From the 3rd to the 6th of October 2013, the Mainstay Beach Bar gets tropical and brings the heat to the white sands of the Daisies. The line-up selected is of exquisite design and adding to the magic will be a back to back set from Agugio and Zuluboy. 

Agugio is the new DJ/Producer project of Giovanni Agusta, hailing from the underground sounds of the Cape Town electronic music scene. His breakout style in production and sleek track selection makes for a deeper journey through the Tech-House expression. PLaying with Agugio is Zuluboy, born on the farm in KZN, Zuluboy journeyed through the province until the age of 20, where he then moved to JHB and discovered the underground House/Techno scene. Zuluboy has a tendency for playing locally produced tracks, grinding basslines and melodic harmonies with flare. 

Don't miss this back to back set at RTD Mainstay Beach Bar. 

Listen to Zuluboy on PULSE:

Watch the below video as larger than life Bronx rapper Action Bronson quickly dispatches of a rowdy fan who gets too close at a gig in Florida.

It's the second time the rapper has been known to deal with invaders of his personal space, seemingly in the blink of an eye and without remorse or hesitation. In the above video, Bronson is mid flow during his set when an over-eager (read: pissed) fan - who is possibly unaware of the dangers that lie ahead - jumps on to stage with arms flung wide in what appears to be an attempt at a good ol' fashioned hug. But with lightning-quick precision and over-powering strength, Bronson quickly lays the smack-down on the upstart with an effortless judo throw, before jumping straight back to the show as if nothing had happened.

By the time security even arrive, Bronson has removed all imposing threats, and the area is clear once more for him to lay down some bars. Rap bars that is - not iron ones.

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If we had to ask you, what’s the first thing that comes to mind when you think ‘Sibot’? And immediately you dived into explaining something that sounded a lot like an early arrival of some form of inter-galactic high-powered laser beam controlled by nothing less than a genius of sound creation dropping those sounds on you like bombs of Hiroshima – we wouldn’t blame you. 

T-Spoon Tuesday's is all about bringing something a little out of the ordinary from our usual posts. Today none other than one of South Africa's most cut-killer producers - Sibot.

Sibot on Gravy Compilation with: Bellcrawler

That amongst other talents, Simon Ringrose most famously known as Sibot is doing massive things with his sound changing the dynamic of live performances as we know it. After browsing through shots of him on stage at the Monegros Festival you start to really understand the magnitude of his performance, a one man army behind a wall of technology that enables Sibot to completely, and almost quite literally, blow you away. Controlling an array of Go-Pro’s at the same time as producing the music on the spot, Sibot gives you the ability to watch what’s happening juxtaposing from one camera to the next in a manner that’s no less than brilliant.

Sibot is also part of a collective known as 'Gravy' where they demonstrate a collaboration between like-minded artists who pride themselves on dropping the phattest basslines you could possibly conjure up on a digital platform, READ MORE HERE, for now feast your eyes on this performance from Sibot.

 Sibot's Magnet Jam:

The vinyl format is still alive and kicking, thanks to advancements in digital technology and the push of MP3's helping fans revert back to black wax. Plus, we all know that it sounds better, looks better and feels better to have these documented products in your hands. In a recent article on Buzzfeed, they count down the 27 record stores around the world that you have to visit before you die.

While the media has been full of gloomy reports of outlets for physical music vanishing and shutting shop - particuarly huge distribution shops and networks such as HMV here in the UK - this article offers a mini guide to some of the most breathtaking and unique record stores fouind anywhere in the world. We've picked a few of these meccas for your perusal underneath (although they've missed some crucial ones in our opinion such as Rub A Dub in Glasgow, plus no mention of Hamburg, a city with the highest concentration of record shops in one city in the world). Read on...

Amoeba Music, L.A, California

Spacehall records, Berlin, Germany

The Thing, Brooklyn, New York

Forever Young Records, Texas, USA

Rough Trade, London, England

Flake Records, Osaka, Japan

Exiles Records, Buenos Aires, Argentina

Atom Heart, Montreal, Canada

Pushkinskaya 10, St. Petersburg, Russia

Source: Maria Sherma

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It was a breezy 4th of July afternoon in The Hamptons and the gang was all there. The bro's rocked backwards hats, the ladies embraced patriotic swimwear and the Bud Light flowed freely like the sweet nectar of poor decision making we all know it to be. The pool was chock full of revelers and Porter Robinson's "Language" was supplying a "hands in the air" moment and that's when things got interesting.

