Popular London based label Hypercolour have a special 'under 500' gig happening this weekend - and we've got a bumper prize pack to sort a lucky reader plus a chance to part of a special live recording of Eats Everything's set.

Running this Saturday at Autumn Street studios, this intimate affair is promising to be a lively affair as the intimate venue plays host to Bristol house don Eats Everything and Switzerland's masterful DJ and producer Deetron, with Eats Everything's set being recorded live for part of a forthcoming Hypercolour compilation later on this year.

If you fancy being part of the crowd during this special recording, and fancy bagging yourself 2 x free tickets to the event plus some Edible sticker sheets, an edible mint tin and an edible pendant all courtesy of Eats Everything, all you have to do is answer the following question:

What is the name of the Huxley track on Hypercolour which was remixed by Eats Everything last year? 

Send an email to contact@pulseradio.net with the subject line HYPERCOLOUR and include the answer to the question in your email. The winner shall be picked at random at 3pm tomorrow afternoon. Don't delay on this one!

Hypercolour Showcase
Sunday, 25 August 2013
3pm - 10.30pm
Autumn Street Studio, Hackney Wick, London

Line Up
Eats Everything
Deetron
Alex Jones
Cedric Maison
Ste Roberts

Tickets

Listen to Eats Everything on Pulse Radio.

The fourth episode of The Adeline show on Pulse takes us on a journey deep inside the record crates. As Adeline embarks upon her monthly musical exploration, she's uncovering fresh new music and this month, a fresh, mysterious new duo in the form of Frank & Tony, who have been hiding in disguise as two lover boys. 

"I've been liking my guest feature's music for a long time, and thought it would be fun to shine a light on their playful approach with this new project - so here I bring you Anthony Collins in person, and some great upcoming tracks from his two labels. Plus, Anthony gives hints on what's to come for the 'duo' and from his own imprint. All this, plus new music from Alex Smoke, Francesca Lombardo and labels such as Scissor & Thread, Baastard and Kompakt!"

Stay tuned to The Adeline Show on Pulse, every 3rd Thursday of the month.

Follow Adeline on Facebook

Listen to Adeline on Pulse Radio.

Truth nightclub in Jozi will soon be the host of international DJ hailing from Turkey, Evren Ulusoy. On the 6th of September Evren will be supported by local artists holding their own we know as 2lani The Warrior, Matt Suttner, Brian Blaq, Chris Keys and Deeply Funked to navigate this ship into deep inner-space as the jam keeps pushing on. 

Space Jam at Truth on the 6th of September, it’s R80 to get in with a solid line-up joining forces and speaking the international language of the deeper sounds of house with Turkeys very own Evren Ulusoy. 

Ticket Compettion Details below.

THERE'S TICKETS UP FOR GRABS!! Here’s what to do: 

2 X Single Ticket Winners.

Post best “having it” pic on the EVENT WALL. Easy as that.

Winners will be notified through Facebook. 

The DJ name Room 303 comes from the Toronto apartment where TJ Train and former partner Brad Meritt first conceived the idea for the duo in 2010.  Since then, they have decided to embark on different paths, with TJ choosing to continue producing under Room 303.  After signing his first record to the UK's Love Not Money Records in 2011, TJ has worked with several other labels such as On the Prowl Records, Suruba Records, and Subtrak Recordings.  We got a chance to sit down with Room 303 to discuss his background, musical influences, some dream gigs and collaborations, and what he has in store for the future.

For people who don’t already know you, can you tell us a little about yourself? I was born and raised in Toronto and starting loving music at a very young age. When I was about 14 I started really listening to electronic music. Back in those days, Lil Louis, DJ Sneak, Masters at Work and Frankie Knuckles were some of the artists that really influenced the type of electronic music I listened to.

As I got older, I sort of veered off the house tip and started listening to a lot of indie and older rock/blues I opened my ears to as many different types of music genres that I could. I was constantly searching for that next sound. In retrospect, this was a special learning period for me - I was able to really listen and understand many different styles of music and appreciate them in their own special way.

It really wasn’t until around 4 or 5 years ago that a friend bought me a pair of turntables and I really started to dabble in DJing and the making of music. I started DJing local house parties here and there and eventually thought, hey, this could actually be something I could pursue. It was around that time that a few local guys really started to make some international headlines – I had seen them play locally a bunch of times but they had just exploded and were in just about every mix I had listened to. They are now known as Art Department. It was the first time I thought to myself – hmm, making music and having the opportunity for people around the world to dance to your music is a real, tangible possibility. They really gave me the push I needed to venture out on my own.

How did you first get into electronic music? There was an old club in my neighborhood called Club Energy that I started going to at around 16. They would bring in some bigger names from time to time and this is really where I started listening to electronic music religiously. The vibe was always right, the people amazing and the music of course made every Saturday night there special. I was hooked from then on.

Your bio says that your music has “a deep connection to many genres.” What are some of your musical influences? Where to start... Legendary artists like Led Zeppelin – I mean Robert Plant’s voice and Jimmy Page’s incredible guitar skills – and the way they would just vibe together on stage! If you haven’t watched Led Zepplin’s “How The West Was Won” DVD, you should – this was my gateway drug into classic rock. From there it was Jimmi Hendrix, The Doors, Prince and the list goes on..

