After a whirlwind year including a number one single in the UK and a series of sold out European shows, English producer Duke Dumont is only going from strength to strength in 2013. Ahead of his visit to Australia for Listen Out, he was kind enough to give up his sleep in and chat about his experiences as an underground producer finding commercial success.

Pulse: Thanks so much for talking to me this morning, I hope I didn’t wake you! Duke Dumont: No no it’s fine, I have my tea infront of me so I’m all set.

Oh that’s good, English Breakfast? Yeah….except in England we just call it tea. [laughs]

Right, of course! I thought I’d start off right at the beginning - where did you get the name Duke Dumont from and why did you choose that stage name? In all honesty I came up with the name almost eight years ago now so things are a little vague. The one thing I do remember was how well it rolled off the tongue, that was one thing I really liked about it. I wanted to kind of be outside myself, so that’s why I came up with a stage name in the first place. I like having that distinction. The music I make obviously still comes from me, it’s who I am, but it’s nice being able to walk around the supermarket and be Adam and to be able to step away from DJing to 20,000 people and go and do my groceries.

You had a number one original track this year with ‘Need U 100%’. Did you have any idea during your collaboration with A.M.E. on the song that the track was going to be a hit? It initially started off as any other track I’d made. So at the time I was focusing on writing music that I could play in a DJ set and in a club context. What happened was I did the original instrumental part and thought that it might have a bit of potential to cross over to other clubs in Europe, so that’s when we got in touch with A.M.E. I figured that if this was going to crossover we’d have to make it so that it was more palatable for radio with a vocal track as well. So we got A.M.E on board to sing and she did a great performance on it. Then it kind of crossed over onto radio and started off really small and just picked up and picked up, and then we signed the record to a label and it just went from there. Initially though, there was no intention to basically try and write a top 10 but then as the months passed it just kept getting bigger and bigger. It’s partly a happy mistake but also the further it went along the more we were kind of like, it’d be nice if we could achieve this and get it in the charts. And then we got number one in the pop charts in the UK!

As an underground producer, has having that number one hit changed your life at all or the way you’ve approached things? Definitely. It’s made my life a lot easier. The one thing everybody says is that I must be under a lot of stress now and a lot of pressure to make more music, but it’s the complete opposite. The real pressure is making music and doing what you love but struggling to pay the bills. And I went through that for a good three years in that period you mentioned when I didn’t put out much original stuff, it was tough financially. So that’s real stress. Now I’m in a position where I can have a career and make a healthy living doing what I love, that’s not stressed. I’m a lot busier now though and I don’t sleep – I think I had about three hours last night and I’m not even touring. When you’re touring you expect that, but it’s become that way at the moment even when I’m in the studio working. I wouldn’t change it for the world though, not at all. Here’s the thing though, I still write music for the club, as long as I want to DJ, I will write DJ music. At the same time, I’ve been given a great platform to try and write music and songs that are for a different audience like radio. I’m also about to start working on a new album and it’s going to have a lot of variation as well. It might be club tracks or it might be radio tracks but for me the most important thing is that I write the best kind of music I can.

As well as your collection of original work, you’ve done some pretty interesting remixes of pop songs including the likes of Mystery Jets and Bat for Lashes – who are both very melodic and instrumental bands. At the same time you’ve done a number of dance remixes as well. Do you have a favourite genre to tweak and play around with when you’re remixing or deconstructing? Basically I have no boundaries [laughs]. It can be any genre, if I respect the artist and the actual track then I’ll give it a go and put my spin on it. I’ve been fortunate enough to do such an array of genres, from like you said Bat For Lashes to dance music to hip hop. So I’ve gone through like the full kind of spectrum. One thing I’ve done though is that I’d say probably 99% of the time I’ve been really into the artist that I’ve remixed. That really helps, it makes you want to do a good job and it’s really been the key to why I did the remixes I’ve done. It’s also helpful drawing on those remixes when I do my original songs as well.

You announced recently that you’ll be releasing a new For Club Play only EP by the end of the year and you’ve got a pretty hectic touring schedule for the next few months, though will you be writing while you’re touring or is that something you don’t even attempt? Nah I don’t make music while I tour mainly because I can’t make music on my laptop. I have to be in my studio at home so it’s quite tough, but I think when I’m organised it works OK. So for example this month has been the busiest month touring wise, like I think I’ve been in my bed only three times this month, but come September, before I come out to Australia, it gets much quieter and I’m only doing shows in Europe and on the weekends. There’s no kind of tour that’s going to take me away from the studio for long periods of time which means there’ll be time to record from now. In the summer season though, there’s no time to record it’s just not possible.

