John Summit returns to Defected for the first time since his 2020 breakout hit.
Beatport’s best-selling artist of 2021, John Summit, returns to Beatport’s number one house music label, Defected, for his latest hit, “La Danza.”
The Chicago star’s new single follows a vast run of releases over the past few months, including “Human” (feat. Echoes) on FFRR, his collaborative tune with Sofi Tukker “Sun Came Up,” his remix of Purple Disco Machine’s “Dopamine,” and more.
With “La Danza,” Summit brings a high-spirited, Latin-infused vibe that incorporates his trademark infectious groove along with red-hot vocals and a butt-shaking bassline.
Following a string of successful releases via Ninja Tune, Gemma Ross speaks to Elkka about love songs, inclusivity in music and her forthcoming DJ-Kicks collection.
“I just got married!“ exclaims the London-based DJ and producer Elkka, real name Emma Kirby, when connecting over the line with Beatportal. “So yes, it has been a pretty busy start to the year,” she laughs. It’s been just a few days since Elkka tied the knot with her long-term partner Alexandra, and despite the rather fresh major life event, she’s back in her London home ready to crack on with the next musical pursuit. But the topic of love seems to be at the forefront of the Cardiff-born producer’s mind recently.
When Elkka began production on ‘I Just Want To Love You’ last year, she didn’t realise she was writing a love song. In fact, she even describes it retrospectively as a “really obvious declaration of love”, one that screams ‘I wanna love you now!’ – even if just lyrically. The single landed last September marking Elkka’s first venture onto household favourite Ninja Tune following a string of house-focused releases (including the much-loved “Burnt Orange“) on the label’s sub-imprint, Technicolour, over the past few years. “Things usually come out without overthinking it, I don’t like to communicate through my music intentionally,” she says.
“I realised I wanted the track to be a song for all kinds of love that usually get diminished, not just romantic. Like the love you have for your best friend, sister, brother, or parents,” she says. “I wanted it to be inclusive for everyone because you shouldn’t be defined by the kind of love you have in your life.”
For Elkka, that push for inclusivity is widespread and doesn’t just settle at the surface. Below the lyrics, she’s fighting for gender equality and the addition of queer spaces everywhere in dance music – a labour of love she’s built through her co-founded label and party series, femme culture. Launched in 2016 after a period of reflection on her own career, Elkka put together the blueprints for a more inclusive scene, and with the fruition of femme culture came a series of pride events and an annual fundraiser compilation in collaboration with UN Women which, in past editions, has featured the likes of Bklava, DJ Boring, I. JORDAN, DJ Python, and plenty more.
“The compilation is really dear to my heart. We’ve had amazing music come through that,” Elkka explains. “My ears and eyes are always open for other artists to release through the label, but we never rush the process. It’s not something that we have to keep plugging into, just when it feels right with the right people,” she adds. Though the label sits on pause for now as Elkka takes some time to focus on production, she admits having an “itch” to relaunch the femme culture events, something that she deems necessary in the current landscape of dance music. “The parties are a lot of work and pressure, but there’s something really special about them,” she says. “Now, more than ever, I find that we’re lacking in queer nights for women. There aren’t enough nights for femme/queer people, which has been running around my mind a little bit recently.”
Femme Culture, as a project, was the launching pad for Elkka’s solo career. “It’s something that will always be a part of what I do because I grew up setting up that label,” she says. Before she became the globe-trotting house aficionado we see today, Elkka’s earliest contributions to music went toward the writing of pop songs for other artists almost a decade ago. With influence from a number of “strong women” who helped to shape the scene before her – including folk singer Joni Mitchell and US composer/performance artist Laurie Anderson, whose vocals Elkka would go on to use in the distinctive 2019 release ‘Avant Garde’ – there’s a clear inspiration behind the producer’s current discography.
“My writing brain, my listening brain, and my fan brain always come back to pop music,” she laughs. “I’m definitely still inspired by pop, and that will hopefully infuse more of my music and bridge the gap between underground and pop in the future. I think we’re seeing more of that now anyway, the lines are getting more and more blurred.”
As her sound evolves from slow-burning vocal house cuts to blissed-out, pop-inspired groovers – and plenty of wiggle room between – Elkka is still just finding her feet. Until now, each of the producer’s releases have stayed relatively succinct, but 2023 could see a change to that as she plans to drop a full-length record. On top of that, !K7 Records‘ unanimously acclaimed DJ-Kicks series is set to welcome Elkka to the roster later next month where she’ll curate a 21-track compilation traipsing through “rave euphoria”.
“I knew I wanted to make something you could listen to when you’re at home, cooking dinner, on your way to work – but can also get you warmed up for the dancefloor,” Elkka explains, adding that she was “hyper-aware” of the forthcoming mix sounding warmer and less club-focused, while still keeping in a few heavy-hitters. “I kept imagining someone sitting on their sofa at home in the afternoon listening to this,” she says. “That in itself was a challenge for me, as well as the weight of being asked to participate in such an iconic mix series which I have always adored.”
‘Hands’, the first cut to be released from Elkka’s DJ-Kicks compilation, lays the foundation for her sonic approach on this mix. Written in her parents’ house in Cardiff while recuperating from a busy touring period, ‘Hands’ is the resulting work of “all the music” she heard and connected with throughout summer, and moments that resonated from being in amongst crowds with friends, “feeling very free and fulfilled”.