Major kudos to this chick for handling the situation like a boss. We highly recommend repeat viewings on this one since there are so many bits of hilarity to enjoy, most notably in our opinion the guy's double take after realizing he'd pulled her arm off.

In a bit of almost too-good-to-be-true irony, the event was held in support of the Wounded Warriors Project in Amagansett, NY on the 4th of July.

Listen to Porter Robinson on Pulse Radio

There has been a lot of DJ swapping this season, bringing in unexpected artists and special guests from other residencies around the island, shocking some Ibiza natives and regulars. But having Richie Hawtin come back for another night at Cocoon for the second time in two years after starting his own weekly party with ENTER. at Space last year was without fail the best of them so far.

Richie and the terrace at Cocoon went hand in hand for years when the techno god held his residency there, along with the night’s curator, Sven Vath. And those unlucky enough to miss Hawtin’s time in the cavernous terrace were blessed this season with the opportunity to see him back on his old stomping grounds. It’s when nights like this occur that one can’t help but think that the terrace at Amnesia was built for these leaders of the scene.

This year’s new jungle theme, with bright orange and green banners floating above the terrace, fit perfectly with each DJs set. At certain points, the stylized jungle leafs adorning the terrace ceiling even had lights reflecting on them to imitate the look and feel of tropical rain.

Papa Sven kicked things off early on the terrace throwing down track after track of the most hard hitting techno we could have hoped for, infused with tropical vibes to suit the theme of the night. Knowing when to keep things hard and dark, hitting it just at the right time with bongos and slightly funkier bass lines, keeping the crowd moving up until 5am, Vath perfectly left everyone prepped and ready for the destruction that would be Richie Hawtin’s return. Sven has never been one to be called a warm-up DJ, but being the true gentleman he is, he took the reigns as the opening DJ for the night, knowing exactly when to hold back and when to push, leaving the crowd screaming.

Ellen Allien took to the decks first in the main room. I don't know if surprising would be the right word to describe her set, but having not seen her outside of DC-10, I was interested to see the style she would bring to Cocoon, and style it was. Taking us on a tour of her very well curated techno tunes, we got to hear a bit of everything, ranging from the dark and ominous to the absolute bass slammers that had the room jumping, the massive LED overhead behind her putting a new spin on the jungle theme, flying us through digitalized urban-jungle cityscapes that complimented the lighting and overall feel of the room tremendously. Throwing her hands in the air, Ellen had amazing energy behind the decks, which passed right on through to the crowd, and of course, to her set that evening.

Richie kicked things off at 5am on the terrace, and not a soul who remained at that early hour was even thinking of giving up their rightly earned spot on the dance floor. Start to finish, he light room on fire, taking control with his sci-fi like sounds and noises most human beings have never even been exposed to. It’s nights like this that one truly understands the phrase, ‘the DJ had the crowd in the palm of his hand.’ With every flick of the fader, twist of the EQs, the crowd pulsed and gasped, completely under the spell of the Minus maestro. Surely Hawtin felt right back at home on the terrace, and without a shadow of a doubt, the crowd was happy to have him back. People from around the world dancing from wall to wall covered in sweat – it was clear that this pioneer of techno was hammering it.

Adam Beyer playing at the same time as Richie could have sounded like a bad time slot, but when you’re Adam Beyer – head honcho of Drumcode, one of the most prolific and defining labels around – the name speaks for itself. Laying down huge and relentless techno tracks, Beyer was giving the crowd a set that only gave everyone a short amount of time to catch their breath, building up to the next tune by tossing in vocal builds, sending tingles down the spine of any onlooker.

Needless to say, if there was ever any doubt that Cocoon was still not the king of techno, all those thoughts can be forgotten. After a night like this, Cocoon remains sitting far above any other night in its genre. Well done Sven, and the entire Cocoon team.

Listen to Cocoon on Pulse Radio.

Insomniac Events has been working on securing Winston Farm, the site of Woodstock ‘94, as the location for its 2014 Electric Daisy Carnival in New York. Organizers presented their ideas for the Memorial Day Weekend festival last week to the Saugerties town board, which seems supportive of the project in general. Insomniac, still waiting for the apporpriate permits from the town, is proposing a three-day camping festival with four to seven stages, art installations, carnival rides, and food and drink stands. Unlike Woodstock ’94 which hosted over 350,000 guests, Insomniac says it would cap attendance at 75,000.