I guess that’s the easy thing about being based in Europe is that you can just duck away over the weekend to different countries and play. It’s a little more difficult for DJs and producers based in Australia! Yeah, I was going to say that’s the difference between Europe and Australia. You can literally get between anywhere in two hours on a plane [in Europe]. In Australia though it’s a pretty isolated country down there! So yeah it’s definitely handy being where I am.

Listen Out is one of our few national music events stretching up and down the east coast, across the Perth and even Canberra as well. Is there a city on the list you’re really excited to revisit? I’ve been to Melbourne about twice but I’ve only ever been there one day at a time, so I’ll have to check and see if it’ll be the same this time. Hopefully it’s not and I’ll get to spend a couple of days in Melbourne and check out the city a bit more. A lot of times you only spend a day in a place, but I’ve spent a lot of time in Sydney. I’ve got quite a few friends over there now so it’d be quite good to catch up with them, but yeah, I really like Australia. I think this trip will be the fourth trip back in my life so it’ll be nice plus I think the weather in London is going to be pretty bad at that time so it’ll be nice to escape that for a bit. Having said that, in Australia it really rains, like it’s all or nothing, so hopefully it doesn’t do that while I’m there.

Listen to Duke Dumont on Pulse Radio

Last week, The Mushroom Group - Australia’s largest independent music and entertainment group, and its subsidiary Frontier Touring, Australasia’s #1 concert promoter - issued a statement revealing it had bought into Future Entertainment's Future Music Festival and it's under-18s little sister, Good Life. Now it appears that the move was a strategic one to keep the festivals afloat, with Tone Deaf reporting today that Music Events Holdings Pty Ltd - formerly known as Future Entertainment Pty Ltd - was placed into liquidation through a court order this morning in Victoria’s Supreme Court.

The court also placed Music Events Tours Pty Ltd (formerly Future Tours Pty Ltd) and Music Events Operations Pty Ltd (formerly Future Events Pty Ltd) into liquidation, which was not contested by Future Entertainment's legal council.

The amount of money owed to creditors by the companies formerly known as Future Entertainment has not been disclosed.

Listen to Pulse Radio

MTV Iggy is an international music website based in the USA and they “round up five utterly indispensable artists from across a spectrum of genres and all over the world.”  Our lads from PHFAT with the recent change in dynamic of the band need our votes!! 

Fans can vote for our home boys to become MTV Iggy’s Artist of the Week HERE: 

It’s a new beginning for PHFAT since two weeks ago having announced the departure of Disco from the hard-hitting Rap outfit due to creative and personal differences. Read more from Pulse HERE. Smooth Mike and Narch promised their fans that they will be diversifying and expanding their shows to include more live musical elements and collaborations, so that they can continue to deliver the quality of performance and interaction that fans have come to expect from PHFAT. They will do exactly that when they hit the main stage of Rocking the Daisies for a prime slot on October 4th at 23h05 that evening.  Fans can look forward to a huge show with a full band and collaborations. 

There is also a brand new EP on the horizon, so watch this space…

On July 22nd, PHFAT made their first full length album, Happiness Machines, available for free from their website www.phfat.com. The album was downloaded over 3 000 times in the first 24 hours and a total of 7130 times this month. Very interested to hear what they have in store for us with the big change that has gone down between the group.

Clubbing brand Ministry of Sound are to sue Spotify for refusing to delete member playlists that bear similarities to their compilations.

MoS have claimed that the refusal to delete playlists amounts to a breach of copyright, with some of them even including the words Ministry of Sound. The brand - credited as the first superclub of its kind and an institution in modern dance music - have began their high court proceedings, to instigate a take down of the playlists, plus damages and costs incurred. But it all hangs on whether curating a compilation in the first place constitutes intellectual property.

"It's been incredibly frustrating: we think it's been very clear what we're arguing, but there has been a brick wall from Spotify," MOS chief executive Lohan Presencer told The Guardian. "What we do is a lot more than putting playlists together: a lot of research goes into creating our compilation albums, and the intellectual property involved in that. It's not appropriate for someone to just cut and paste them."