Going beyond her milestone DJ-Kicks release, it’s fair to say that Elkka’s year ahead will be a super-busy one and with the promise of a new album in the works, there’s word of a US-European tour down the line for Elkka to showcase her masterful live set, too. And of course, if there’s something the producer promises to make a point of in 2023, it’s her continued attempt to redress gender equality in dance music while keeping the door open for queer artists, spaces, and communities. “Rave culture and dance music is already a community that exists which you can feel quite absorbed into, but there’s always minorities and people that are left out, and like most industries, it’s always been led by certain people who run the industry and get the headline slots on festivals and club nights, she says, closing out. “Just naturally going through my own journey, I realised I wanted to create spaces and platforms and opportunities for people to shine.”
Elkka’s mix for the DJ Kicks series will drop on April 26th via !K7 Records.
Two of the biggest and most Major names in club culture combine forces for a mainly Amapiano music project on Mad Decent.
There’s only one word we can use to describe this joint band project and it is of course MAJOR! The new collaborative album Piano Republik on Mad Decent was announced earlier in the month along with the current single “Designer” featuring Joeboy but there’s plenty more activity to come including plays in Miami and today the album dropped on all platforms. On March 25th, there is a special party in Miami with Major League DJs, but in the meantime, we are enjoying key tracks from the album, including the opening cut featuring Ty Dolla $ign (“Smoking & Drinking,” who also features on “Oh Yeah” later in the LP) and the smooth and epic Amapiano outro “Higher Ground” which may actually be the strongest track in the nine-track pack.
But let’s rewind for a moment for anyone who wants the back story. The music on the album all falls under the amapiano umbrella and that’s a South African style of house music that properly emerged back in 2012: it’s descended from the S.A. house genres kwaito and Afrobeats. This sound is a proper hybrid of deep house, jazz and lounge music and Major League DJz are brothers Bandile and Banele Mbere. And in 2023, Major Lazer may no longer have Switch as they did at the beginning but Diplo’s Lazer-guided melodies come courtesy of Wes, Walshy Fire and Ape Drums. This is their 4th album: their very first with Switch (Guns Don’t Kill People… Lazers Do) dropped all the way back in 2009. Times flies when you’re Thomas Wesley Pence!
Listen to the new joint album from Major Lazer and Major League DJz below!
The burgeoning tech house dynamo Joshwa makes his debut on Jamie Jones and Lee Foss’ celebrated imprint.
Following the massive success of his “My Humps” single with Lee Foss on Repopulate Mars — which claimed a spot as a Beatport Number 1 — the UK DJ/producer Joshwa now makes his debut on Lee Foss and Jamie Jones’ indomitable Hot Creations label with a new two-tracker, Bass Go Boom.
The release follows a handful of impressive productions that have kept Joshwa on the upper end of Beatport’s tech house charts for months now, including his “Take Me” single with Martin Ikin, the “Miracles” single on Black Book Records, his remix of Madison Avenue’s “Don’t Call Me Baby” and more.
The arrival of “Bass Go Boom” comes as welcome news for his growing legions of fans. With its turbulent bassline and sweltering vocal hits, the track has seen widespread support from high-caliber acts John Summit, Fisher, MK, Danny Howard, Jamie Jones, Solardo, and more. The b-side, “Supersonic,” employs a similar low-end demeanor but uses a more polished approach with glossy hits and snares. Listen below.
“BOOM. The ID you’ve all been waiting on,” says Joshwa about the new EP. Anyone that knows me or has heard a set recently knows this is a staple and marks the next stage of evolution of my sound; ecstatic for it be dropping on Jamie’s Hot Creations.”
Check out Joshwa’s ‘Bass Go Boom’ Beatport chart here.
Joshwa’s Bass Go Boom EP is out now via Hot Creations. Buy it on Beatport.
We chat with Italian dance music trio Meduza about their edit of GENESI’s “Everything You Have Done,” which just reached Beatport’s overall top spot.
Luka, Mattia and Simone, congratulations on a new Beatport number one with your edit of GENESI’s “Everything You Have Done.” How are you?
We’re busy, and this is a good sign. We’re working on a lot of new things and different project like Aeterna, our own label where we are going to release some club stuff from us and some young talented producers in Italy and outside our country. Then we’re working on the next radio single, on Odizzea of course, our live show. We’re working on a 2.0 edit and then festivals, club shows etc.
You call your version of the track an edit, not a remix. What is the difference to you, and in what ways have you edited the original version?
Remix is when you take parts of the original and you completely change the mood and the vibe of the track making something completely different from the original, the demo we got from GENESI was more or less ready for the release. We’ve been playing this one for almost seven to eight months, working with him trying to add that 20 percent more. We’re talking about a few tweaks, arrangement cut and mix and master, nothing more, that’s why we called it edit.
GENESI is a newcomer from Italy. How did you find him and can you tell us a bit more about him?
We’ve been good friends with him for 15 years, and we’ve been working together on a few projects before Meduza. It was the right time with this track to launch his own career, as we think he’s one of the most talented electronic producers out there right now.
This is the first release of your new label Aeterna. Why did you start a new label, and what are your plans for it?
Everybody when they hear Meduza thinks about our radio songs, and it’s pretty much correct, but we’re not just that. We’re DJs, we’re producers, and we’ve been living the nightlife playing as resident DJs in Milan and Como for many years. We have a club soul and we needed a place where we are free to release pure club stuff and experiment new sounds and new stuff. At the same time, we didn’t want to have rules to follow as if you want to send a track to someone else’s label you need to fit they’re style and wait for their schedule. With Aeterna, we’re free to release whatever we want whenever we want.
You asked your fans on social media which track they would like to see first released, offering snippets of them. Do you already know which one to put out next?