The past two editions of the New York iteration of the festival were held at MetLife Stadium in Northern New Jersey and CitiField in Queens but Insomniac hopes to move the party to upstate New York. On relocating the festival, Insomniac founder and CEO Pasquale Rotella stated, “What’s great about this, is when you do destination festivals you tend to get a much better crowd than when you’re in the middle of a city.”

He instagrammed this photo along with a caption that announced the dates and new location for EDC NY 2014 to fans:

Insomniac has stressed that the festival will work with the local community. Simon Lamb, Insomniac COO, commented, “Insomniac understands it would be a guest in Saugerties and wants the experience to be beneficial for fans and the community . . . The location’s beautiful and we think that it could be a really wonderful relationship.” Pasquale Rotella has assured local officials that Insomniac will implement traffic and security plans to reduce the festival’s impact on the community.

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It all started when Michaella McCollum Connolly was reported missing in Ibiza. The 20-year-old Irish woman had been working for the summer as a dancer at a club in San Antonio when she reportedly vanished at the end of July, worrying her parents.  15 days after she was reported mission, her parents remained hopeful and confident that they would find her.

Michaella turned up almost a month later in Peru along with 19-year-old Melissa Reid from Scotland when police intercepted the two attempting to board a flight to Madrid from Lima, Peru with over $2.3 million worth of cocaine in their suitcases.

When confronted by the authorities, the girls claimed that they were kidnapped at gunpoint by gang members in Ibiza and then flown to Morocco and eventually to Lima, where they were given 11 kilos of cocaine concealed in Quaker Oats packets. 

Though they claim that they were forced to do all this against their will, it’s hard to believe that they were either completely ignorant of what was going on or fully uncooperative with the gang members based on information that has since come out about their time spent in South America.

There is a video of the girls just after their arrest where they appear candid and unconcerned with what was going on. Here they are seen eating donuts and laughing in the police station:

Peruvian taxi driver Martin Huaroto chauffeured Michaella and Melissa around Lima for three-days before their arrest. He describe the girls as “relaxed and happy” as they went on a shopping spree around the city spending hundreds of British pounds on high-end clothing, jewelry, and shoes.

The girls also found time for a two-day sightseeing trip to the Andes, hopping on a flight to Cusco just after landing in Peru, and seemed perfectly content and relaxed as they checked into their hotel upon returning to Lima, chatting with hotel employees about their amazing trip.

Huarato was shocked when he saw the girls in the news after their arrest. “I thought they must be really spoiled because they bought so much. When I saw them on the news I could not believe it – they had gone from being on expensive shopping trips in my cab to holed up in a dirty cell.”

However, he did acknowledge that he has been aware of this happening before. “It’s very common for girls to be talked into coming to Peru by flash gangsters. They are promised free drugs, money, a holiday and accommodation. When they get caught out the world comes from beneath them.”

A worker at the police station where the girls were being held said, “Michaella and Melissa have been laughing, and even singing songs like You’re Just Too Good To Be True. It’s the same old story we have heard a million times . . . They were just stupid, allowing themselves to get in a situation and got caught. Now they have to deal with the consequences.”

Drug gangs have exploited vulnerable young girls working in Ibiza to further their illegal businesses for years. They tend to seek out PR workers, who are hired to hand out pamphlets advertising parties and clubs, offering significant amounts of money and extravagant trips abroad.

Just recently, Peru overtook Colombia as the world's largest producer and exporter of cocaine. Drug lords in Peru make more than £1 billion each year with the cocaine they transport into Brazil and Europe alone. Peru has the second highest rate in the world for arrest charges of people illegally transporting drugs. In 2012 alone, 248 “drug mules” were arrested at Lima’s Jorge Chavez international airport, the same place where the two girls from the UK were caught.

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The global dance music calendar doesn't leave much time for rest and relaxation, which is both a blessing and a curse for some of us. As many are staring down the barrel of Burning Man, one of the undeniable standout festivals on the international scene, the BPM Festival in Playa del Carmen, Mexico has just announced its dates for 2014.

Set to unfold over the course of nine days in the Mexican Riviera, BPM Festival will kick things off on Friday, January 4th and conclude on Sunday, January 12th. If it's not already something you're planning for, then let this be the first warning we'll make on the subject. It's awesome, and if you're looking for some help in organizing everything for your musical journey south of the border, then head on over to visit our friends at the Techno Tourist who've been perfecting exactly this type of getaway for the last five years. Keep it locked on Pulse Radio for exciting new developments and news about BPM.

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American rapper Flo Rida has managed to worm his way out of paying nearly $400,000 in damages to Australian festival Fat As Butter for failing to perform at the event, reports The Sydney Morning Herald.