Source: The Guardian

Listen to Ministry of Sound on Pulse Radio.

Ahead of this week's appearance at Needwant, Eddie C talks samples, seven inches and soulful techno. Get cheap tickets to Needwant at Basing House with Eddie C and Pete Herbert here.

Needwant have rightly earned themselves a place at the top of the underground tree, supporting newcomers such as Ejeca and well respected masters of their field such as Eddie C. The Ontario born DJ,  producer and edit-king recently dropped his second album on ‘Country City Country’ on Toshiya Kawasaki’s ‘Endless Flight’ label.  Before this, Eddie had been instrumental in Canada's hip hop scene,  creating a wealth of instrumental hip hop albums in the process. Fast forward to 2005 and after being influenced by contemporary producers such as Lindstrom  - and falling in love with the 4-4 beat - Eddie has dived into more cosmic territory, one that draws many similarities to hip hop culture through a comparative use of sampling, vinyls and edit culture. Read on as we go deeper with Eddie, ahead of his rare appearance for Needwant on the weekend, and get tickets here. 

Spending your formative years growing up in Ontario, what were some of the experiences or vinyl emporiums that shaped your current tastes and appreciation of vinyl? I've said it many times, but radio was instrumental in introducing me to music. A friend of mine first turned me onto Hip Hop in '86 when 'Raising Hell' came out. In '87 another friend who was into New Order and Depeche Mode told me about a radio show that was on every weekend late night. I tuned in and was hooked immediately. I remember all kinds of music being played. The genre thing seemed to not be as much of an issue as it is today. I was especially in love with Acid House and Hip Hop. Hip Hop with lots of funk breaks and scratching especially. I grew up pretty rurally but my grandmother lived in Toronto and I used to go to the city all the time. There were ads for record shops on the radio, so I found them, brought lists and bought records! Although at first I also remember being disappointed with the sound of vinyl. I liked it better the way it sounded on tape, recorded off the radio, all compressed-like with DJs talking over top.

Do you have any anecdotes of being an Ontario B-Boy? I wasn't ever a b-boy but I did enjoy scratching. Not too many stories. The usual really... "Not bad meaning bad but bad meaning bad meaning bad..." etc. I still have all my old DMC battle videos. My friend DJ Dry and I used to practice together all the time. In fact at the pinnacle of our interest in turntablism we won the battle for East Toronto Supremacy in 1997. I don't really know what kind of an achievement that is, but it felt great at the time! It definitely felt like scratch DJing was a new form of Jazz performance and that it was headed somewhere special. I blame the advent of digital music for the lack of advancement in the art of turntablism. The last great routine in my opinion is the winning performance by DJ Kentaro from 2002.

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I totally agree about the influence of radio, I\ve got boxes of old tapes from John Peel and the link from my teenage years, do you have any thoughts on where influences come for the youth of today? From a wealth of limitless other sources! Which can be good and bad. For instance, when you're focused on just a few influences it's easier to develop a taste for something and then an individual style based on those influences, which I suppose is how scenes get started. Maybe this is obvious, but it seems like we live in a young global scene at the moment. Something that has never existed before where everyone has the opportunity to discover whatever they want.

Is it fair to say you're a DJ that has an affinity with the 7 inch format, from your Red Motorcycle imprint and releases on Common Edits? In a way yes, but it's not really my favourite format per se. It was always a goal of mine to make a 7" though for some reason. Something to do with watching reggae movies over and over. it's also kind of the original 'single', if you don't count 78s.

What Is it that especially stands out to you about the format? Portability, ruffness, filth, very average sound quality, innocence, strength - you can really smack them down on the turntable over the plastic adapters. And the "Version". Did you know the 7" was the first format to contain two mixes of the same song on one piece of wax? I've never done a version actually... probably should soon.

As a producer is there a difference in the creative process? Do you write 7" tracks, or just have a moment in the studio when you think it's going on a smaller piece of wax? I guess from spending so many years working in a Hip Hop format where most of my compositions were short, just quick ideas that you can finish in a night, it translated well into when we started 7 Inches of Love. You have a time limit on 45s too. It's nice to be limited.

For anyone that doesn't know, can you please explain the Aesthetics release? It's an object that appeases all of the 5 senses! 