I’d also have to say that the The Strokes/Interpol were pretty big influences. I love just about everything those guys put out! They were able to meld rock with different genre’s and make their own unique song instead of sticking to the same old formula that everyone else was trying to replicate. 

In terms of Electronic music, I grew up listening to people like Lil Louis, Daft Punk, Basement Jaxx, DJ Sneak and Armand Van Helden way back in the day.

More recently, I’d have to say Art Department. These guys have, over the span of a year or two since forming, quickly become one of the best electronic music duos on the planet. They’re a huge influence for me because they made me, and I’m sure many other people in Toronto/Canada, believe it is possible to make it doing something you just love to do, and make it a career out of it that takes you around the world.

I could spend a really long time answering this question so I’ll stop here.

What has been the most gratifying moment so far in your career? So far it has to be my latest release on On The Prowl Records. This release was my first solo record and also my first vinyl. It’s an interesting back story that’s perhaps for another time but I should send a huge thanks to Sean Roman for his massive support on this release and Jacques Renault / Marco Cabral for their support on making this happen. It’s really a great feeling hanging your first record on the wall!

Is the stuff you play now what you’ve always played or has your style evolved over time? I believe it has evolved for sure. When I first started out, I would play more of the well-known stuff, stuff that I could easily find in mixes, hear other people playing in clubs or music that I had been collecting up until then. Now I spend much more time digging through old and new music, melding them together and really finding those special tracks that I get really excited about and can’t wait to play out. I think as a DJ and producer, while everyone should stride for their own unique sound that separates you from other artists, it’s equally important to evolve, refine and learn from everything you do.

You’ve been playing a lot in Toronto, where you’re from. What has that been like? Amazing. Toronto is an absolutely incredible city. I really don’t know of another city in North America that has as many quality events happening on a weekly basis than Toronto. I’ve been watching a lot of the local DJs here for many years and now having the chance to play alongside the likes of My Favourite Robot, Nitin, Jeff Button, Rafwat and Chorniy and others has been a real privilege.

From the legendary Footwork Bar to events like Electric Island, Modern Love Affair, Digital Dreams etc, being able to attend and even play at events like this in your very own city – incredible and special.

What are some of your dream gigs? Dream gigs? A dream gig for me would be playing at one of the big festivals around the world - that’s sort of the pinnacle for me. DEMF, The BPM Festival, Exit Festival, Movement Festival, Sonar - there are so many great festivals around the world and I completely dig the outdoor nature of most of them. Day events usually trump most night events for me.

Of course places like Berghain/Panorama Bar, Warung, Space and other legendary spots are on my list too.

What record labels do you hope to work with in the future? I’m completely in love with the stuff Life and Death and Innervisions are doing. Their sound is special – I think what they’re doing is really exciting and I would love to one day work with both labels.

I also really love what My Favourite Robot and No19 are doing – both Toronto based labels and the stuff they’ve been putting out over the last few years has been quality for sure.

Who would you like to collaborate with? Tornado Wallace. I know this sort of came out of nowhere but I love what this cat puts out! The way he builds his songs, the sounds that he comes up with and the quality of every release he puts out, I would absolutely love to work with him.

Henrik Schwarz is also on this list. I watched and read a few interviews about Henrik and he sort of started off as I did. No musical background, I've never played an instrument in my life so there’s an obvious huge learning curve. I admire Henrik for what he’s accomplished so far from having absolutely no experience prior.

Of course, someone that really showed me much of what I understand today about music, Sean Roman, is always someone I enjoy collaborating with. He really is a master when it comes to building a good rhythm and having it flow incredibly well throughout an entire track.

Can you tell us a little about how you decided to approach the exclusive mix you made for Pulse? The podcast I created for Pulse is a mix own current releases, some unreleased stuff and music that I’m playing out from time to time.  I also threw in a few songs that I’ve had on my playlist for years. The approach was just to play stuff I’m currently enjoying. Hope you guys enjoy it!

What else is on the horizon for Room 303? On the Room 303 side, I have a few records that will be coming out later on this year that I’m wrapping up and I also have a some remixes that I’m working on.

I’ve also started a side project with good friend Pavel Gorin who’s another fantastic Toronto DJ. Night Vision is our group name and we’ve been getting a really great response since we formed the group a little while back. We’ve been playing some really incredible events in Toronto with upcoming events around Canada and (hopefully) beyond. We’re also working on a record that we hope to have finished later on this year.

Night Vision Media is also something I’ve had going from an events perspective with my longtime friend Leta Forbister. We started throwing parties under the Night Vision brand a few years ago and we’ve had some really incredible nights. More recently we did a boat cruise out in Vancouver with Sean Roman and Leta doing a fantastic job of putting together one of the best summer parties down there. I will continue to grow the Night Vision brand on both the events side and DJ/producing side with some pretty special people and see where it takes us!

Listen to Room 303 on Pulse Radio

Last night, deep tech house gurus tINI and Enzo Siragusa teamed up, landing at each other’s respective parties for a massive musical experience that kicked off mid day over at tINI And The Gang, where the Fuse crew, headed by Siragusa, took the reigns for the afternoon at Sirocco beach. From there, the gang headed to the island’s premier underground hotspot, Sankeys.

