you know? I didn’t play that for so long, I got maybe 300 or 400 records. I continued to just buy house records and I stopped buying garage and 2-step stuff.

Does none of that see the light of day now? Not really! I tried to sample some stuff, but it hadn’t really worked out. I’m having a party in Mannheim, I’m also starting my own small party brand call It’s Ours. It’s our music, it’s our time, it’s our life, it’s our podcast – you know? It also has some philosophy with it – there’s a poem from Charles Bukowski called ‘It’s Ours’ – so there’s quite an artistic philosophy as well. This first party we’re having in Mannheim on the 28th November, we’re going to have a drum & bass floor as well. So we’re combining again, like back in the day, with the house floor and the drum & bass floor. I haven’t been to a party that had house and drum & bass for about 10 or 15 years. It should be something fresh.

What’s the scene like in Mannheim today? It’s interesting. All the people who did Oslo and Cecille aren’t active in Mannheim anymore really, we’re all gone and travelling every weekend. We’re a part of the scene, but we’re old-timers [laughs]. There’s a new good scene going on in Mannheim though, there are some good residents from the small clubs round here and some good after parties. There’s still something going on in Mannheim definitely, but I wouldn’t say any more than in any other middle class city in Germany. It’s not a huge scene, but it’s good.

When you went to Berlin for the first time how did it change things in terms of music? It changed things big time, suddenly you have influences every day! In Berlin you’re influenced every day, every day, every day! I wouldn’t say special scene – when you want to hear the good music, you hear it everywhere. You can find everything in Berlin – everything has its own scene.

There’s certainly creativity coming from all angles. All angles, all the time! Everybody is somehow creative in Berlin. That makes the pace of the city, everybody is doing stuff, you don’t get more or less that’s for sure. Sometimes it’s too much [laughs].

When did you start producing? This was 2002 or 2003. I started to produce, but very simple stuff on FruityLoops and Reason. I didn’t know how to do anything so it was a long process. Then I started a course at an audio engineering school called SAE and I did that for half a year, but then I quit. Around the time I quit was the explosion of Oslo and Cecille. It was going off the hook for us. I was wondering whether I should stay or follow the dream – I decided to follow the dream!

How did it develop? Were you still using software or did you start introducing hardware? I started off with only software and hardware came along years later. I’m getting more and more hardware now. Now I have the Jomox 999 drum machine, the 303 bass I love to use, I’ve got a Moog Minitaur – I’ve got a lot of analogue effects as well. Slowly but surely I’m getting more analogue stuff. With computers you have nothing to touch, but now I feel more active whilst producing than before.

I suppose you can play around more. Yes, you can play around. I’ve been practising guitar for three years now – I’m constantly doing something somehow. I’m never resting. I’m always doing something. Like my new party series which I’m going to launch in 2015. I thought maybe I’d organise my own party and to try to promote it worldwide and try to take my friends along with me!

Do you know who’s going to be playing with you? People like Federico Molinari, Okain, DJ W!LD, Chris Carrier, Julietta – they are friends doing good music. The cool thing as well is that it’s no problem with playing back-to-back. Sometimes if you’re at a party with your friends you can do what you like. You can relax and you don’t have any pressure! You have different possibility to get the groove together.

Has mobilee played a really important part in your career? Yes, Oslo and Cecille as well. Everybody played a part. Everything is connected somehow – mobilee can give me the platform so more people get to know me. Since I’ve been with mobilee more people have got to know me. I can also help the profile of mobilee, going around the world and playing a bit of a deeper sound. It’s fun as well. If I play a party with Anja Schneider let’s say, she plays a little more techno and after that I play – everybody is satisfied. People can go totally crazy and people can go a little deeper with more hypnotic percussion and beats.

You started your own label back in 2010 as well – how is that going? It’s good – it’s like a small baby. Like I said before, I’m restless and I always need something to do. I can give artists, either known or unknown, platforms to release good music. It could be deeper, dubby, techno – if I like it and I could play it I’ll release it. It’s good for my profile as well.

Listen to Ray Okpara on Pulse Radio.

Technics to Launch High-Res Music Download Store

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Technics is set to launch its own high-resolution music store Technics Tracks in January 2015.

The move is surprising given that the company is synonymous with their famed turntables, which were discontinued by Panasonic in 2010.