You've also had a release with Long Weekend Records, on a beautifully designed run of 200 individually hand painted vinyls and the artwork for CCC was also understated and distinctive? Is this a coincidence or is there a visual (or wider) aesthetic you like to associate with your music? That's the work of Stefan Marx on both CCC and Parts Unknown. He really did an outstanding job for both albums, i couldn't be happier! The art for Long Weekend was done by some good friends in Toronto with lots of patience! And incidentally, the art for Red Motorbike is by Self Help, an accomplished Canadian self proclaimed nerd Rapper and designer. Check him at www.secretcloud.com

Grab Your Tickets to See Eddie C with Pete Herbert at Needwant here.

I think that your productions can have a great live feel to them - do you think this is based on the Jay Dilla inspiration, choice of samples, or just happy coincidence? Well, a lot of it is in fact 'live'. I do work with samples quite a bit, but many of my productions are original works. I always put something 'live' in there no matter what. One of the hardest things in the world is making Techno 'funky'.

Are there any producers you give a nod to for putting the funk in techno? Yes! It's the old Kraftwerk+George Clinton=Techno equation! But it has stretched out so vastly and into so many different avenues since then. Modern day, I really love Vakula and Omar S. Techno has so many variations... shit. Knights of the Jaguar to Studio 1 to Surgeon to Aphex Twin. The list is endless. Don't ask me!

There are many different opinions when it comes to edits, from shining light on a forgotten gem, simply making it more dancefloor friendly. Do you have any pre-requisits before approaching an edit? If you hear something that's good you know what to do. It's a trade for DJs for sure. Like having double copies of the wax. We need more of that in the world by the way.

Do you have a list of edit cardinal sins?? Not really. Good records are good. Not good ones are terrible. One cardinal sin is that there aren't enough Medleys being made! Or records like 'Grand Master Flash on the Wheels of Steel'. Someone needs to make a record with records.

I read you're a big fan of Record Land in Calgary, do you have any tips for any jet setting vinyl aficionados? Yes! I haven't been there for a while now.. and they narrowly escaped the flood in Calgary. But back when I first moved out west it was quite a little piece of paradise. There's plenty in there still I'm sure. Should I be leaking this information?? I guess it'll be good for Armand. Bring him a fresh mango to save on tax.

Are you still getting inspiration from the current hip hop scene? If so, where's that inspiration coming from? No not at all. And probably because I'm not digging hard enough. I'm sure there's some great stuff out there. I live in dance music fantasy land now.

So which era of hip hop did you take most of your inspiration from? Without just dropping a bunch of obvious names from the past 40 years, I just found inspiration from Hip Hop in general. The music of the culture is basically, all types of music. And the production aspect of it began with DJing. All the great producers were sampling or imitating records they were DJing at parties or, on the contrary, finding something no one else had and turning it into something totally unique. Digging is limitless. Record production could stop now and it would still take a million years to hear all of the recorded music we have.

Finally, you're coming to London to play for NeedWant. Given that this is one of the most open minded crowds in the world and you've got Carte Blanche to play exactly what you want, what should people expect? Ah good, I can pull some weird maneuvers then! Keep in mind I do enjoy a good party. We'll try out a few different avenues and see which one works best!

Needwant feat. Eddie C at Basing House
Saturday 7th September
Basing House, London
10pm - 4am

Line Up
Eddie C
Pete Herbert
Needwant DJs

Click the link below for tickets.

Listen to Eddie C on Pulse Radio.

The Boiler Room Pearlers Series has one objective and that is to drop a pearl into your bag that you just might have been missing. With the plethora of content available from the Boiler Room with series like Boiler Room Villa Takeovers and their famous editions of Streaming LIVE world class artists such as the video down below, Pulse pulls a pearl out each week and puts it on display. 

The video above was the epic Jamie Jones B2B Dyed Soundorom session with lethal selections in the two hour mix from the Paradise Official Ibiza Villa Takeover series. Press play and settle in for a journey only these two together can take you on. Jamie Jones with the very exciting news recently about Hot Natured's debut album "Different Sides of the Sun" was highly antisipated so mention of it here is absolutely relevant - GO HERE to get it. Also, Boiler Room have the set available for download from their Soundcloud site – Go and download the party now! 

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 this year is Cam McLean.