It’s parties like Enzo’s that remind you exactly why Sankeys is still one of the coolest venues in Ibiza. Few weekly parties are as perfectly suited to their surroundings as Fuse is to Sankeys’ Basement (Music On and Amnesia’s terrace come to mind), and really, it’s this type of natural synergy that make certain parties special. Let’s face it – some parties lack clear vision with programming, some are outdated, and some are simply rehashes of old ideas that were successful at one point and have since failed, only compounding the eventual doom some nights will likely succumb to. But Fuse faces none of these challenges. Nor does it seem slave to any master, carving its own path through a dense jungle of imitators and money chasers, giving it one of the nicest vibes on the island. Fuse is Fuse, and that’s why it’s great.

Musically, Fuse and tINI seem to have been born of the same mother. I sometimes wonder if tINI and Enzo are long lost brother and sister, as their styles, though unique in their own right, mesh like few else on the island. And of all the DJ swapping this season, this feels the most natural. In fact, it doesn’t seem like DJ swapping at all. More like two good friends hanging out in their friend’s basement, playing records with one another. It just so happens, however, that their friend is David Vincent, owner of Sankeys, and the basement in question has a massive Void sound system, turning one of the most relaxed, friendly evenings of the season into a full fledged fiesta.

We headed in as the little known Mallorcan natives BirdsMakingMachine were making damn sure the vibe stayed underground, working the Livid controller with expert precision. Familiar faces were everywhere, as Fuse draws out many of the island’s regulars, all returning week after week assured that anyone Enzo and crew bring will come nothing with but the most proper of grooves. BirdsMakingMachine kept things mellow ahead of Enzo, with just enough oomph to keep things moving – a true warm up performance – making it easy to see why the musically savvy Siragusa and gang invited him to play.

Enzo took to the controls as night started to become day, upping the tempo ever so slightly as time went on. One forgets how young Siragusa is, relatively speaking, as he’s one of the most natural and thoughtful DJs around. Peak time set? No problem. Warm up for tINI? In the bag. One DJ lead into the next so seamlessly that it made for one giant story, something I feel is far too rare these days, with many nights simply pilling names on a bill simply to sell more tickets.

As tINI took over, things only got better, the German selector absolutely owning the booth. She never stopped moving, and neither did the crowd. Call me nostalgic, but watching a DJ give that slight push on an actual record to keep the beats matched gives me the tingles.

Smooth as butter, she played one of strongest sets seen in the Basement all year – rough edged bass-led house, to synapse searing techno, with arms raised and moving with as much gusto as the heaving dance floor. She loves what she does, and we love her for it. I think it’s safe to say that Fuse has a special place in the hearts of almost every deep and tech fan on the island.

Get tickets to next week's Fuse, featuring Enzo Siragusa, Seb Zito, Alexkid, Chris Maran now!

Listen to Fuse on Pulse Radio.

In a teaser video for his fortcoming track “A Light That Never Comes” featuring Linkin Park, Steve Aoki accidentally revealed that he has been using a pirated synth when the camera scrolls over his computer screem . Specifically, the video shows him using Sylenth, a popular synth plug in used in a lot of American EDM music. When you look closely at the 23 second mark of the video, you can see that the plug in is licensed to “TEAM ArCADE,” a well-known software cracking group.

It may seem ironic that one of the world's richest DJs resported to pirating; Forbes recently ranked Steve Aoki eleventh on their Richest DJs List. Perhaps pirating audio software is so commonplace these days that no one worries about the consequences of getting caught anymore.

Listen to Steve Aoki on Pulse Radio

High quality house and techno may not be synonymous with Las Vegas but The Artisan Hotel, Las Vegas’ first non-gaming boutique hotel, is taking some big steps to change that. A welcome escape from the bombastic mega hotel experiences on the Strip, The Artisan Hotel, veers away from traditional (and cheesy) Las Vegas nightlife stereotypes by bringing three well-established, forward thinking underground acts to the club for Labor Day weekend. The Junkies, Worthy, and Popof will all be playing at the club from Friday, August 30th to Sunday, September 1st.

This long weekend of great music kicks off on Friday with Toronto’s The Junkies. The Toronto DJ Duo currently hold residencies at Toronto’s Guvernment Nightclub and Footwork Bar. They’ll be fresh from some recent gigs in Ibiza and will have just played NYC’s famed Cielo the night before.

On Saturday, Worthy will take over the decks. As the head of Anabatic Records and one of the founding members of Dirtybird, Worthy has had a busy touring schedule this summer season playing around the world from his hometown of San Francisco to Ibiza.

Popof will wrap up the festivities on Sunday night. The French DJ has produced on labels such as Turbo, Cocoon, Cr2, and Mistakes and is known for his remixes for artists spanning several genres including Depeche Mode, Chemical Brothers, Tiga, and Martin Solveig.

Listen to Worthy on Pulse Radio

Now is your last chance to make it to Los Angeles’ Grand Park Sunday Sessions! The summer event series presented by Eduardo Castillo is set in one of Downtown Los Angeles’ most beautiful public parks, features A-list DJ talent, is open to all ages and best of all, completely free. The party has been scheduled for every last Sunday of the month since the beginning of the summer and has featured DJs such as Wolf + Lamb, Audiofly, Droog, and Francis Harris. In addition to the great music, the event also features several food trucks, a vintage clothing truck, and cocktails from Pattern Bar.