Yes, “Upside Down” is going to be the next release. It’s got a more melodic vibe than the GENESI’s one, but we’ve been testing this one a few times, and every time it was able to create a special moment in the set no matter if it was a festival or club show. We already have planned and are ready to go with five or six additional releases this year on Aeterna.
Hamburg’s Alula Tunes teams up with Beatport Hype’s new label accelerator program to launch a producer competition — giving producers worldwide the opportunity to score an official release on the striking minimal and techno music imprint.
After graduating 20 imprints from its highly successful promotional platform for independent labels, Beatport has teamed up with five of these graduates — Alula Tunes, The Myth of NYX, Colorize (Enhanced), Deepalma, and Area Verde — to enter into a new and exciting phase of the Beatport Hype program.
Throughout 2023, Beatport Hype – The Next Level will host independent production competitions alongside these five distinguished labels, allowing music producers the chance to win an official release on each imprint and widespread support from Beatport and the label itself.
These labels will release their own Loopcloud PLAY instrument packs for each competition, which will serve as the foundation of each submitted demo on LabelRadar. A 30-day free trial to Loopcloud will be offered to all competition participants.
Alula Tunes is one of Germany’s premiere homes for hard-hitting minimal and techno music. The esteemed label is home to an impressive roster of artists that includes Lampe, Carbon, NoNameLeft, Bendtsen, Clap Codex, and more. In celebration of Alula Tunes’ 14 exclusive Loopcloud PLAY presets, producers are invited to create their own original tracks with the forward-pushing synths, dark hits, and driving basslines that form the core essence of the project.
PRIZES:
– Official release on the label via Beatport* (*subject to label approval)
– Beatport Streaming Pro 6 months subscription
– $50 Beatport credits
– Loopcloud Pro 6 months subscription
– Bassmaster, Scaler + Khords Plugins from Plugin Boutique
– 75 LabelRadar credits
Los Angeles-based DJ/producer SOHMI gears up for her forthcoming Recital EP with some expressive track selections for Beatport’s Playlist of the Week.
Thank you Beatportal for having me curate this week’s Playlist of the Week! My name is SOHMI, and this playlist I’ve put together is the best representation of my current sound as a DJ and artist. I love emotional dance music, soulful vocals, deep basslines, and hypnotic grooves. Altogether, my sets — which feature tracks like the ones selected here — are meant to create safe spaces for your feelings and to move both the body and the soul.
The latest single from my forthcoming four-track EP, Recital (out everywhere April 7th 2023). I love the tribal drums paired with fragments of melodic-leaning elements as well as chopped-up samples of an actual voice message I left on someone’s phone. I’m always trying to find fresh ways to combine different elements of underground dance music with ideas or themes that also somehow feel like they come from or are inspired by pop.
SOHMI – Somebody [Thrive / Permission]
This was the first single from Recital and showcases my take on a vocal, melodic dance track. As more fans have started to hear and recognize it, the reactions have also started to get bigger when I play this in my sets and it’s always a bit of an emotional moment for me because the track is also so personal. It’s really special to have a song like this that I get to play for my fans.
Izaak – human being [imagina recordings]
There’s a special place in my heart for progressive house. When you play the right track at the right moment in a set, it can really just be such a explosion of groove and emotion and this one has been a recent staple at the start of my sets. It just sets the tone for the rest of the set to build and unfold in a magical way.
Joseph Ray – Give Me a Reason [Anjunadeep]
Joseph Ray is one of the most talented producers in the game right now, and I just find this track to be so devastatingly beautiful. I played it recently for a massive warehouse full of people before Tinlicker came on to perform their live show and it just united the whole room.
Booka Shade, Yotto – Encounters [Odd One Out]
Two of my earliest supporters, Yotto and Booka Shade, came together and made this beast of a collaboration track. Need I say more!
SOHMI – Time [Permission]
“Time” is still one of my favorite tracks in my catalog. I think it captures my unique take on techno really distinctly, incorporating signature elements like my vocals and ethereal piano riffs.
The Deepshakerz, Kid Enigma – What I Do [Moon Harbour]
After building up to a ‘melodic’ moment in my sets, I like to switch up the vibes and take things to a funkier place with tracks like this one. One of my favorite times that I played this was at Space Miami during New Year’s Eve weekend – the terrace absolutely exploded when the first drop kicked in!
Dog Blood, Otira – KOKOE [OWSLA]
I heard this sort of accidentally by chance in my friend’s car late last year, and right away I needed to know what it was. It’s not ‘the norm’ of what I’d usually play in a set, but it’s such a unique track and upon first listen, I just had this vision for when I might be able to experiment with dropping something like this. I took that creative risk at Echostage in DC by playing it for the first time in front of nearly 5000 people and I was half terrified that people wouldn’t ‘get it’, coming from me, but it totally worked and was a really validating moment for me to keep taking creative risks in my sets.
Landis LaPace – Seventy Five [Unity Records]
Landis has suddenly re-emerged after a multi-year hiatus from releasing music and we are all the better for it! He has such an ear and knack for deliciously funky, bouncy techno.
Hackman – Semibreves (Kink Remix) [Halocyan]
I always try to bring back older records and nod to the past in my DJ sets, and this Kink Remix of Semibreves is such a special one.
Amtrac – Little Tokyo [Openers]
Amtrac put out a fantastic album this year, and Little Tokyo is one of my favorite moments from it. I’ll often mix this in at the breakdown, starting with a loop, and use it as an ambient vocal layer which then builds into this really lovely minimal but still driving drop.