A long and faithful relationship with the dance floor is what Cam McLean gives, thanks to his understanding of music and the ever-important time and place of when to play it. Collector of a wide array of genres, Cam has a distinct sound throughout them all. 

Cam's opening set at Kinky Disco

Having surrounded himself with some of South Africa’s most forward thinking musical minds, Cameron was lucky enough to draw mentorship from his close friends Sound Sensible, Kanan K7, Floyd Lavine, Mey, Dubboy and Hurtmurphy. Being involved in a local online radio show - Sound Sensible Radio - further exposed him to more styles of DJ’ing from around the world, from where he draws most of his inspiration.

Although still earning his stripes, Cam is playing at more and more clubs and parties in and around Jozi. He has been lucky enough to play along side big International names Alex Jones and Tiefscharz at Kinky Disco in Cape Town. 

Johannesburg Psy scene started off small and has built a community that shares the love and appreciation of Psytrance. Over the years, these festival gatherings have become more recognized and standards have been set higher with regards to the venue, organization, décor and the quality of the line-up to create a constant progression from the beginning till the end. Soulstice definitely made a breakthrough to the scene over here and the passion that went into organizing this party was very evident. With an exciting line-up planned with local and International DJ’s, we were prepared for the hard partying ahead. This was the perfect way to start off the season!

Set in the beautiful open landscape of Nt' Shonalanga Valley, we were surrounded by nature filled with adventure. Tall trees lead the pathway through the entrance to where the party was to be held. I had the opportunity to help set up, seeing the process from the very beginning. From laying out the hay on the ground, watching the décor crew arrange the psychedelic stretch displays under the UV lights at night, and hearing the sound check with the Funktion-One rig which when uncovered, resembled transformers and sent vibrations through our bodies, tickling our minds with the pure clarity of every sound.

With a view from the top, you could overlook the Main floor and take in all the beauty and energy that filled the dancefloor.

The music began on the Psy floor with an ambient bongo session to get us slowly into what was yet to come. As the sun set, the UV lights amplified the décor into a 3 dimensional vision that awakened our eyes. From then on, we got drawn into the night and let the progressive beats warm up our feet in preparation for Captain Hook who took over the decks and progressed us into the groovy uplifting beats with his heavy basslines introducing his ‘Progressive transtep’ onto the dancefloor!

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Sancho Pancho - the new collaboration of 2 young talented DJ’s from Israel known as "Blastoyz" and "Brain Attack" took over from 00:30 – 01:30 playing their very first live act, bringing a perfectly blended psychedelic melody into a progressive trance experience.

Biorthym – Rubix Qube and Luna lured us into the early hours of the morning and awakened our senses with the true beats of psychedelic trance.

What a treat! Soulstice brought the power on every hour. They kept us on the dancefloor stomping our numb feet into the ground through the frosty evening all the way into the morning. We got warmed up as Blastoyz woke us up with an explosion of energy on the dance-floor with his Hi-tech electro sounds. We got down and dirty for spring and welcomed the sunshine in!

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As the day began, the energy and vibe created by our troopers from Cape Town and Jozi filled the dancefloor as we stomped to the bouncier beats that were a delight to the ears! No matter where you were, the bass would come find you. My feet were already aching from going all through the night, but I couldn’t help but be a part of the ongoing excitement, laughter and happiness!

Positive energy radiated from the speakers as our local DJ’s took behind the decks for the Sunday spring stomp. Each set complimented each other, creating flow into the overall music of the day. Berg took over for the second last set and kept the groove going with ground shaking bass lines.

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Dave Mac ended off the day and sent the music pulsing through our bodies whilst we stomped out the last of our energy reserves.

Psy in the city and Yog Yog collaborated for this festival to bring us the best of both Psychedelic Trance and Electro music. The Yog Yog line-up was incredible and it’s a shame that most of the festival goers were not open-minded enough in some folks opinion to experience what this floor had to offer. The music was crisp and clear with imported sound from Canada. I made missions up to the open hall a few times and really enjoyed the transition into the techno and electronic melodies.

A good night sleep for recovery was greatly needed after this banger of a party!  This was the most well thought out and organized outdoor event Jozi has experienced from the very beginning to the end. A great standard was set and I’m excited to see what’s in store for the rest of the season’s festivals!

Words by Candice Kruger

I’ve tried to include a track here from different era’s that I say influence my music now, as well as one older non electronic piece of music.