The final party of the summer is the Leverage Agency Showcase this Sunday, August 25th featuring Acid Pauli, NU, Eduardo Castillo, and more. On the artists he chose for the summer series, Eduardo told Pulse in an interview, “These are artists that I believe will truly grasp the essence of the park. I’m not interested in pounding music - I’m interested in sophistication and tact.” Check out these video recaps from the last three editions of the party and make sure you stop by this weekend!

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Listen to Eduardo Castillo on Pulse Radio

It has been revealed that Fat As Butter promoters Mothership Music have gone into voluntary liquidation owing debts of more than $200,000 to the ATO and creditors, which has been no doubt caused by Flo Rida's recent court appeal win where the rapper managed to wiggle his way out of paying damages of up to $400,000 following his 2011 no-show. Whilst the promoters have assured fans that Mothership's financial collapse will not affect the running of this year’s Newcastle-based music festival in October, they've still decided that a little slice of revenge is in order.

And just how will this revenge be played out? They plan on burning a life-sized effigy of Flo Rida (naturally), or as they now refer to him, "Prime Dickhead". A post to the Fat As Butter facebook page reads:

"Hey guys – thanks for all your support in light of the appeal decision in the Flo rida case [hereafter known as Prime Dickhead]. In order to rid ourselves of his slimy presence we want you all to post a drawing depicting him as we all feel.

The best drawing as judged by you guys will then be turned into a life-size effigy that we’ll have a local artist create. WE WILL THEN HAVE A SACRIFICIAL BURNING AT THIS YEAR’S FESTIVAL – LIGHT PRIME DICKHEAD UP.

The winning entry gets 2 x VIP tickets and the honour of lighting the wick! From that point onwards he will forever be erased from our memories!"

Well played, guys.

Listen to Pulse Radio

"Up" continues to be the only direction for Aussie producer Harley Streten, AKA Flume, with the electronic poster boy further soaring to new heights after having just been announced as the support act for UK young guns, Disclosure.

After he wraps up his mammoth second tour of the United States at the end of next month, Streten will join Guy and Howard at massive arena shows throughout ten UK cities in November as well as headlining a handful of his own headline shows in London, Paris and Amsterdam.

Disclosure & Flume UK Tour Dates
16.11.13 - Bristol, 02 Academy
18.11.13 - Leeds, 02 Academy
19.11.13 - Newcastle, 02 Academy
20.11.13 - Glasgow, ABC
22.11.13 - Manchester, WHP
23.11.13 - Sheffield, 02 Academy
24.11.13 - Nottingham, Rock City
25.11.13 - Brighton, The Dome
27.11.13 - Birmingham, 02 Academy
28.11.13 - London, Brixton Academy

Listen to Flume on Pulse Radio
Listen to Disclosure on Pulse Radio

Classics is a new interview series on Pulse where we take an in depth look at some of the most influential and best loved albums, tracks and mix compilations in electronic music by chatting to their creators.

First off the rank is Hybrid's groundbreaking 1999 debut, 'Wide Angle,' an album cherished by breakbeat and classical music fans alike. We spoke to the Welsh outfit's Chris Healings, delving into how the duo came to be, the makings of the album and more.

Pulse: You met Mike Truman and started producing music together around 10 years before you made Wide Angle. Were you both established DJs in Wales at that time? Chris Healings: I was an established backroom DJ for one of the first clubs in my town called Strictly Groovy. Well it was the first club to play any electronic music there really. Before then it was just raves. Then Mike came in one day with a DAT and a DAT player with a bootleg he’d done of Pink Floyd’s ‘Another Brick In The Wall’. We’d never met him before and he asked us, “Would you mind playing this? I’ve never heard it in a club before.” So we had a listen in the headphones, whacked it on the speakers and were like, “Wow, this is pretty good!” So he came back to mine where I had all the turntables and records, and Mike had the first inklings of a studio, and that was it really – he moved the studio in and never really moved out after that! That was early 1990s.

What kind of music were you guys making back then? I mean for the first six or seven years of Hybrid we were just doing stuff to play on Saturday nights. If there was a Funky Green Dogs or a Slip ‘n’ Slide or Green Velvet record or whatever that didn’t quite do what we wanted, we’d spend the week re-editing or remixing it. Or sometimes we’d get an Alanis Morrisette or Madonna acapella…anything really that we could lay our hands on and remix and then play at the end of the night on Saturdays. And that was our education, you know? That’s how we learnt our trade.

And then was there a conscious decision at some point to make something together to release officially? Well we started going to London a lot because we knew a few people up there and so we’d just hang out in nightclubs, record shops and at label offices. We were after work basically, any kind of remix work, and some of the first stuff we did for Distinctive was anything we could get and we’d do it for free. They had a £2 million SSL G Series studio with every toy you could imagine and we wanted to get in there! So we were doing remixes for free and they were giving us nightime downtime in that room in return. We were remixing people like Adiva, Uno Clio, Belgium, Mega Tonky, Mystic Motion, Hyper Go Go…basically early, “podium-bunny house” if you like! So being in that SSL room is where the first inklings of ‘Wide Angle’ came from. A lot of experimentation and recording live stuff with all the toys they had in that amazing room.