Eelke Kleijn – Transmission [DAYS Like NIGHTS]
Is there a melodic lead catchier than the one in Transmission? This is one of those near perfect melodic tracks that just take you to all the right places, and you never feel bored. Eelke is amazing.
Breathe – Royksopp, Astrid S (Qrion Remix) [Dog Triumph Profound Mysteries]
I loved Royksopp’s remix which came out last year and played it on many occasions, so I was really excited to see Qrion put her take on the track with her own remix of it.
Hannah Wants, Clementine Douglas – Cure My Desire [Defected]
Last but not least… I saved one of the best for last. A rare deep house record that feels like an instant classic from the first time you hear it.. Hannah and Clementine came together and truly created a flawless record with this one. It makes me want to cry every time! And Clementine is one of the best voices and writers I’ve ever come across. I love her sound so, so much.
With over two decades of trailblazing electronic experience under her belt, the forthright DJ, producer and occasional vocalist (but always vocal) Cassy sits down with Kristan J Caryl to discuss her past, present and very bright musical future.
New Year’s Eve, Berlin, 2002. Several streets are blocked off and police are everywhere. It’s -8.5 degrees Fahrenheit. Ice might be forming over The Spree, but a million ravers are gathering past the river at the Brandenburg Gate. Despite the freezing weather, Europe’s largest open-air disco is still going ahead. But not for Cassy.
Instead, she’s a few kilometers east in Friedrichshain. A drab and since-demolished freight depot originally intended for train repairs is throbbing with bass and packed full of bodies. She stays for days, on and off, leaving only occasionally to sleep for a couple of hours. It’s the epic week-long closing party for Ostgut – the precursor to the legendary Berghain. On that sweaty concrete dance floor, exactly 20 years ago, Cassy decided to move to Berlin.
It took just a few weeks to arrange. She’d been living nestled between Lake Geneva and the mountains. Restorative Alpine air, clear blues skies and gorgeous Swiss landscapes were right outside her window. By day, she enjoyed working in a high-end fashion boutique, but she knew that to make it as a DJ she had to leave those blissful surroundings behind. By February, she’d left Geneva for good. The famously grey and gritty German party capital awaited.
The move soon paid off. Just a year after arriving in Berlin, she was made a resident at Berghain’s cult upstairs space, Panorama Bar. She remained deeply entrenched in the city’s scene for seven years before finally falling out of love – both literally with her then-husband, and metaphorically with the city. “I was just over it,” she says in her signature frank fashion.
After the divorce, she needed more colour in her life so headed to Paris. “I wanted nice wine, neighbourhood restaurants and gorgeous-looking people,” she remembers. “I wanted to dress up and wear some high heels and lipstick. I suddenly saw Berlin in a different light as a single woman and I wanted out.”
At the start of 2020, Cassy was having those same feelings of wanting out. This time it wasn’t a place she had grown tired of, but the entire dance music scene. “I didn’t want to hear one house or techno beat. I felt no love for it,” she says, holding her head in anguish at the memory. “And then I listened to drum & bass.”
Before COVID, Cassy was already feeling that she couldn’t go on, and that included everything from being a DJ to running a label. (She has her own singular and successful imprint, Kwench.) “It was so boring,” she says as she casts her mind back. The pressures of being a single mum, the grind of the game and the battle of the business side “was really fucking doing my head in. I hated it with a passion.” She even started doing an online Journalism course with a view to potentially getting into scriptwriting.
But one mid-pandemic August afternoon she tuned into a live stream hosted by London club FOLD. Drum & bass don Ray Keith was playing on decks that were set up in a lift covered in old flyers and label stickers. MC Flux was on the mic by his side. “It was just the coolest fucking set. It really got me and I will never ever forget the way they played and took us on a journey. It was so pure. I felt the way I did when I first saw Jeff Mills or Laurent Garnier. It reminded me what it was all about.”
Moving back home to Vienna and reconnecting with her vast collection of vinyl was also a big source of re-inspiration. It was a further reminder of the good old times and the purity of the early days she realised she wanted to get back to. In fact, she loved the process so much, Cassy now regularly digs through her racks and shares spur-of-the-moment thoughts and reflections about the music she unearths live on her Instagram. The series is called Talking About My Records and it has proved both cathartic and hugely popular.
In the nearly two decades between moving to Berlin and tuning into that lockdown live stream, Cassy reached the top of her game by whatever measure you care to use. As well as the Panorama Bar gig, she’d worked at Berlin’s iconic record shop Hard Wax, made entries into three legendary mix series – fabric, Panorama Bar and Cocoon – held down residencies at Amsterdam’s Trouw, Ibiza’s DC-10 for Circo Loco, Paris’s Rex Club and New York’s Output, released on labels like Perlon and Aus and earned a reputation as someone who could play to discerning heads in a gritty underground basement or light up the main stage at Creamfields.
“I think it’s essential as a DJ to have that in your locker,” she says. “You should be able to rock all different situations and move between different scenes and sounds. I don’t discriminate.” There’s some impressionist artwork done directly on the wall behind her as she talks. Smudged blue and black chalks, a yellow cone and blades of green could be interpreted as a dinosaur or bird eating some grass. Once upon a time in her Berlin days, it might have been by a trendy young artist. Instead, it’s a much more valuable doodle by her son. Along with Cassy’s mum, who occasionally appears in the doorway behind, the three live together in the countryside just outside of Vienna.