LTJ Bukem – music

At a time when rave music was using gimmicks and an abundance of obviously used samples to get attention, Bukem was showing us me the more progressive and subtle musical side of dance music. The emotion is there in abundance and the production was top notch. This still sounds fresh today and it was a difficult choice picking this over two of his other tracks, Horizons or Return to Atlantis.

Pink Floyd -- Shine on you crazy diamond

Pink Floyd were introduced to me by my father. This piece of music is not only an early example of synths being used to create effects but it also takes you on a journey over half an hour of music over it’s 5 parts. It’s simply epic and I think you can hear its influence in some of my music.

Jamie Principle – Baby Wants to Ride

This is just the wickedest house music. The b line bounces all over the place whilst the arp keeps you hypnotized and those vocals bring a sleazy element to the track. Pure dance floor stuff to make you jump around. The link I’ve put up is for the very original version before Frankie Knuckles picked it up. Blueprint House music at its finest.

Guy Gerber – Timing

I love this piece of music so much. I just think you don’t get better production anywhere, where feeling and emotion in the music meet excellent drum programming and basslines that take you on a journey. As with all these tracks, to me this is an epic bit of music.

KMA – Cape Fear

I had to have a UK House and garage era track in here too as it was a big part of my life for a few years in the mid to late 90s. I’ve picked this for its chunky, nasty beats and amazing groove when it drops. I actually heard someone drop it in Circo Loco in London a few years back at 6am and it fitted in with today’s sound perfectly!
  

Alexis Raphael plays Carnival Cities at Sankeys Ibiza this Saturday September 7, then the closing party on Saturday 28 September.

After the tragic events surrounding Electric Daisy Carnival in 2010 (and the recent tragedy at NY's Electric Zoo), EDM figureheads A-Trak, Steve Aoki and more have created a special public service announcement video to warn of the dangers of ecstasy.

The County of Los Angeles have created the Rave Task Force to address the public health and safety issues inherent at large-scale electronic music events and subsequent drug taking at said festivals. The task force have developed the public service announcement - in the player above - to warn of the dangers of the drug and how to play safe.

Featuring six of EDM's biggest figures, they warn of the dangers and how to stay alive, informing of the long term damage of drug use, besides taking breaks and keeping hydrated - or of course, not bowing to peer pressure and raving on without substances.

Sadly the PSA actually became shelved due to politics surrounding the EDC festival in LA. But as the latest report of deaths rock the dance community, URB saw it fit to bring the video to life once again.

Stay safe and listen to Pulse Radio.

James Blake has revealed that he has been working with Drake on the Toronto hip-hop artist’s forthcoming album. Blake joins several other A-list collaborators such as Jay-Z, Lil Wayne, TNGHT’s Hudson Mohawke, and 2 Chainz, who have also worked with Drake on ‘Nothing Was the Same.’

The idea for the collaboration came about when Drake met James Blake backstage at a concert. Blake told Rolling Stone, “I saw him at a show and told him I had some ideas knocking around, and he invited me to Toronto . . . Anything that comes out of that studio, I’m happy to be involved.” Blake did not reveal his specific role in the album but he did confirm his involvement with the project. The album is scheduled to be released on Tuesday, September 24th via OVO/Cash Money/Republic.

Listen to James Blake on Pulse Radio

There isn't many places in the world that Israeli tech DJ Shlomi Aber hasn't touched down in. From Ibiza to Brazil,  the United Kingdom to Israel, the figurehead is well versed in the art of mixing, the pains of producing and commenting on the ever changing trends and developments in dance culture. But that doesn't stop him from being involved in it all, releasing tracks, running his Be As One label and making his annual trip to Ibiza to rock the socks off the world's clubbing faithful. In light of his recent activity - and his forthcoming dates in Ibiza and exciting news for his label - Pulse handed over the reigns of our Pulse Loves feature in order for him to showcase a different side to his usual sound. Because for Shlomi, thinking outside of the box forms the backbone of his approach to music in general. Listen & read on below...

[Read on for tracklisting]

Pulse loves.. hard work. Talk to us about your career so far and the highs and lows. Compared to when you started out cutting your teeth on the DJ circuit, do today's artists have a harder and more competitive time? As in every career , highs and lows are naturals , it's hard to point any specifics, a career is a very dynamic thing and every day gives us new perspective. I'm happy to say that it has been quite steady and productive over the years, I'm trying to stay focused and remain a hard worker.