The press for ‘Wide Angle’ reads that the album was born out of your “frustration with the narrow horizons of British dance music and its structural predictability.” Were you and Mike uninspired by dance music in that period of time? We weren’t uninspired by dance music, but we both came from rave and were becoming a bit disheartened with, as I said, this “podium-bunny house” that we were playing and remixing. There was a lot of it around and we did love a lot of it, but we were beginning to come to the other side of it. We wanted to do something that was a bit darker, melodic and more musical…something that had a bit more depth. That’s what we were aiming for.

Was there much breakbeat around? Yeah there was. We were hanging out in this club night in ‘98 called Friction at Bar Rumba with Rennie Pilgrem, Adam Freeland, Tayo and those nu-skool breaks guys and that was the penultimate turning point. Chris and I were either in this SSL room in Soho or we were down the road in Picadilly at Friction on Fridays and Saturday nights. And that was the first breaks we ever heard being played out, which was a massive influence on us. We’d go back to the SSL room and party with people and try to further what we’d heard in the club. But also try and get some strings and live instruments into the mix and try and push it further into musical album territory, rather than just club stuff.

So you always knew that you were going to incorporate strings into the album? Yeah, well we already had lots of string libraries and samples. The early demos already had a lot of melodic content on them. When we were first talking about strings we were expecting maybe a 12-piece or an 18-piece…we didn’t really know what we were going to do. And then it was just by luck that the orchestrator for this Royal Russian Federal Orchestra called the label and asked them if they knew any artists who would want to use a 100-piece orchestra. And stupidly A&R asked us, and we said, “Yeah, we want to!”

We’d never recorded an orchestra before so we had Sacha Putnam help us, who was David Putnam’s son – the guy who did ‘Chariots Of Fire’. Sacha was a very talented man himself too. He was actually training the Prime Minister’s children in piano at the time. So he’d be giving Tony Blair’s kids piano lessons and then coming over to the studio every night to help us score and write the strings and have them ready for the orchestra. He came to Moscow with us too, we really couldn’t have done it without him. He spoke Russian and helped us with the notation when it sometimes wasn’t quite right.

Did he have much of an understanding of electronic music? Not really, no. It was kind of a new project for him as well. It was all very exciting. He went off to become a partner-in-crime with Chris Coco and they’re both still writing electronic chill out actually. So anyway we went off on a plane to Moscow and we had a practice day where we had to shed of a couple of people like the brass and flute sections, some of the woodwinds and brass, and we were still left with about 90 people. We recorded onto an awful, uncalibrated, 2-inch tape machine which when we took it back to London it sounded like shit. So we had to uncalibrate which took us about four or five days just to get it to sound any good. But it all came out well in the end!

What was the orchestras’ reaction like when they heard your music that they had to play along to? They were these big old guys that had never heard anything like it before really. They were 50 or 60 year old Russian guys for a start and we’ve got storming breakbeat going down the headphones to them. But you know they were really only using it as tempo. There was one guy who was the lead violinist and he was was quite into it. Actually there was a couple of young guys in the control room who got it, but the guy who was mixing it for us, he didn’t really get it. As I said it needed to be mixed again when we got back to London.

A lot of the breaks and drum programming on the album sounds quite organic. Was that a conscious decision? Well Mike was a big hip-hop fan, so that big organic breaks sound – the live kick and snare that wasn’t too processed – that’s Mike’s hip-hop side coming through. Those were the loops that we were after. Even now on recent projects we’ve done we like to get the best sound for things, for instance we just did some live drums with the drummer from Kasabian for Fast & The Furious 6.

How did you come to work with Julee Cruise on the album? We had five or six demos on cassette going around and we had a few vocals come back but nothing was really sticking. Then Julee heard the demo and sent back some very rough vocals that she had done at home on a multi-track. Even though it was really rough quality, as soon as we heard it at the Distinctive office we knew she was the one. So Mike went over to New York to record her. She was brilliant to work with; she was a little bit quirky, a little bit Kate Bush. She wasn’t like a normal vocalist, she was very hard to pigeonhole and that’s what we were looking for - someone that was a little bit…odd [laughs].

I think you can definitely hear that quirkiness in ‘If I Survive’. I know you guys like to really be across everything when it comes to your music, did you give Julee a tone or vibe you were after with the lyrics? The song was already entitled ‘If I Survive’ and then she drew from her own experiences. The lyrics are all about her going out on a boat with some big music executives from Warner Bros or Sony or something and she thought they were going to do her in by throwing her overboard. She had some crazy contract with them at the time that they wanted to extend but she thought they wanted to get rid of her. She was a little bit paranoid like that. There’s a big story for Julee behind every track.

We also did a few live gigs with Julee when the album came out. Not too many, which is a real shame. She was crazy on stage. We did a show at Creamfields, in 2002 I think it was, and we were a lot different sounding to all the other artists there as it was, and then Julee came on in this crazy peacock style outfit, crawling around on stage and sneering at the crowd. She was mad, the crowd didn’t know what to make of her at all. I remember Mike and I looking at each other and just thinking, “Oh, shit.” [laughs]

Especially with the crowd no doubt all off their heads! Yeah she was crawling across the stage like a lizard. It was mad, I loved it. I look back on it now and think that was just perfect for what we were doing.