Catherine Britton was born in London in Kingston Upon-Thames but then raised in the Austrian countryside by “very metropolitan, very eccentric parents.” Her mother, a caterer who worked for Coutts Private Bank, was a native, and her father was a Barbadian who had worked for British Rail. They sent Cassy to a Catholic boarding school. She did Latin and an A-Level in music and was around “very conservative people. It was very strange, because the only Black people around town were like, my dad, some diplomats, and some drug dealers. I was aware of it, kids at school were aware of it, and people used to say some extremely stupid and extremely ignorant things.”
The cliché rolled out is that people from all walks of life often find acceptance in the more diverse world of dance music. Cassy agrees. “Absolutely that is true, but I got into that much later.” It’s no surprise that there wasn’t a vibrant techno scene in the chocolate-box countryside of Austria to lure her in during her formative years. But there was a jazz scene, and musicians including the otherworldly Sun Ra even stayed at her parent’s countryside inn on their way to play Jazz Podium Thürnthal. At that young age, though, Cassy was more into theatre and opera. “If Detroit is the cradle of techno, Vienna is the cradle of classical,” she says wisely.
Despite the pre-conception that opera is accessible only to rich, affluent intellectuals, Cassy says it’s actually a lot more diverse and open. “But, people-wise, it wouldn’t have been my world. You can’t smoke and drink and party and rave for a start,” she jokes, “You have to be extremely disciplined and look after your voice.”
Before that taste for hedonism was ever developed, Cassy went to study at a prestigious London drama school. To this day, she has a stage presence when she talks – a vast array of facial expressions and plenty of movement accompany her candid and emotive language. “I never got as far as auditioning for an opera course because I had already stopped singing” she laughs, explaining that what she saw in London had already stolen her attention.
It was in the English capital that her ears were opened to whole new musical worlds. “I would go to Metalheadz nights. I was into acid jazz, r&b. I wasn’t buying records at all then, I was just listening at that stage because to start with I still thought I was going to become a Thespian actress. But it taught me that there should be no limits on what you can and can’t listen to.”
During the years studying drama, Cassy made several trips to Berlin for theatre and opera shows. She would stay with someone she calls a cousin but who wasn’t actually her cousin, although their grandparents were cousins. “It gave me a really strong connection to Berlin early on. Everything I liked to watch was always set in Berlin and I always found the city fascinating.”
At that time her musical heroines were artists like the formidable Chaka Khan. It was nothing more than the range of her voice that wowed a young Cassy. Lesser-known albums like “CK” from 1988 were the ones that resonated most. “But there was only one person I would like to change life and career with, and that’s German mezzo-soprano, Christa Ludwig.”
Ludwig was born during the Second World War and came from nothing but eventually got to the very top of her field, travelled the world and worked with great American composers like Leonard Bernstein. We put it to Cassy that she has reached comparable heights. She pauses, then says, “I guess this is why I am back to enjoying DJing again now. I’m back to doing it for its own sake.”
That is also true of the music Cassy is making right now. She no longer has a studio setup but instead blocks out time to go and work with other producers she admires. And it’s working, because she is on a fine run of form that has seen her put out some of the best music of her career in the last two years or so. It is always rooted in house music and always soulful, with raw edges and the sort of steamy pads that bring real emotion to the dance floor.
But it has taken time to get here. With age comes an acceptance of who you are, a confidence to do what you want to do, not what people expect. Without that self-assuredness, artists who make an album, for example, will always be pushed outside their usual comfort zone to try and show something new. Most of the time that results in token ambient tracks and dreary downtempo pieces that are easily forgettable, or big and obvious attempts at hits that turn fans away.
In Cassy’s case, she threw herself wholeheartedly into working with her own voice on her 2016 debut LP, the still-excellent “Donna”. The record remains an accomplished piece of work with broody tunes that draw on indie, electro, pop and a deeply soulful cover of Prince’s ‘Strange Relationship.’ And the album was co-produced by the super-switched Philadelphia DJ, producer and college professor King Britt.
“It was something that was expected of me to finally have that done because that’s what people want,” she reckons. “But I was also trying to do it in a way that felt organic to me. I guess people would have liked a hit record and would have liked to see me become more of a headliner, or it would have been easier for my agent, you know, or better for my management. But I changed all that team anyway, so it is what it was.”
Cassy did write another album during lockdown, but after stop-start discussions with a label she decided to release it on Housewax as two EPs, CBM 1 and 2, in 2021. “No one wants to hear an album from me,” she says. It’s a shockingly honest comment, but one many more artists would do well to accept, not least because it has freed Cassy up to do what she does best – make red-hot 12″s for the club, which is an art in itself. “Being creative in the studio is so much fun and that’s what I’ve rediscovered,” she says. “I know that I’m not really a singer, and I don’t want to be, but I really enjoy using my vocals and I know there’s so much to still do.” Her new EP (called The Mission) bristles with her idiosyncratic techno-soul energy and lead track “The Get On Down” is undoubtedly one of her strongest releases to date.
Part of the catalyst for all this was listening to a Rick Rubin podcast titled How to Access Your Creativity. “He says you have to make tracks that you like, even if no one buys them, and even if you have to support yourself with another job. And that’s exactly it. So that’s what I’m doing. I’m just doing music because I don’t have to impress anyone anymore. I don’t have to be super famous. Yeah, great. If I have a hit record, that will be amazing. I can buy a new car. Of course, I would love that. But if not, I still made the tracks I wanted to make. And that makes me happy. My motivation now is pleasing myself, but also being there, being myself as a woman and a woman of colour. You don’t have to be part of a group, part of a clique, part of a sound, you don’t have to be accepted by anyone but yourself.”
These are life lessons learned going back to being the only person of mixed heritage in school. “I grew up half this and half that. I don’t see myself as Black. Obviously, I cannot see myself as white. So I see myself as a mix of things,” she says, before getting on to social movements like Black Lives Matter and 50/50 gender balances on party line-ups.