It's not easy for new comers these days , but at the same time they have more tools then what we had back then , the digital age allows them to release faster and even in lower quality control , therefore many of the new comers are getting it easy.

Pulse Loves... the global scene. Whats happening In your home city? How's the scene there? It used to be fantastic here at the late 90's and beginning of the 2000, it went down in a storm but now its getting better again and there are lots of great parties and a new and open minded young crowd .

Pulse Loves... the underground/ how have you enjoyed playing Carnival Cities and Rebels parties on the White Isle looking ahead to the closing party on 28 Sep? It's has been pleasure to play for Sankeys since day one , i did few more shows for other promoters in ibiza this summer like Used & Abused in Ushuaia, Destino Pacha and more - I'm really looking forward for both Sankeys closings , I did it last year as well and it was a blast.

Pulse Loves.... Ibiza. What does the island mean to you and what are your thoughts on its constant state of flux? I'm attending ibiza since 2000, but the island is very confused this year - too much going on and you can feel the tension in the air. Still - Ibiza will always be Ibiza and nothing will change that.

Pulse Loves... busy schedules, are you playing a handful of Ibiza dates and playing out a lot generally? I'm traveling every weekend , which is not easy thing to do from Tel Aviv, it's 4 hours from every country in Europe and it involves flight connections very often .

Pulse Loves... Be As One. What exciting plans do you have coming up for the Imprint? We have some great music lined up from some very interesting artists like alex picone, Sable Sheep, Guti and more - we're going to focus more on the party and label nights side of the business for the upcoming winter season.

Pulse Loves... your exclusive mix, whats the ingredient behind this set for pulse? It's been recored live from a party last saturday, its very techy and dark mix , not necessarily my usual sound , but it was such a cool party that i could just throw in some special records and that's what your about to hear. It's great to present another side of Shlomi Aber with you guys in this mix!

Shlomi Aber plays Carnival Cities closing party on Saturday September 28 at Sankeys Ibiza.

Tracklisting
1) Leonel Castillo - 1974_MEL SICO CLOSING
2) Eduardo de la Calle - Skeletalism
3)Truncate - Ratio 2
4)Roberto - Mantra
5)Mic Newman - Knickerbocker (Mark E Remix)
6)Carlos Nilmmns - She Likes Analog (Zadig Bonus)
7) Tallmen - 785
8) Interference_Pattern_Original_Mix
9) Markus Suckut - Vibrant
10 )Roberto - Coffee and Wax - Test 1
11) Shlomi Aber - Warehouse Master
12)Floorplan - Never Grow Old_Original Mix

Listen to Shlomi Aber on Pulse Radio.

In response to backlash from festival goers, New York City mayor Michael Bloomberg has released a statement supporting Electric Zoo promoters amid recent controversy regarding the festival after its final day was cancelled due to two deaths from apparent drug overdoses. Electric Zoo took place at New York’s Randall’s Island this past weekend and was cut short after the New York City government advised Made Event to do so because of the tragedies that occurred the day before.

Bloomberg says that he supports the festival promoters as they have worked together for five years and have always been very cooperative. He adds that the problem with drug use at Electric Zoo is a larger issue not unique to this event and the city of New York will have to look at all concerts to make sure they are run safely.

“We’ve been working with this promoter, organizer, for the past five years and they have a stellar record… I can tell you that when we brought it to their attention, we didn’t need to — they knew they had to put in as good procedures as we could think of and have been nothing but cooperative, and I have nothing but good things to say about them… The bottom line here is that you see people here who are doing drugs that shouldn’t be doing drugs and you see the fatal consequences… The city will have to take a look at every concert to see if the concert can be run safely.”

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Trap fans rejoice!  After a memorable performance at Electric Zoo on Friday night as Dog Blood, his side project with Skrillex, Boys Noize has revealed today on Twitter that he has been busy in the studio working with trap artist Baauer, best known as the man responsible for the "Harlem Shake" phenomenon.

The collaboration doesn’t come as that much of a surprise as Boys Noize’s style is constantly evolving and he has already included trap elements in his original productions such as his ‘Go Hard’ EP, released this June.  We are looking forward to hearing what they come up with!