A three-judge panel upheld Flo Rida's appeal, finding that Facebook and email were not appropriate means of serving an international rapper with a summons to appear in court.

"Personal service on the defendant is the primary means of service under the Uniform Civil Procedure Rules," said Justice Robert McFarlan.

"That did not occur in relation to Flo Rida ... Unless the primary judge's order for substituted service [of the summons] was properly made and overcame the apparent lack of jurisdiction to proceed with the action against Flo Rida, the appeal must succeed and the primary judgment for damages set aside."

In April of 2012 Flo Rida was ordered to pay the Newcastle festival damages after he disappointed 11,000 fans when he told organisers minutes after he was due to go on that he would not be performing. The organisers were forced to tell the crowd that the rapper had slept in and would not be able to make it to the festival.

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Marek Hemmann
Bittersweet
Freude Am Tanzen

Marek Hemmann is a connoisseur of sounds that are pleasing to the ear. His previous work has shown us what to expect: thumping drums, commanding pulses of harmonic bass and crisp, funky rhythms, sprinkled with pleasing melodies, quirky twists and surprising little ear-catching auditory allusions.

His second LP, 'Bittersweet', sticks to the formula with few exceptions. It’s simple. Under big, round hums and electric streams, the heartbeat is a stripped-down, fat, pounding dance-line. There’s a lot of depth, too. It’s nice, minimal tech-house presenting itself as refreshingly non-serious.

An airy and wobbly climb up and down melodic stairs is the opening, ‘Xativa’. The slow start is atmospheric, followed by ‘Mars’ - a spacey introduction, and the theme is set at something of a rocking party, maybe in the future on a warm summer’s evening, outdoors in a lush valley with parrots and flamingoes and other exotic birds, bass and moonlight rolling through the palms, where the DJ stands on a giant aquarium and the cocktails glow. There is a distinctly utopian feel to Marek Hemman’s latest work.

‘Zunder’ is the kind of magic that could make even the grumpiest person smile. Layered onto a slamming kick is a melodic bass line. The harmonic progression is brilliant simplicity. As it drops and rises, it’s like that exhilarating moment of pleasant turbulence when the rollercoaster reaches an apex and begins to drop. At the bottom, the album slows with the intricate and progressive ‘Lindwurm’ and ‘Topper’, before the thrumming ‘Endless’ takes a walk back to the dancefloor in an energised, hazy and easy-going bounce.

‘Hooray’ is worth a second listen, to pick out the all the little happenings behind the warm warbling organs and those delightful drums that sound like coconuts. It’s the last high-powered number before the album gently simmers down to droopy synths and sentimental harmonies, washed away in a closing-time glow of strumming guitars and smiles all ‘round.

German for "the joy of dancing," coming from the label, Freude am Tanzen, it’s no surprise that this is hard to sit still to. But 'Bittersweet' is music for a whole night. Spanning genres and moods, from high to low, like every little sound Hemmann has picked and pruned for this release, the balance of tracks is considered and there are definitely a few here that will stick around.

Listen to Marek Hemmann on Pulse Radio

India's longtime holiday destination of Goa looks set to lose its tag as a free-loving, hippy raver paradise, with the state's government putting a ban on dance bars.

The state has progressively tightened controls on nightclubs and outdoor parties over the last few years after a series of high-profile crimes including the rape and murder of a British teenager in 2008.

"Dance bars will not be allowed in Goa. There has been a lot of image-beating for the state due to the existence of drugs and prostitution on the beaches. We will clean it up," announced Chief Minister Manohar Parrikar last week.

Parrikar has made cleaning up Goa's palm tree-lined beaches a priority to make them more family-friendly, with his administration initiating a string of measures to safeguard foreign tourists including ordering police to remain present on the beaches until midnight. Previously police would withdraw after sunset.

Goa has long been a laid-back, hippy beach destination well known for drugs and dance music, attracting 2.3 million foreign and domestic visitors annually.

Via The Huffington Post.

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Like many of her contemporaries, it was a trip to Ibiza in 2005 that changed Laura Jones' life. We'll let her tell the story herself, though for the sake of introductions, Jones now finds herself on the other side of the dancefloor these days, spinning house music to crowds at DC10 and Richie Hawtin's ENTER party at Space. She has also made her foray into the production world, releasing cuts on esteemed imprints Crosstown Rebels and Visionquest.

On her way to Australia for the Listen Out tour next month, we took the opportunity to chat with Jones about how her career came to be and her current life as a touring DJ.