“I don’t do feminism and anti-racism stuff for marketing sake,” she says, turning serious. “I think if you want to change something, you have to do it in your own community. And you don’t have to do it via propaganda. I just do my best as a woman. I’d like to think I speak for everyone, not only for the people that look similar to me. I think the best way of changing things is by being the change, and not always proclaiming things and making the whole world crazy and dividing people even more, you know. We all have different ways of seeing the world and different ways of going about it. No one is right. There is no right way. There’s only hate and love. And either you manage to fucking get over the obstacles and shine a light and be different or you just keep living in this division shit. And I’m just over it. I grew up with it. People told me ‘Oh, you have to act the way you look. You look Black, but you don’t act Black and I’m like, what does that even fucking mean, are you insane?”
Part of Cassy taking back control is a rethink of how she operates her own label Kwench. She started the imprint in 2017 with the intention of using it as a platform for new talent. She dropped a series of collaborative EPs alongside the likes of Pete Moss, Art Alfie and Demuir as well as solo outings from Tuccillo, Kristin Velvet and Davina Moss.
Back then she admits she wanted to set the underground agenda with taste-making new sounds and producers. But in the modern day, the churn is so quick, the release cycle so short, and the chance to stand out so limited that releasing something every month to stay visible became more of a chore she felt beholden to than a pleasure she enjoyed. Now the label is about releasing only what she wants, with who she wants, when she wants, all while eschewing cliques and elitism. “I am way happier with this! It has to be something that my heart is one hundred percent behind. And it has to be house or house that leans towards techno. Keeping it unique in the way that it sounds and something with a bit of a twist.”
All of these realisations mean Cassy is back on the road and happier than ever. Being away from her son “will always hurt”, but that she can leave him with her mother helps. As does the fact that when she’s in a club these days, she’s enjoying it and back to giving her best, which at least makes the time apart worth it.
“I’ve always enjoyed the travel but I used to get anxious. I’m more mellow now so I like being between places, I like airports, I like train stations, seeing other places, being lost across time zones.” She mentions German naturalist and explorer Alexander von Humboldt who said that the more he was exposed to danger, craziness and uncertainty while travelling, the more his mind and body got stronger. “I completely understood that when I read it,” she says.
Next up for Cassy is a first: her own party series. Cassy’s Play House was born in Ibiza and was, at the time, a rare female-fronted party brand, but will now be set up quarterly in New York, starting later this year. It is a place and space she feels “is in my DNA” and cites the city’s legendary Sound Factory and Paradise Garage as “probably the best ever clubs” and a real inspiration for what she does. The party will be a platform for people “no matter their sex, who they want to have sex with, or the colour of their skin” and will veer into both house and techno.
“I should have done this years ago,” says the newly empowered Cassy, not for the first time, but hopefully for the last.
The ultimate dance music supergroup – Fred Again.. Skrillex and Four Tet – drops their long-awaited debut collaboration.
The tremendous dance music supergroup — Fred Again.., Skrillex, and Four Tet — have done it once more with the release of their highly anticipated collaborative track, “Baby Again..“.
This long-awaited debut single from the trio follows Skrillex and Fred Again’s massive joint-tune with Flowdan, “Rumble,” which appeared on Skrillex’s surprise Quest For Fire LP last month. “Baby Again..” was first teased by Fred Again during his acclaimed Boiler Room performance from the Summer of 2022 and once more during all three artists’ sudden and monumental five-hour set at their sold-out Madison Square Garden event in New York City.
As the story goes, the track was conceived during a spontaneous studio session in the remote countryside town of Pangbourne, UK, sparking the unofficial ‘Pangbourne House Mafia’ alias that fans worldwide have begun to use when referring to this celebrated trio. Listen below.
Fred Again.., Skrillex and Four Tet’s track “Baby Again..” is out now via Atlantic Records UK. Download/Stream it on Beatport.
About Skrillex
Sonny John Moore, better known as Skrillex, is an American DJ and record producer who began his music career as the lead singer of the post-hardcore band From First to Last. After recording two studio albums with the band, he left in 2007 to pursue a solo career. Skrillex released his debut EP, Gypsyhook, in 2009, and soon after began distributing his music under the Skrillex name, releasing the dubstep EP My Name Is Skrillex for free download on his MySpace page. He gained popularity with the release of his Scary Monsters and Nice Sprites EP in 2010, and his success continued with subsequent releases like More Monsters and Sprites in 2011. He has won eight Grammy Awards and has collaborated with other notable artists like Diplo and Boys Noize in the groups Jack Ü and Dog Blood, respectively. He also reunited with From First to Last in 2017 to release a single, “Make War,” and produced and mixed the eighth studio album by rock band Incubus, titled 8. In 2023, he released two albums, Quest for Fire and Don’t Get Too Close, one day apart.
The Los Angeles-based DJ and producer VNSSA heads up the remix package for the latest release that’s part of the 23by23 campaign.
The #23by23campaign is a proper call to arms for all record labels in electronic music to help boost the percentage of female and LGBTQ+ artists signed to independent dance music imprints. The percentage is currently 2-5% and the plan is to bump this number to a higher rate of 23% or more by the end of 2023.
Launched by Sydney Blu and the acclaimed techno DJ and producer Rebekah, the goal is to reach this by 2023 and released today, the LP Giobbi Presents Femme House series is back with a bang with the Newport Beach-born, LA-based producer and Beatport Next alum, VNSSA. Here, VNSSA collaborates with #23by23 to release the official remix pack for “In The Dark“, which stems from a recent competition partnered via Insomniac’s long-standing competition series Discovery Project. This was hosted by #23by23 and Native Instruments.