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Watch out Armin! Afrojack is joining the DJ space race. The Dutch house superstar announced this morning that he plans to start training for intergalactic travel in order to “do something that’s never been done before.” He hopes to perform a DJ set in outer space and also hinted that he may hold a contest to bring some lucky fans along for the journey.  If he is successful, he will be one of the first non-astronauts as well as the first to DJ in outer space.  Several pop culture stars have expressed an interest to become space tourists recently such as Leonardo DiCaprio, Justin Bieber, and Lance Bass.

The DJ space mission is still in its early planning stages and there are no dates set for the intergalactic performance or even the start of Afrojack’s training. Given the complicated nature of the idea and lack of set details at this point, we wonder if this is just another publicity stunt.  Civilian space travel has become more of a reality with Richard Branson's Virgin Galactic, which has devised a way for non-astronauts to visit deep space as tourists.

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Soul Clap, the Boston-bred masters of all things disco, funk, house and everything in between are headed to New York City's Governor's Island this Saturday, September 7th for The Parisian Ball. If you were lucky enough to catch them playing with Wolf+Lamb this past Saturday on Robot Heart at Burning Man you are likely frothing at the mouth to hear more of their signature style. In the meantime we're happy to share a special "French Touch" DJ Mix they prepared filled entirely with special French House records. It's a sexy and smooth journey sure to get you in the mood for this unforgettable event we're happy to offer tickets for on Pulse Radio.

After they're done playing The Parisian Ball Soul Clap is headed to Milan, London and Ibiza for Guy Gerber's Wisdom of the Glove so be sure to get them while they're hot!

Check out some exciting video from the last version of The Parisian Ball and a preview of this weekend's event here.

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And here we were thinking that artist fees, greedy promoters and tough economic times are to blame for often exorbitant festival ticket prices. As The Sydney Morning Herald reports, you can blame the Police too, who have been been accused of ripping off promoters on fees for their high-level presence at concerts and festivals, which in turn leads to higher ticket prices. A collection of promoters, led by Chugg Entertainment, are secretly lobbying the NSW government to try and change the situation.

Not only has Police revenue from user-pays events increased from $5.5 million in 2007-08 to $8.5 million in the last financial year, but a Fairfax Media investigation has obtained documents that show that police fees can confusingly vary significantly from event to event. A Mumford and Sons concert in Dungog last year drew a crowd of 1800 people and a $30,000 policing bill, yet the same amount was charged for a Coldplay concert in the city that drew 50,000 people, whilst police in Parramatta charged as little as $10,000 to provide security for 11,000 people at the Harvest Festival. The documents also reveal that officers are charged out at up to $100 an hour, receive time-and-a-half, and head office claims the rest.

"This is not about profit, it's about public safety," claims Police Association president Scott Weber. Another police force spokesman also rejects the claims: ''There's a user-pays policy that is on the website. Of course you're going to get people who are upset because they have to pay."

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To coincide with its digital release alongside '58 BPM,' Hamburg's Tensnake has unvelied the snazzy video for his 'See Right Through' single which stars Allan Leech, aka Downton Abbey's Tom Branson. The single comes from Tensnake's forthcoming album, of which the release date is still a mystery. Check out the clip below.

Tensnake was in Australia recently for the ambitious Terminal Projekt in Sydney where he played alongside The Revenge and HNQO. Witness all that went down over that crazy weekend below.

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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 this year is Simon Wilson AKA Rebel Clef. 

Rebel Clef has various different flavours and influences in music and always performs with great feeling and soul, from Experimental and Down Tempo through Deep House and Techno, beat driven Hip-Hop/Trap, Grime, Drum n’ Bass and deep Dubstep. Being a technical DJ, his mixing is smooth and precise, but always leaves room for flare and feeling. 

Rebel Clef is a favourite in all major clubs and festivals. To date, he has played with all of South Africa's top Electronic acts such as Niskerone, Black Coffee, Felix Leband, Crazy White Boy, Sibot, Zaki Ibrahim, SFR, Hyphen, Dank, Christian Tiger School, Kid Fonque and Das Kapital to name a few. 

He has also graced the stage with international heavy weights such as Seth Troxler, Richie Hawtin, Kode9, Mala, Scratcha DVA, LV, Diplo, Ruckspin, Ghislain Poirier, Coki and Adam F. He believes a sound is worth a thousand pictures.