Pulse: Your recent set at ENTER. was broadcast live on Livebeats. Do you find it adds pressure or changes the experience of playing an event in any way knowing it's being filmed and broadcast live? Laura Jones: A little bit, yeah. It may be controversial to say but i'm not the biggest fan of streaming really. It's a bit 'Big Brother' like and definitely adds this layer of pressure that wouldn't be there say, if you didn't know it was going on. There has to be a difference in how you perform with that presence than if the camera wasn't there. But it's now the hot thing so people at home can be involved. Thursday the feedback was super, super positive so don't think it was the end of the world then. But there have definitely been times where I've felt it wasn't necessary. Different strokes for different folks.

Is it asking a bit much on streaming by thinking they're getting the whole experience without actually being there? That's the other thing. Something on a stream at home when you're just sitting around can sound a certain way. If you're not in the crowd and on the dance floor and in the whole experience you're not going to grasp why the DJ has chosen to drop a certain track and it sometimes at home or on laptop speakers can sound really flat, whereas in the club on that sound system it can be really great and really big. I've seen some streams recently of real inspirations of mine over the years and sets just sound pretty flat where in reality I know it wouldn't have seemed like that being there in reality. This one was nice in that they were fairly discrete and they had the sounds in the crowd there as well so you could feel like you were there a bit more.

Was this the first time you'd played ENTER, for Richie Hawtin? Yes, that's the first time I've played for Richie. It was a real pleasure to be a part of it all really. It was 2005 when it all began for me and I was in Ibiza and It was around that time when MINUS' minimal techno and that sound was becoming really big. So seven or eight years on to be a part of Richie's new night and concept is a huge honour. It's been pretty successful and now in it's second season it's really getting momentum.

Have you spent much time in Ibiza outside of this? So far I've been playing at DC10 for Circoloco in Ibiza which is another real honour. I've also got a date coming up at Ushuaia in a couple of weeks. I've got a lot of friends that are doing seasons this year that were doing them back in '05 when I was, so I try to get to Ibiza a bit before or stay a bit after the gigs to be able to catch up with people and enjoy Ibiza. I love it there.

You said before that it all began for you in Ibiza, and that's where you decided to take on DJing. Tell us more. Well in 2005 I had just finished studying a business and Spanish degree in Leeds where I'm from and went with my sister and another friend to Ibiza for a short trip and then flew back to Leeds and kind of went, "What are we doing back here? We've just graduated, the world's our oyster." So we went back over...and it was a bit of a whim as by this point it was June which is a bit late if you want to work a season - you really have to get over there in May. So we were lucky and we pretty much walked into a couple of PR, sort of promo jobs. I was working for Cafe Mambo. And from there we really got the Ibiza experience. Going to DC10 for Circoloco pretty much every week then on to Amnesia on a Monday night. It was all about Monday. Seeing the likes of Richie, Magda, Villalobos, it totally blew my mind like nothing I'd ever experienced. I'd only been the one time before in 2004 for a quick holiday.

Growing up I've sort of gone through phases of loving pretty much every sort of music there is to like. I can't really pinpoint a particular moment where the penny just dropped but it was definitely the experience of that season. If anything sticks out I remember watching Tania Vulcano on the Terrace of DC10 for Circoloco and thought, "I want to do this. I want to be up there." Then being out there, that whole experience just built and built and built. I went home around October and just spent thousands and thousands of pounds on equipment. Like 5000 pounds of equipment on finance [laughs]. Bearing in mind this is straight out of uni already being up to my ears in student debt. I just didn't care about the debt or cost I was that serious about it. I really wanted to give it a proper go.

How have you found the journey from spectator to headliner? You've moved up the ranks pretty quickly recently - is the hard work paying off? It's happened pretty quickly, I mean it's almost to the day now that i've been able to do this full time for two years now. I left my marketing job August the 9th, 2011. In that period of 2005 - 2011, I graduated and went from doing this part time job for this gambling company and they asked me to go full time and it was just around the time of finishing the season and it suited me well to jump into work and start paying off this DJ equipment I'd just bought. I also took myself off to do a few crash courses in DJing and mixing. Because I'd been with the company for a while I managed to wangle a Tuesday - Saturday working week.