As Music Week reports, the store will be aimed at high-fidelity music connoisseurs and will "carry a selection of 24-bit FLAC audio tracks, including tens of thousands in the 192kHz sampling rate... [as well as] an extensive collection of 16-bit/44.1kHz, CD quality tracks." The service will first be launched in the UK and Germany in January, but there's no news yet on whether it will be available to Australian or US customers.

"We’re incredibly excited to be driving growth in hi-resolution music availability," said David Preece, Technics's head of brand strategy in Europe. "Now we want to make the experience of exploring the highest-quality music formats more engaging and more accessible than ever before."

We'll have more updates as they come.

Listen to Pulse Radio

Stream The First Release From Nina Kraviz's New Label

Chinese Laundry Announces January Garden Party

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Chinese Laundry caused quite a stir back in July when it announced its infamous Garden Parties would be returning back to their rightful home of the Slip Inn courtyard. Since then the venue has already seen two epic spring parties headlined by international heavyweights Sasha and John Digweed, no less.

And things aren't slowing down either, with the Sydney club announcing it's third party of the 2014/15 summer season set to go down in January with another two massive names; Belgian superstar Netsky (in DJ mode) and Toronto DJ and producer Grandtheft. Can you say large?

The party kicks off at 1pm on Saturday January 3rd, with support coming from Laundry favourites Spenda C, A-Tonez, Nemo and Beatslingerz.

 photo Garden-Party-ft-Netsky---2_zpsb2a9e843.jpg

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Sylvan Esso: Playing It Right

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Sylvan Esso, or Nick Sanborn and Amelia Meath, met each other through chance when they were both billed on the same gig. At the time Sanborn was a solo producer and Meath a part of the folk a capella group ‘Mountain Man’. Both have admitted their chance meeting was a strange coincidence, given their two genres of music were different to say the least. However, as fate and serendipity would have it, it was the beginning of a musical partnership that has resulted in arguably one of the most delightful and best quality electro-pop records of the year.

Before their debut Australian appearance as Sylvan Esso over New Years at the new Lost Paradise Festival, Nick and Amelia sat down with Pulse to chat recording their debut, karaoke hits and their favourite Australian artists.

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I won’t labour too long on finding out how you guys met because I know you’ve had to repeat it many times before, I have to admit, it sounds like something out of the movie Serendipity. Nick: That’s nice of you to say, that it sounds like a movie! We always feel like we need more of a myth, like more mythology. Meeting at a show isn’t, like, cool enough. [laughs]

What I do want to start off with is the music outfits you both came from before you started working together. What did you take from each of those experiences and bring in to Sylvan Esso? N: Well I think that we have a benefit because, you know, we both came from these very like song based bands. I’ve done a bunch of different stuff and played in a bunch of different bands, and so has she [Amelia], so I think when we started wanting to make something more electronic and more pop, we’d already been in bands and already knew how playing and writing songs that way felt. We’d been on tour so long that we both instinctively knew what we felt worked and what didn’t work. Both live and on record. Everytime I talk to someone else who’s in production or is in an electronic band or something like that I’m shocked how few of them used to be in just band bands. I think that’s definitely affected the way we come at it, for sure.

I had no idea that 'Play It Right' was originally an acapella song done by Amelia with Mountain Man - which is phenomenal to listen to - and then it was given to Nick to remix. Is that correct? N: No it was just my remix! She [Amelia] had written that song for Mountain Man and then they’d gone and recorded in a studio with the intention of putting out this remix EP, but then it just never came together and it never happened. It was just kind of this weird random thing! So she was like ‘hey you should be on this!’, and then it was ‘oh this is never going to come out, but that was really good, we should do more of that!’ [laughs]

It’s a move from an acapella folk style to this incredible electronic pop - something I imagine can be tricky. And you’ve done it again recently with the song 'Slow Motion' by PHOX, which is a similar kind of genre jump. How do you approach those kinds of remixes, is there an element of the song you look to work with? N: It goes so many different ways, but I think my main thing is I always want to start by taking something that is essential to the original song and doing the total opposite of that. So change something about the foundation and then try and fit the parts back in over the top of it. It happens all sorts of different ways, with that one I was just looking through the song for maybe I could have be the main loop of it, something that could be a new foundation to start on. There’s that one little moment where he does that weird little guitar [sings guitar line], I don’t know, I was just moving a loop through his guitar part and found that one thing, and it kind of just all came together! Yeah, I never know. Usually I’ll find some little piece that when I put it in a different context doesn’t sound like it was in the original song but now I’ve made it like a central theme. Some way I can flip how you hear it. That’s my favourite thing to do. From there it’s just fun decision making stuff like ‘how loud is the bass going to be?’, that’s normally the longest running question [laughs].
With that one I tried to use almost only elements that were from the original song. I love doing that where you can take all the sounds from the original song but present them in a way that has nothing to do with the original song.