Three talented up-and-comers have been selected as winners of VNSSA’s remix package — ZOF, ABCO, and fellow Los Angeles resident AIMMIA. Listen to their wonderful reworks below!
To learn more about 23by23, read the interview we conducted with Sydney Blu about how the campaign has progressed thus far and its implications for the future of dance music here.
Charlotte de Witte and Enrico Sangiuliano, two of techno’s most recognizable names, have joined forces again for a new EP called Reflection.
It’s time for the second installment. Entitled Reflection, this new EP from Charlotte de Witte and Enrico Sangiuliano is an explosive club-focused three tracker destined for some of the biggest floors on the planet and comes hot on the heels of one of the hottest remixes of 2021, the techno duo’s remix of “Age Of Love” by Age Of Love. As well as the propulsive and acidic title track, the EP also features a second cut called “Source Of Propagation.”
Marking the pair’s second collaboration to date and officially the third release in the label’s countdown, the three-track Reflection EP is available to pre-order now. In conjunction with the EP, Sangiuliano also announced his next SOLO event at Spazio 900, Rome on March 18th. Neither artist needs an introduction for Beatportal readers but suffice to say, Emilia native Enrico continues his conceptual study via his NINETOZERO imprint with his latest release. And there’s plenty more to come from this dynamic duo!
Beatportal’s Harry Levin speaks to Iranian acts from across the dance music spectrum to explore their roots, the sound of protest, and what could come next for the country’s tough electronic landscape.
In Iran, artists have “no future.”
That’s what Niloufar Bahmanpour tells me as she translates Farsi to English for Pedram Bahrani, an Iranian-born producer who goes by the moniker Rebeat.
The pair are speaking via video chat from Bahrani’s current city of Istanbul. In 2018, Bahrani left his hometown of Tehran, the capital city of Iran, after 28 years to build a life as an artist.
Because in Iran, due to the laws of the Islamic Republic of Iran (IRI), the idea of playing headlining sets, getting visas to go on tour, and really doing anything to share one’s art (which is the core function of the artist), doesn’t exist.
But that doesn’t mean artists in Iran don’t exist.
Sepehr Alimagham, a first-generation American of Iranian descent, and an electronic music artist who produces under his first name, owns a record label called Shaytoon Records which, just last year, shared a compilation entitled Sounds From the Iranian Ultraverse, that consists of several Iranian-born artists including Xeen (those on the compilation who aren’t Iranian-born are in the Iranian diaspora like Alimagham).
“There’s a treasure trove of [Iranian] artists that are waiting to blossom, and all the issues that Iran has been facing for the last 40 years have caused us all to be under the surface,” Alimagham says.
Like Bahrani, Xeen has also relocated to Istanbul, but also like Bahrani, she got her start in Tehran. She was a singer and guitarist in the underground indie rock band The Finches before shifting to producing alternative electronica.
The emphasis in the prior sentence belongs on the word “underground,” because it doesn’t matter whether you’re in an indie rock band or a techno DJ like Bahrani, every performance of popular music in Iran is underground because of the IRI.
The IRI doesn’t want artists to have a future, and they especially don’t want women to have a future.
“I felt like I was disappearing. Like whatever was me about me was trying to be eradicated,” says Lily Moayeri, an Iranian-American music journalist, over Zoom from Los Angeles.
Moayeri lived in Iran from 1977 to 1986. She saw the IRI come to power in 1979, and she faced the most brutal administration of their laws as they cemented their control of the country.
Now over 40 years later, those same laws led to the death of 22-year-old Mahsa Amini.
Women over the age of nine are required to cover their bodies in Iran, and the morality police — who are tasked with enforcing these laws through fear and public shaming — arrested Amini for incorrectly (whatever that means) wearing her hijab, or head covering, on September 13, 2022.
According to eyewitnesses, including women who were detained with Ahmini, upon arrest, the morality police savagely beat her, putting her in the hospital where she died three days later.
Negar Hamidzadeh, an Iranian-born artist who makes music under the name Nostalgix, at the age of 16, was almost arrested just the same.
“I have very long arms and I almost got arrested for having this much skin showing,” Hamidzadeh says as she specifies a small section of her wrist over a video chat from her home in Los Angeles.
Hamidzadeh was only visiting Iran at that time, too. She moved from Iran to Vancouver, Canada, when she was seven, but that doesn’t matter. The morality police still could have arrested her.
With such nebulous explanations for these laws, the fear of meeting Ahmini’s fate is a daily reality for women in Iran. One that is engrained into their identities as human beings.
“There wasn’t really any possibility,” says Hamidzadeh of her Iranian upbringing. “I never thought I was gonna have a great career or I was gonna make something of my life. I was born in this environment where that’s your reality.”
Iranians have been fighting to change that reality for over 40 years now, and for over 40 years, artists have been using music as a weapon in that fight, just as Shervin Hajipour did with his song, “Baraye” — which lit the world alight and has been subsequently remixed in a compilation put together by 7Rituals label head Human Rias along with artists like Jan Blomqvist, Victor Ruiz, ANDATA, and more.
At the 65th Annual Grammy Awards last month, Hajipour received the inaugural Special Merit Award for Best Song For Social Change for “Baraye,” but he himself couldn’t attend the ceremony.