So music college would be the Monday, then Monday night I'd travel down to East London to go to this new night Damian Lazarus was doing at TBAR once a month. Then I'd go back to work, go out Saturday night, then Sunday could be mixing or after partying. It all sort of fitted in. I was just sort of in the background teaching myself to mix. Then I managed to get a residency at Louche. That was for about a year, but being a monthly party over a year you're still not playing that many times. After a while playing very sporadically I played for my friends in Birmingham at a party called Below. Also Mulletover. So most of the time I was getting on the decks initially with only playing out about once a month, still on the equipment I'd bought for home. But I'd pretty well equipped myself there. I meant business, basically.

When did you start producing? In the beginning I was only really buying vinyl as it was before the digital age boomed really. It got to a point I had to slow down on that buying as my new obsession had stretched my budget that I then started playing with mp3s and digital downloads as it was what was more realistic and affordable. Then with the move from vinyl to laptop It was a few years into then that I began seeing if I could produce, learning how on my little white 13" macbook pro. It was only a couple of years ago really that I finished the first couple of tracks and people started responding and I was taken on by an agency, which made it possible to quit my full time job. It was very much a part time thing for a long time.

Who have you produced for recently? I've produced for Visionquest, Leftroom, Crosstown Rebels and a few smaller labels as well. Mainly Visionquest and Leftroom, though I'd love to do something for Damian again. I've got my eye on a few other labels as well as the more I play the more I find my sound evolving. I started of making deep melodic house and it's now moving into a dubbier sound.

In one of your tracks, 'Sensoramic', you use your own vocals. Do you want to do more work with vocals in the future? I'm really keen to build on that but it's really hard to find the time. I'm away so much at the moment. When you want to teach yourself new tricks and learn something new you really need time to dedicate to it. It's a really time consuming thing to not only produce but come up with a full verse-chorus swell and get the vocals right as well. It can be challenging but I'm very keen to build on my vocals. I've had singing lessons so it comes pretty naturally, the bit that I find holds me back a bit is more the lyric writing. It's not a natural process for me yet and I'm sort of having to teach myself how.

You're flying all over at the moment. I heard you nearly missed a recent booking at Wavefront festival due to flight problems. What happened? Oh yeah, I had a nightmare getting there. I was in Mexico City playing a gig on the Friday and was due to go to San Francisco on the Saturday to play with Matt Tolfrey. I was at the airport literally about an hour before it was due to take off and got a text from my U.S. agent saying I don't think your going to be taking off because there's been a crash at SFO. I was told I could go back through the airport to talk about other ways to get there as at this stage it looked like the flight was not happening and obviously I didn't want to miss a gig. I was also conscious I needed to get to San Fran also for my flight the next day to Chicago for Wavefront. I got trapped on the other side of the airport and they wouldn't let me get back through security when it turned out the flight was going to happen and wasn't cancelled. So I got held at security, them telling me I couldn't get back through. After lots of being shouted at by Mexican security I was finally let through. Well after all that the flight had gone. I ended up being in Mexico airport for about 12 hours, finally paying $900 to get on a flight to Chicago for Wavefront. That's been the most hellish travel scenario I've had.

Is the regular risk of visa issues, customs, and relying on plane travel part of the job a hassle, or something you enjoy? I've been pretty lucky considering the volume of flights - that's the only major hassle scenario I've had where it's meant missing a gig and being held in an airport for so long. Lots of twoing and froing and unchecking and checking baggage. Luckily I speak Spanish or it could have been even more hellish. There's often delays but I'd never missed a gig before this. I've been very late and had to change set times with other headliners before but always got to play. With visas and the rest your agency handles that so you don't need to worry about it. I've seen many airports, hotels and the inside of clubs. Often you don't get to see much else unfortunately.

So when you finally got to Wavefront Beach festival, what was it like? I love Chicago. It's amazing actually. Really, really good fun. I got to play back to back for a bit with Matt Tolfrey and the setting was right on the beach. I really love that setting and Chicago, I could easily move there tomorrow. The place has such a good energy and vibe.

So Burning Man is coming up. I remember seeing you there last year at Disco Knights playing after Jamie Jones or Richy Ahmed by memory. Will you be going again this year? Unfortunately no. My boyfriend Gavin and I decided in 2010 that we'll get there every second year. So this year is our off year. Main reason being I have a quite serious eye condition and the sun is just too intense for me to be doing that every year. Also it's a big commitment when not from the States - we're based over in England so physically, financially and time wise to get there is a huge commitment. We'll be in for next year though.

You're here in Australia soon for the new Listen Out party. Yes, I've only been there once before for a club tour but this will be my first 'festival' tour. I've heard it's a new music policy for them and it looks great to be a part of it. Also I have a lot of friends in Melbourne and Sydney that have moved out there in the last few years so I'm looking forward to catching up with them in between and getting to see a bit more of it all, especially Melbourne. Also Port Douglas - I will get there for a couple of nights at the end to see a friend.