My favourite remixes are always those that don’t take anything away from the original song, they just present the original verve of the song in a new light. I feel like Jamie XX is so good at that. That Adele 'Rolling in the Deep' remix, those two songs work totally independently, the remix and the original. His remix just completely changed your idea of what the song was, it’s so great.

That’s the same thought that I had with the PHOX remix. I had never heard the original but I listened to it after I listened to your remix and it’s great because it sounds so different, but at the same time you can definitely hear that it’s that song, just like you say in a different order. N: Oh thank you! Yeah I tried to keep the song totally as is. That’s another thing, I like picking one or the other, like saying ‘alright, this song is going to be the lyrics as they’re presented and I’m going to change everything else about this song’ or ‘I’m going to completely change how the vocal works and keep everything else in tact’. I think those are my two fun tricks!

***Amelia arrives***

Your music and your videos all incorporate this idea and this theme of dancing. Your music has those great beats that make you want to move and your clip for Coffee was all about different kinds of dance. I know it was a little while ago but how long did it take to get all those elements together, all the choreography and people dancing together? Amelia: Well the first part, that’s contra dance which is traditional. We just went to a contra dance and they were kind enough to let us film it.

N: Yeah contra dancing is kind of like line dancing but there’s an east coast version of that called contra dancing which is kind of communal partner passing dance, which is kind of what the hook of that song refers to.

A: Yeah exactly! And then for the bad party, for the weird 1950s bit where we’re on the lawn that took a while. And it was freezing!

N: It was so cold!

A: And it was the last shot that we shot that night, so it was so cold.

N: Everyone was so happy when we were done. The bit at the end, that was like you [Amelia], Leah and Stella...

A: Yeah that part we had a couple of rehearsals for.

N: We were aiming for Beyonce, that was what we were going for [laughs[

Well you definitely nailed it! I’m a big proponent of dance and I think it was really great having that scene inside where everyone is let say ‘out of their minds’ swaying around like a lot of people do on club dancefloors, there was lots of different styles of dance in that clip, if you could bring back one style what would it be?

***Amelia performs an excellent demonstration of the Charlie Brown Christmas special dance***

<br> A: That’s my favourite one, I wish that was present on a lot more dancefloors.

A: That’s my favourite one, I wish that was present on a lot more dancefloors.

Nick you spoke just before about the skills you both brought from your previous bands to Sylvan Esso, but how did it go when you guys actually started working with each other not on the Internet? What was the process when you met up and started working together? N: A lot of hanging out. The first time we really recorded, I had just moved to Durham, and she flew out for two weeks while she was touring with Feist and we just kind of hung out in my house and tried to make something every day. So usually we’d have something we were working on and I’d start working on the mix or on the synths or something and she’d go out on the patio and sit and just try to write. It usually would be around stuff we’d been talking about or just stuff of the moment in our lives. Even though we took another year to do it.

Speaking of hanging out in your house and working together from there, some of the songs on the album - like 'Come Down' and 'Coffee' - have got little bits of extra audio; either someone talking or I think even a door closing. It makes the record truly unique and it adds a sense of intimacy for anyone listening. It’s not this thing that’s removed in a studio, it makes you feel like you’re a fly on the wall to these recordings and you’re in the room. It’s amazing! Were these deliberate? N: Oh yeah.

A: They were deliberate and also some of them were just cool sounds that we liked.

N: We talked a lot about a couple of things that were related to that which were that we really wanted to do something that was human and imperfect and didn’t have a lot of sheen on it. Pop that felt like humans made it, we’re really into that idea. I’m a huge fan of electronic music in general that you can feel, that you can feel a person made. Then also we’re also just huge fans of records that sound like the place that they were made, so using the house as an instrument was such a big thing to us. So many of the vocal tracks, I just recorded [Amelia] in our hallway in the house I used to live in. I would put a mic on her and a mic way at the end of the hall so that it would just be the sound of her singing. It was a way to get around using a digital reverb or something like that. That closet door thing at the end of 'Coffee' is because we recorded vocals in my closet because we didn’t have a vocal booth so she thought she’d nail a take and just open it up and say ‘yep that was good’.