I’ve been listening back on the album this past week and was struck by how cinematic it is at times. That saxophone in ‘Beachcoma’ instantly reminds me of Blade Runner. Were film scores a big inspiration for you? Yeah especially sci-fi, Blade Runner and anything like that. Films and film scores have always been a huge influence on us. We used to go out clubbing, you know go out on Friday and come back on Sunday, and we’d get back to the house and put on something like Blade Runner, something to chill out to. We’d listen to a film score instead of more dance music. Some of my favourite music has been film scores, stuff done by John Barry and the likes. We were always looking to get that element into the music as well.

When ‘Wide Angle’ came out it went pretty nuts and also reached a lot of people who weren’t necessarily into dance music as such. Did you ever envisage that it would become a home listening album as much as one for clubs? Well I’m not sure we really made it for clubs really. We were still young and partying like mad of course, but we wanted to do something with a bit more musicality that would sit on your record shelf and stand the test of time longer than the promos that would arrive on our desks and be forgotten about two weeks later. We didn’t want to be overlooked or just be a flash in the pan. So going back to the organic loops, the orchestra and Julee Cruise, it was all part and parcel.

How long has it been since you listened to the album and if you could go back in time and do it all again, what would you do differently with all the knowledge you have now? The last time I listened to it was a couple of years ago in my campervan with the kids, I think it was when we played Glade Festival. I’ve got three kids, one is 13, one 10 and a little one, and we were talking to a bunch of fans after the show and they were talking to the kids, because they were on stage with me during the show. And the fans were going on about ‘Wide Angle’ and how it changed their lives and all this, so we listened to it when we got back in the van because the kids had never heard it. So that was nice.

What do the kids think of it? Yeah they like it, they’ve got it on their ipods now. I don’t know if that’s just because I’m their Dad though!

But going back to the second part of your question, at first I thought maybe I would have got a better orchestra, though the sound of that orchestra was very lo-fi and Russian, and it worked. When we recorded the Seattle orchestra for ‘I Choose Noise’ the recording was almost too good. We didn’t have to EQ anything, it just dropped straight onto the tracks. When I listen back on it now it sounds too clean, whereas I like the sound of the ‘Wide Angle’ strings because it’s got a nice broad sound rather than being too clinical.

I’ll tell you what I would change though: I would have released the second album ‘Morning Sc-Fi’ a lot quicker than we did. Just to keep riding the wave of success we had might have allowed us to do some big tours with an orchestra, rather than one off shows. And that’s something that we still really want to do. Maybe with this new album we’re working on we can perhaps do that.

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We've always wondered who would win an epic battle of skills, a drunk or a stoner? Thanks to those clever devils at Buzzfeed, we no longer have to wonder, for they've put some random dude through the ringer twice, once drunk and then stoned. The challenges? Ball catch, dancing, acting sober, execise and more. It's all in this rather amusing video...

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With both the incredibly famous Ibiza weekly and the massive Creamfields festivals taking place in every corner of the globe, Cream might just be the most popular clubbing brand there is. Beginning in Liverpool, the night was started by two of clubbing’s greatest minds, including James Barton, who recently sold the brand to Live Nation, and Darren Hughes, who now heads We Love…at Space. The brand is notorious for having it’s finger squarely on the pulse of just about every market there is in the world of dance music, drawing the biggest crowds seen at any club or festival in the process.

Such was the case on Thursday night at Amnesia, as Cream brought Calvin Harris to headline the cavernous terrace, along with Michael Woods and Burns, with Gareth Wyn, Gareth Emery and Above & Beyond taking over the main room.

Burns got things going ahead of Harris, keeping the vibe energetic yet in control with a fantastic warm up set. With bangers like ‘Camorra’ by Nicky Romero, Burns kept the dance floor fully in his command, while making sure the energy wasn’t spent before the night’s main act. From there, Burns blasted out his own ‘Domino,’ heading into a rework of MGMT's ‘Kids’ with ‘Kidsos,’ remixed by Sebastian Ingrosso, the beyond rammed dance floor belting out the melody along with the track. Burns’ tempered electro was pumping the crowd up for what was to come. There’s no denying it, Cream knows exactly how to throw a party. Feeling in the mood for something a bit more melodic, we headed into the main room to check out Gareth Wyn.

Walking in, Wyn was on a roll, busting out Anjunabeats favorites like ‘Wayfarer’ by Audien, and ‘Alchemy’ by Above & Beyond, a dove slowly floating away on the LED screen behind him, while Zoe Johnston’s beautiful voice wafted out of Amnesia’s Funktion Ones, pushing the incredibly packed main room into utter euphoria. From there, it only got bigger with massive tunes like ‘Tell Me Why’ by Supermode. As incredible as Wyn’s set was, his closing track was truly inspiring, heading perfectly from big room territory to the acoustic mix of Oceanlab's timeless ‘On A Good Day,’ everyone singing along to some of the most inspiring lyrics in dance music. From there, we headed back into the terrace to get a glimpse of one of today’s hottest dance music stars, Calvin Harris.