Do you have any new mixes coming up? We've been trying to score one off you! I've already agreed to do two coming up. Transition Radio show is this week for Digweed, also another one for an Italian mag that have been asking for a year and a half. I try not to do too many to give them there own air time.

Listen Out 2013 Lineup:
Disclosure (Live)
Azealia Banks
Tnght (Live)
Duke Dumont
Alunageorge
Classixx (Live)
Miguel Campbell
John Talabot (Live)
Just Blaze
Rüfüs
Touch Sensitive
Laura Jones
and many more...

Listen Out 2013 Dates & Venues:
28.09.13 - Centennial Park, Sydney
29.09.13 - Ozone Reserve, Perth
05.10.13 - Observatory Precinct, Royal Botanic Gardens, Melbourne
06.10.13 - Cultural Forecourt, Southbank, Brisbane

Listen to Laura Jones on Pulse Radio

From the 3rd to the 6th of October 2013, the Mainstay Beach Bar gets tropical and brings the heat to the white sands of the Daisies. The line-up selected is of exquisite design and adding to the magic is Cape Town’s DJ and Producer Lady M. 

Embracing the digital era Lady M performs using Serato Scratch Live, throwing out deeply bass-driven, percussive and melodic house and techno. Experimenting within the darker realm but transitioning smoothly within her sub-genres, don’t miss what will be an explosive journey for both body and mind on the Mainstay Beach Bar.  

British live electronic act The Prodigy are touring their Warriors Dance night for four dates in the UK this December, touching in at Manchester's Warehouse Project.

The live band have gone on to become one of the UK's biggest exports, bringing their high voltage mix of electro, old school and rock to countless fans around the world (not bad for a bunch of original old-school ravers from Essex). Kicking off at Bournemouth's International Centre, Liam Howlett, Maxim and Keith Flint shall then play three consecutive dates at The Warehouse Project's Victoria Warehouse Space in Manchester between 18th - 20th December.

They'll have the likes of Hype, Shy FX Caspar and Jaguar Skills on rotation throughout the mini tour. The Prodigy themselves have a new album on the way and they've already taken their Warrior Dance concept around the world's best venues and festivals. It's shaping up to be an earth shaking line up.

Check the full list of dates below. Tickets have go opn sale to Prodigy fans from 9.30am on Thursday 22nd, before general release tickets go out the following day on Friday 23rd August. Keep your eyes peeled to here.

December 16 - Bournemouth International Centre with Caspa
December 18 - Manchester Warehouse Project with Jaguar Skills
December 19 - Manchester Warehouse Project with Jaguar Skills and Caspa
December 20 - Manchester Warehouse Project with Shy Fx, Jaguar Skills, Hype, Gedo Mega Bitch

Listen to The Prodigy on Pulse Radio.

Fiction in the heart of this concrete jungle we call Cape Town, will yet again be hosting another ground-breaking international. The kiwi duo, Terror Snake and Downie Wolf dubbed The UPBEATS will be dropping bombs and enticing absolute dance warfare on the very well-known dancefloor mid Long Street thanks to ‘IT CAME FROM THE JUNGLE’ on the 29th of August.

The duo have been making monster audio waves across the world for years and even more so now with their most recent studio album – Primitive Technique that was released on Noisia’s Vision Recordings. 

With its own brand of hard-hitting, unique sounding Drum & Bass and their "anything goes" live performances renowned for mosh-pits, topless dancers (sometimes women) and crowd surfing antics, Fiction is going to be mayhemic central in the best way possible that includes massive bass in your face lines and fierce cut-killer beat sequences. 

Event at FICTION, Cape Town

THURSDAY 29 AUG

THE UPBEATS (Vision Recs / NZ)

Supported by:

NISKERONE

PHAZE

It Came From The Jungle 

https://www.facebook.com/itcamefromthejungle

https://twitter.com/welovejungle

The Upbeats

https://www.facebook.com/theupbeats

https://twitter.com/theupbeats

 Get Gorilla. 

British tech house producer Tim Green has just announced the launch of his brand new imprint, Disc Over, plus a launch party featuring Dixon at The Tunnel, Kent.