A: I’d open it and be like ‘yeahhh’

N: And then I just left it on there.

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It kept popping up that you guys are big Fleetwood Mac karaoke fans and that there’s a bar in Durham called ‘The Bar’ that does great karaoke. I have to know, what’s your go to Fleetwood Mac song for karaoke? A: I usually do 'Dreams', it's my favourite! 'Gyspy' is really good.

N: I’ve seen her do 'Gyspy', it’s a standout.

Do you do any Nick? N: I once did a very drunken spoken word version of Gold Dust Woman at The Bar, which was not welcome
A: He does a really mean Al Green though
N: I like Al Green, I’ll do They Might Be Giants if a place has them, I’ll always do 'They Might Be Giants'. Amelia does a really great 'The Way You Make Me Feel' by Michael Jackson. That’s probably my favourite one to see you do.

I think the next release, before album number two, needs to be a ‘Sylvan Esso Does Karaoke EP’ or something... A: Yeah! Sylvan Esso Karaoke Hits [laughs]

N: And we don’t brush up the tracks at all either, we literally just use the musak karaoke backing tracks [laughs]. That video kind of writes itself, just the words scrolling across the screen.

Jumping to lyrics, Amelia did you find writing for Sylvan Esso was different than for Mountain Man given that they lie in pretty different genres? Did you approach it different? A: Yeah. There are different allowances and different sets of rules for each genre writing. Or I hold myself to different sets of rules. But with pop music you can get away with writing a lot of silly stuff if you want to. So incorporating the silliness but still keeping it in the realm of reality was really really fun. And writing around hooks. With folk music there’s not hooky-ness isn’t necessarily the goal, sometimes it just happens.

You’re going to be in Australia at the end of the year for the Lost Paradise festival. Is this the first time you’ve been here? A: I’ve been twice before...

N: But it’s my first time.

Is there anything on the bucket list for you to do out here? A: I really want to take Nick to the Great Ocean Road so he can drive along and say hi to the beach and then drive up into that zone where you can say hi to all the koalas.

N: I have a lot of friends who are from Australia who live in Milwaukee, Wisconsin, that are from Australia and they just talk about it so much that I’m just excited to be in Melbourne where they’re all from. See that and go to the places they talk about. That’s the main thing for me, see that and then more fully understand where my friends are from. I think that’ll be really cool for me

Our electronic scene is really gaining momentum with some really talented artists taking their stuff overseas. Are there any Australian acts you guys are listening to or like? N: This is a tough one, especially with electronic music, I bet you there are, but I bet you I don’t know they’re from Australia...who are like popular acts that we might know over here?

The first name that springs to mind would be maybe Flume? A and N: Oh yeah! Flume!

Or maybe Chet Faker? N: Yeah I know of both those dudes!

A: I have heard nothing but really good things about that guy.

N: Yeah it sounds like he’s a total sweetheart. That’s right Flume I totally knew that one and I had just put it out of my mind. Did not remember that he was from there. Everybody sounds great!

[Sylvan Esso plays Lost Paradise festival in Glenworth Valley in NSW this NYE period. Buy tickets here]

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Eminem Raps About Raping Aussie Singer Iggy Azalea

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For some reason Iggy Azalea has been the target of more seasoned male rappers of late. First there was the stream of abusive Instagram posts from Snoop Dogg, and now Eminem is waxing lyrical about sexually assaulting the young Aussie rapper.

In the preview for his forthcoming track 'Vegas,' Marshall Mathers raps: "So what's it gon' be? Put that s--- away Iggy/You don't wanna blow that rape whistle on me/Scream!/I love it/'Fore I get lost with the gettin' off."

Never one to shy away from her detractors, Iggy has already hit back at Marshall on her Twitter.

"im bored of the old men threatening young women as entertainment trend and much more interested in the young women getting $ trend. zzzz," she tweeted. "Its especially akward [sic] because my 14 year old brother is the biggest eminem fan and now the artist he admired says he wants to rape me. nice! [sic]"

Check out the preview of 'Vegas' below with Eminem getting controversial. 