Having a sneaking suspicion I’d hear one a remix or two of one of my favorite bands, Harris delivered, opening up with his own twist on ‘Spectrum’ by Florence & The Machine. His mix was full of all the energy and inspiration of the original, pushed over the edge by the massive beats that have made Harris one of the most in demand DJs of today. From there, he rocked the crowd with his track ‘Awooga,’ jumping up and down along with the fans as the ice cannons blasted everyone with cooling CO2. Up next, it was the hip hop inspired ‘Drinking From Bottles’ featuring Tinie Tempah, with its bigger than big synth destroying the masses, everyone singing along with the lyrics, no doubt rushing from the VIP vibe that Harris effortlessly brings to the floor. Next up was ‘Here We F*cking Go’ by Firebeatz, Harris slipping in one of today’s hottest samples with Breach’s ‘Jack,’ stirring the wall to wall packed room into a frenzy. But it wouldn’t be Cream with Calvin Harris if we didn’t hear a little Rihanna, Harris tossing in ‘We Found Love,’ once again cementing his role as one of the world’s top jocks.

Over in the main room, Gareth Emery was fully in command, kicking things off with ‘Yin-Yang’ by Ashley Wallbridge, stirring the thousands of bodies filling the main room into a wild state. He didn’t stop there, blasting ‘This Is What It Feels Like’ by Armin Van Buuren, Emery singing right along to the uplifting lyrics with the crowd, jumping up and down in anticipation of the drop.

It’s no wonder that with talent like this, Cream remains at the very top of the clubbing spectrum, continually selling out week after week. Do yourself a favor and come to Cream, and be a part of one of the biggest parties on the island.

Listen to Cream Ibiza on Pulse Radio.

Artists Nervo and Zedd have officically withdrawn from this weekend’s Creamfields running from Friday, August 23rd to Sunday, August 25th in th UK because of a cited scheduling conflict with the MTV Video Music Awards in New York. The annual awards show is normally held in early September but has been moved to the end of August, on Sunday, August 25th, causing the conflict. The two artists are required to attend the show because they are either performing or have been nominated for awards.

All the players involved instantly took to social media to explain the situation.

In their place, Nicky Romero will play an extended set on Saturday, August 24th from 5:30 to 7:30pm and Major Look will take over Zedd’s time slot from 6:00-7:00pm.

Listen to Nervo on Pulse Radio

London based production school Point Blank have released the latest part of their '9 Lives of Ableton' video series, an ongoing tutorial series that introduces and explores the software to production beginners and seasoned buffs alike. You can catch up on parts 4 and 5 underneath.

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In the latest part of their on going series, Point Blank course tutor Anthony Chapman breaks down, in detail, how how to make the most out of Macro Controls and Automations whilst the latest part (in the player at the top of the page), focuses on how to manipulate audio samples to their fullest potential after being imported into the software.

An expansive program, full of functions and uses if explored corectly, the latest in the series follows on from previous video tutorials of using Session Views and another rather handy tutorial to get you started on making beats and using grooves - essential stuff for the budding producer looking for a starting point on this integral software. Knock yourself out, above.

Visit Point Blank here for more details on all services, products and courses.

Still looking for Labor Day weekend plans? Pulse Radio is giving away two pairs of three-day tickets for Chicago’s sold out North Coast Festival! The festival is only a week away and will run from Friday, August 30th to Sunday, September 1st at Chicago’s Union Park. The festival features a diverse lineup from big DJs (Afrojack, Laidback Luke, Claude VonStroke & A-Trak) to hip-hop stars and indie bands (Aloe Blacc, Wu-Tang Clan & Passion Pit) along with several local acts.

Here is the 2013 North Coast Festival official teaser video:

Scroll down for a chance to win a pair of tickets using PunchTab below. It’s easy – just follow the commands. The more options you choose, the better your chances are of winning! The contest will close on Wednesday, August 28th and the winner will be notified via email that afternoon.

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Noisey’s Big Night Out series exploring the “dark heart of the UK club scene” is a great use of ten minutes of your time. Experience the crazy Gabber and Psytrance electronic music subcultures through the eyes of Clive Martin, a guy who doesn't exactly appear to fit in with these scenes.  He generously subjects himself to these cultures for our enjoyment and so we never have experience them ourselves first hand. Check out the first two episodes of the hilarious video series below.

For the first episode of the series, Clive attends a Gabber party in Glasgow, where he describes the music as “Swedish House Mafia if they played Guantanamo rather than Coachella.”

Clive explores the psytrance culture at a forest rave in the second part of the series. “Most music is designed to sound better on drugs but psytrance just sounds like drugs.”

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If you’ve logged onto Facebook within the last month or been keeping it locked on Pulse Radio, you’re likely (overly) aware that Burning Man is fast approaching. As friends from near and far are touching down in San Francisco, Los Angeles, Las Vegas and Reno and slowly making their way to Black Rock City, we’re sitting behind a desk doing our best to keep you posted on the preposterously amazing musical delights that will be on offer at this year’s 2013 edition. From theme camps to art cars, Burning Man excels at blowing minds and eardrums and if it’s your first time you’d be forgiven if you thought it was all about Robot Heart.

The fact is however, that loads of people from around the world have dedicated much of their free time over the last year preparing their own special creations of unique desert-ready party venues packed with world-class sound systems and accompanying A-list DJ Talent. Since we’re all about promoting good times and you’re either already out there, making last minute thrift store runs or frantically packing we thought we’d do a little bit of the legwork for you. So feast your eyes on an impressive collection of lineups and (at times) unsettling graphic choices. You can be sure that the 90’s era rave flyer design motifs and MS Paint formatting selections are entirely done in a kitschy tongue-in-cheek kind of way.