The ethos of the imprint is simple - to allow Tim an outlet to showcase the many tastes and sides of his productions, whilst also offering a platform to up and comers and established, celebrated artists in the process. "My main reason for starting Disc Over is to give myself and others a solid platform to release new and interesting electronic music" he confirmed in an official press statement. "It's aimed to be an extension to whatever sound or style that I am into, as an added reflection on my current tastes in music. Especially releasing music from a lot of new talent and good close friends, as well as music from myself that may not always fit into other labels sound or direction."

Tim launches the label with ‘Just People' and 'Monomania' also featuring two remixes from Timo Mass and My Favorite Robot. The imprint is launched from The Tunnel, Chatham, Kent on October 25th with Dixon, Luca Lozano and Mr.Ho, as well as a brand new live set from Mr Green himself. "I will be creating and blending sounds as well as live vocals from myself" said Tim of his new live show. "Expect a diverse amount of styles, deep and melodic, right up to techno and everything in between"

Be sure to head over to the facebook page here to bag two free tracks from Disc Over. Full details of the Disc Over launch are underneath.

Disc Over Launch Party
The Tunnel, Kent
October 25th 2013

Line Up
Tim Green Live
Dixon
Luca Lonzano

Tickets

Listen to Tim Green on Pulse Radio.

Seba
'Shades of Me & You'
[Warm Communications]

Liquid Drum n Bass has gained a reputation amongst some junglists as being over-produced and tacky. If there is an artist that can change that opinion it has to be Seba. His kicksand snares hit a really techy vibe - usually found on the continent - and his synths are subtley delivered yet prominent in execution. ‘Shades of Me and You’ is really carried by the reese bass and although the track is not dominated by the vocals, they add an umissable element.

The track is a fantastic blend of melody and rolling rhythm, offering a real testament to Seba’s production skill, bringing the richness of sound with use of such a small amount of elements. Every detail is perfected and fans of all kinds can appreciate a well crafted track like this.

The flip to this release is a remix by the masters of the reese bass: Blu Mar Ten. Having been heavily involved in a number of scenes for around twenty years, their vast experience is displayed in every release they’ve done. Their remix of Never Let You Go is no exception - sidelining the core elements of percussion for more ambient scoundscapes, it amounts to a chilled out, emotive number  rather than the punchy kicks and snares found on the A side. ‘Never Let You Go’, like many other Blu Mar Ten releases, is reese bass heavy. Long drawn out hits are surrounded by uplifting and enchanting stabs that seem to dance around in carefree fashion.

A really strong release from the Warm Communications camp and one that shows liquid doesn’t always have to be catered for the younger generations. Production techniques are used to their full capability and simplicity is chosen over complication. If you are looking for an introduction on the softer sound of Drum n Bass then this is your release. It makes you wonder when these artists are going to link up again - and more to the point, why it hasn’t been a regular partnership already.

Listen to Pulse Radio.

Join us as we indulge in a celebration of a lifetime, say goodbye to the year that was 2013 and welcome in 2014 in spectacular Electric style. Keep an eye on our posts for more to come! 

Electric Music, the legends that have brought you Skrillex, Swedish House Mafia, Deadmau5, Steve Aoki, Nicky Romero and Avicii over the past 3 years, are proud to announce electronic legend, Carl Cox, to headline The Electric NYE Ball in Cape Town. The iconic, triple-deck master is no stranger to South Africa’s nightlife and for many dance-loving South Africans, his return is long overdue. 

The NYE playground will be the CTICC, the space will be transformed into a wonderland of world class production for this one night only experience, which will be on par with what fans have come to expect from an Electric Music event. 

Ticket prices:

Early Bird Tickets:

Limited early bird tickets go on sale from Monday 26th August at Computicket:

General Admission: R470

VIP: R680 

Complementary bubbly at midnight, great views, dedicated bars and facilities.

VVIP: R2,050 

Complementary bar all night (excludes French champagne), canapés, elevated dance floor/ area]. At an additional cost VVIP ticket holders may reserve an area / booth and pre-order their drinks. They can do this once they have purchased their tickets from naz@electricmusic.co.za.

2nd Ticket Release:

GA: R580

VIP: R785 (Complementary bubbly at midnight, great views, dedicated bars and facilities).

VVIP: R2,550 [Complimentary bar all night (excludes French champagne), canapés, elevated dance floor/ area]. At an additional cost VVIP ticket holders may reserve an area / booth and pre-order their drinks. They can do this once they have purchased their tickets from naz@electricmusic.co.za.

The support DJs are still to be announced.

Keep an eye on the www.facebook.com/electricmusicsa page for more details to come!

Announcement Video:

Electric NYE Ball - Announcement from Electric on Vimeo.