[Via SMH]

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Premiesku - Aproape

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Premieksu
Aproape EP
Desolat

8.0/10.0

Loco Dice and his Desolat crew have been singing the praises of Premiesku for some time now, and for good reason, as the Romanian trio of Livio, Roby and George G continue to churn out bomb after bomb of sultry house goodness. The trio's most recent foray to the label is no different in that regard, as the "Aproape" EP one that further solidifies their talent as unique, detail oriented a producers of distinction.

This is an EP that features some bang for your buck too with 8 tracks on offer over the course of the vinyl and digital release, and the label has clearly been careful to ensure that the quality stakes aren’t lacking in either.

Opening up the vinyl edition are the sounds of ‘’Abduction’’, a neat and tripped-out number that’s sure to find favour with Villalobos and company. Full of sonic textures from the first beat to the last, it’s a taut and spine-tingling affair that neatly sets the tone for what’s to come. ‘’Access’’ is more full-on in its entirety, and is a real ravey jam that oozes class. Featuring subtle hints of Latin flair, it’ll definitely make most sense during the night’s more fervent hours. ‘’Crazy District’’ continues in a similar vein, while ‘’Her’’ opts for a heavyweight sound that lets just enough light creep in – thanks in the main to its spliced vocal and an unfurling cascade of creepy, albeit intriguing sounds.

The digital side of things then gets underway with ‘’Arbor’’, which provides the package with a more melodic, relaxed number. Again, the producer’s multilayered tactics come to the fore – and with some distinction too. ‘’Vreju’’, however, is my pick of the bunch. Off-kilter and full of suspense with a rumbling bass line, it's imbued with a surprisingly sun-kissed vibe. Really top drawer stuff.

‘’Nebula’’ is another track that’s produced on an epic tip, before the title track closes out amongst a host of unusual sound tidbits. There’s a lot going on on this EP for sure, but with 8 tracks of differing attitudes and sounds on offer, there’s sure to be something for house music fans of all persuasions.

Pre-order Premiesku's "Aproape" here.

Tracklist
01. Abduction
02. Access
03. Crazy District
04. Her
05. Arbor
06. Vreju
07. Nebula
08. Aproape

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Listen to the Debut Release From New Nina Kraviz Label, трип

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Russian DJ and producer Nina Kraviz launches her new label next month with an 8-track EP. 

As we first reported back in May, Nina Kraviz is set to launch the all new трип (pronounced 'trip') imprint, which sees its first release next month. The debut release comes with 'The Deviant Octopus' EP, featuring 8 minimal techno tracks from veteran and emerging producers alike. 

Along with two tracks from Kraviz herself, the EP features cuts from Icelandic veteran Exos and longtime American producer Steve Stoll, alongside tracks from Population One, Terrance Dixon, and newcomers Parrish Smith and Bjarki. Listen to a preview below.

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Tracklist:
A1. Nina Kraviz - Prozimokampleme
A2. Steve Stoll - Pop Song
B1. Nina Kraviz - IMPRV
B2. Bjarki - Polygon Pink Toast
C1. Population One - Out of Control (Vocal mix)
C2. Population One - Bonus Beats
D1. Exos - Nuclear Red Guard
D2. Parrish Smith - 1.0 : 8.0 Afrika Genocide

The Deviant Octopus will be released via трип on December 8th, 2014.

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Honda Presents Haezer – Hardcore Hedonism

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Fresh from a 3 month European tour and hitting the 50K mark on Facebook, Haezer is recognised as SA’s biggest electro bass export. After tailoring himself from beginnings at The Assembly Discotheque nights, Haezer has bloomed and boomed over the course of releasing his three albums, especially with the enormous success of ‘Gold Plated Frequencies’ at the end of last year and the following single and video releases including ‘Minted’.

Tonight The Assembly, along with Honda, will dedicate a night to him - a night of insane, hedonistic hardcore. This event will feature drum ‘n bass heavyweight Niskerone (who will also perform with Haezer as Majesty), Gaartjie bass prince and LEGGO! bass party host White Nite, phat glitch bass boss Dank, neuro drum ‘n bass wizard and AVA founder Bruce Willis??, and Cold Turkey co-founder and beats ‘n breaks extraordinaire Blotchy. This is a night of industry lords coming together for a feast.

The line-up:

09:00 dank
10:30 Blotchy
11:30 White Nite
12:30 HAEZER
01:30 Majesty (Niskerone X HAEZER)
02:30 Bruce Willis (DJ) (DJ)

Get all the event details and tickets here.