The Mayan Warrior is back for its second year on the playa and after a particularly impressive inaugural showing the team behind it has worked diligently to improve it to be even more spectacular. The lineup speaks for itself.

Camp Charlie and its “Charlie The Unicorn” Art Car went full Brony with their flyer and will feature DJ Dan, Donald Glaude, Andy Caldwell, Christian Martin along with San Francisco and New York favorites respectively, Galen and Michaelangelo and Stephanie Herndon. Keep your eyes peeled for Fleetwood Smack as he/she/they will be playing a lot!

New York’s Disorient will be kicking into gear immediately on Tuesday night as Wolf & Lamb, Soul Clap and The Beach Club All-Stars (Crew Love) get things off to a raucous start. On Thursday, Maxxi Soundsystem headlines a night of great music with support from Holosound, Lovecraft, Adrian Ravelo, Bedouin, Erika Mysti and Anthony Attalla.

Pink Mammoth will feature Robot Heart’s Swamy and Jon Dill along with artists such as Shaun Reeves, Lance Desardi, Blond:ish, Atish, Eli from Soul Clap, and Marques Wyatt. Lee Burridge will help you prepare for the temple burn on Sunday as he brings it home playing from 11am-Sunset.

Disco Knights is back with another stormer of a lineup. These trouble makers are known for the A-list talent that can often be found manning the decks and this year is no exception. Keep your eyes peeled for Guy Gerber, Ashley Wild, DJ Tennis, Wildkats, Maxxi Soundsystem, Thugfucker vs. Jonny White, Hot Natured & Visionquest, Francesca Lombardo and Chicago’s Nick Bassett.

San Francisco’s Distrikt will feature Listed’s Hoj, Galen, Christian Martin, Thugfucker, Davi, Elite Force, The Scumfrog and much more. A camp known for day raving, listen for a booming sound system and a bunch of dust getting kicked up in the air.

We couldn’t find a more detailed flyer for Nexus but it’s likely because they were too busy confirming fresh faced upstarts such as Guy Gerber, Bill Patrick, Seth Troxler, Dubfire, Jamie Jones, Waifs & Strays, Thugfucker, DJ Tennis, and Life & Death. Signal Flow with Aquarius Heaven and Ataxia are some of the new breed we suggest you keep your eyes on as well. Click the image below for the full lineup on their Facebook event page.

A new addition to the playa this year will be the much anticipated Kazbah which you may or may not have heard about through their kickstarter and idiegogo campaigns. It’s a creation that promises to feature no less than 50,000 watts of sound and a pyramid design intended to harness sacred power from the heavens. You’ll be able to catch artists such as Tone of Arc, Navid Izadi, Aquarius Heaven, Davi, Greg Pidcock. Thursday will feature a number of B2B sets including Jon Dill vs. Swamy, Atish vs. Mighty Cat and Naveen G vs. Nikita.

The Music Savages have a big Wednesday planned which will feature Tone of Arc, Waifs & Strays, Wilkats, Ashley Wild, Tboy, Kreature, Jon Dadon, Jake Patrick, and Ollie Mundy.

As per their flyer, TriFucTa 2013 will offer a lot in the way of sensory experiences along with a music schedule that promises a wide variety of talents. Greg Pidcock from Hot Creations and Lovecraft from No. 19 Music will be playing and Washington DC’s Sarah Myers, fresh from a season in Ibiza, will be showing off what she learned while on the white isle.

Thursday night reVITAlize aims to bring awareness to the growing plastic epidemic our world is facing by focusing on how much plastic isn’t recycled, specifically in the form of toothbrushes. They’ve created a giant disco ball that will be illuminated and suspended 100 feet above the playa which should be clearly visible. Since Visionquest loves supporting a good cause, you’ll be able to catch Seth, Ryan, Shaun and Lee all playing in support of the effort.

Didn’t think you’d get a chance to see Oakenfold at the burn this year? Well think again because that motherfucker is playing twice at motherfucking White Ocean! SICKKKKK! Nervo, Funkagenda, Hernan Cattaneo, Sydney Blu, Michael Woods, and Fehrplay will also be making appearances.

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By popular demand, the Parisian Ball is returning to New York’s Governor’s Island on Saturday, September 7th. The first edition of the magical party presented by BABEL was in celebration of Bastille Day and took hundreds of guests back in time on a memorable Parisian adventure. This time, the event will coincide with New York Fashion week as Paris is well-known for it haute couture fashion. The alluring catwalks of Paris will be brought to Governors Island creating an authentic Parisian fashion show experience for guests.  Be sure to get your tickets for the Ball on Pulse Radio!

In addition to the dazzling sights, partygoers will be treated to top-notch house music. The Parisian Fashion Ball will feature a live DJ during the catwalk shows as well as more talented artists afterwards who will play as the sun sets and the evening turns into nighttime.

The party will feature Boston duo Soul Clap who will undoubtedly delight partygoers with their funky, soulful sound and high-energy sets. The pair has been touring the world non-stop this summer, but will touch down in New York for this special occasion. The French maestro DJ W!ld will join the celebration with his signature dark and sexy sound.

Check out this video recap of the Parisian Ball and keep an eye out for our forthcoming interview with DJ W!ld and a special girl from Soul Clap the week of the event.

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