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Premiere: Alex Niggemann - Sorrow (Marco Resmann Remix)

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It's been a truly standout year for Germany's Alex Niggemann, who provided us with a podcast earlier this summer. 

After scoring one of the summer's biggest melodic techno bombs with his "Materium" EP on Poker Flat, which saw support from Tale Of Us and Mind Against among many others, he now returns for one more brilliantly emotional anthem for 2014 with "Sorrow." 

Featuring the mournful vocals of Bon Homme, Niggemann's "Sorrow" is a slow burning builder – a big, rolling kick and crisp claps driving the groove, while a warm yet powerful arpeggio drives the energy ever higher. Watergate resident Marco Resmann's remix knocks things into fifth gear with a pumping rhythm and washed out vocals that lead to the biggest breakdown of the pack. Listen below. 

Tracklist:
A. Alex Niggemann – Sorrow feat. Bon Homme
B1. Alex Niggemann – Sorrow feat. Bon Homme (Deetron Remix)
B2. Alex Niggemann – Sorrow feat. Bon Homme (Marco Resmann Remix)

Alex Niggemann's "Sorrow feat. Bon Homme" will be released via Watergate Records on November 24th, 2014. 

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All Star Line-up For Back To Basics 23rd Birthday

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Back To Basics has a huge line-up in store for the 23rd birthday celebrations on 29th Novemeber, with a host of top house heads set to appear.

The extensive line-up includes top underground talent such as Clive Henry, Mark Jenkyns, Burnski, Maurice Fulton, Laura Jones, Gavin Herlihy and Crazy P live.

Raw house duo Dungeon Meat, comprised of Brawther and Tristan Da Cunha, will also appear, as well as Back To Basics veteran and 20:20 Vision boss Ralph Lawson.

James Holroyd, Denney, James Barnsley, Frenchy, Dave Beer and Bez complete the line-up.

Ticket Arena: http://www.ticketarena.co.uk/events/Back-To-Basics-23rd-Birthday/

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Pulse Radio's 10 Best Afterparty Tracks

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After-hours music is an important thing. When it's 7am and you've moved from the club to a friend's flat to wind down with some beers and a bit more dancing, the sound track has to be right. Chances are you're not going to be up for banging peak-time cuts - you want to keep some of the momentum going though, so here are some choices that strike the right balance between danceability and a more subtle mellow vibe.

Arnaldo – A Song Name of One Word

'A Song of One Word' is warm, blissed-out and emotive to keep things ticking over until the early hours with a distinctly mellow atmosphere.

Ricardo Villalobos – Peculiar

We know Ricardo likes to rack up the minutes with some of his tunes and here we have another example, clocking in at over 20 minutes. The genius certainly lies in the way a 20 minute minimal house track doesn’t drag on – each subtle element is execute perfectly and when that vocal floats in, it’s sheer bliss. 

TC Crew – I Can’t Do It Alone (Tyree’s Mix)

A sublime ‘90s cut from Tyree Cooper with an infectious organ hook and soulful vocals cutting through perfectly. Although it’s winter you can just imagine this one drifting over Ibizan airwaves as the sun rises.

Leon Vynehall – Time

Leon Vynehall crafts contemplative pads which swell on top of scattered beats.

Mr. G – Daily Prayer

Everything Mr. G does seems to be soulful, even his tougher techno tracks. 2011's 'Daily Prayer' is a more mellow affair, melding soft piano chords, minimalistic percussion and soulful vocals.

Herbert & Dani Siciliano – Goin Round

'Going Round' sees Matthew Herbert's shuffling beats and bubbling organs meet with Dani Siciliano's sultry vocals to create a smoky deep house cut.

Traumprinz – All The Things

Under-the-rader producer Traumprinz also trades under the moniker Prince Of Denmark. 'All The Things' sampling The Temptations to dreamily brilliant effect.

Portable – Find Me

 

Berlin-based South African Portable likes to do things differently, especially if you see his live show, which incorporates all manners of unusual gear. 'Find Me' sees him crooning over atmospheric pads.  .

Levon Vincent – No Regrets

Levon is the absolute master when it comes to making moody dark records.

Aphex Twin – Rhubarb

And this one’s for the very end. Surely one of the most beautiful pieces of music ever committed to record?

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