On September 28, 2022, Hajipour shared a video of the song on his Instagram, and within 48 hours, the video garnered over 40 million views. The song is now the anthem for the current uprising in Iran that sparked after Amini’s death, and the lyrics include the now official slogan for the uprising: “Women, Life, Freedom.”
Within those same 48 hours, the video was taken down and Hajipour was arrested by the intelligence ministry of the IRI. He is currently out on bail awaiting trial, and thus couldn’t be on stage to receive his Grammy.
Being an artist in Iran isn’t just rebellious. It’s criminal.
Some artists, like the celebrated Iranian rapper Toomaj Salehi, are even facing charges for spreading “corruption on earth,” which according to Iranian-American actress and activist Nazanin Nour, is a charge applied to “anyone who goes against the regime.”
Under this charge, Salehi has been held in solitary confinement since October 29, 2022, he’s faced extreme torture, and the charge can also incur the death penalty.
Salehi’s only crime was making music, and like the constant fear that women endure for dressing how they want, artists face that same fear for sharing their art.
Every Iranian artist knows the dangers, but they follow their passion anyway, and this shared understanding bonds them under a simple truth:
Artists in Iran pursue music only because they love it. They are united in their dedication to their craft.
In markets like the United States and Europe where anyone has the freedom to pursue music, there is a persistent conversation surrounding the idea of intentions.
Is someone making music for the money? To be famous? Do they even make their own tracks?
That conversation doesn’t exist in Iran because someone would only risk their freedom or their lives if there were no other options. If they would risk everything for the music.
Iranian artists can’t even purchase DAWs like Abelton because the IRI blocks those sections of the internet, but artists in Iran like Temp-Illusion are making music of the same quality and with the same technical skill as artists anywhere else in the world.
“There are so many talented musicians and artists in Iran that if these restrictions didn’t exist, they would be in the spotlight,” says Aida Rezaei an Iranian-born artist who makes music under the name AIDA. “This type of music was illegal and is illegal, technically, but that doesn’t stop anybody.”
In truth, music is inseparable from Iranian culture. Sharing music is very celebrated, and there are gatherings called mehmoonis where friends and family come together, dance, eat food, and often host live musicians in their homes.
Photo: Dubfire
In truth, music is inseparable from Iranian culture. Sharing music is very celebrated, and there are gatherings called mehmoonis where friends and family come together, dance, eat food, and often host live musicians in their homes.
Ali Shirazinia, an Iranian-born artist who produces music under the name Dubfire, remembers the traditional Iranian music at these mehmoonis very fondly from his years in Iran, where he lived until he was seven years old before relocating to the United States.
The music didn’t resemble the electronic styles he champions today, but another element of that traditional Iranian music continues to inspire him:
“I was intrigued by conveying emotion,” Shirazinia says, speaking via video chat from his home in Washington D.C.. “I would look around the room and see my family members who were grown men and women crying when they heard certain songs, and I remember being curious about what was triggering that kind of emotion in these people. Why are they feeling the emotion that they’re feeling?”
Like the traditional Iranian instruments, hardware and software became tools for Shirazinia to trigger emotions and transfer his specific energy to an audience; tools he uses much of his year as he travels the globe to perform at established nightclubs and major festivals.
Nesa Azadikhah, another Iranian-born producer and DJ, took similar inspiration from traditional Iranian instruments.
At age six she started learning a hand drum called the tombak among other Iranian instruments, and by 18 when she started producing dance music, she would integrate those instruments into her music—whether through plugins, sampling, or other modern production techniques.
“[Nesa’s] dad had disco cassettes and when they were listening to these cassettes, her family noticed her holding rhythms with her hands, tapping everywhere,” says Rezaei, who is translating Azadikhah’s words from Farsi to English.
Rezaei and Azadikhah are sharing a video call because, in response to the current revolution, together they have launched a record label called Apranik Records (the name of which refers to a historical female Persian military commander).
The first release on Apranik is a 12-track compilation from 12 female Iranians (including Rezaei and Azadikhah) featuring styles like house, techno, and ambient, and the title honors the slogan: WOMEN, LIFE, FREEDOM. They are also releasing another ten-track compilation from a set of ten more Iranian female artists in the near future.
“There’s so much unspoken but shared pain and trauma and sadness and hope amongst all of us [female Iranian artists]. Everybody really wanted to contribute their skills and their talent in music towards this cause that they really care about,” says Rezaei, translating for Azadikhah.
Many of the artists on the compilation like Rezaei — who left Iran at age 12 for Vancouver, Canada — live outside of Iran, but some like Azadikhah built their careers in Iran.
Azadikhah only left Iran approximately five months before this interview for the country of Georgia, where she is now a resident of Tes Club in Tbilisi.
Photo: Nesa Azadikhah
Photo: AIDA
Azadikhah was key in curating WOMEN, LIFE, FREEDOM because she had previously connected with many of the artists on the compilation through Deep House Tehran (DHT), a platform she started in 2014.
Through DHT, she essentially does everything she can to defy the IRI. She hosts mixes, shares new music, and even curates events.
“Since childhood, [Azadikhah] really didn’t want to be forced to [cover her body], and so she always wanted to live, move, and make decisions against what the system is enforcing,” Rezaei says translating for Azadikhah.
Because that’s what it means to be an artist in Iran. It means going against the system.
Even just being a fan of music is inherently rebellious as owning western music carries the same risks to where physical media has to be smuggled into Iran.
Rezaei had some Michael Jackson CDs growing up, and her uncle brought them to her from Sweden by gluing the discs in between pages in a notebook.
Living in Iran when the IRI took over, Moayeri experienced the first rendition of this underground network for buying music.
She recalls a man bringing to her house a briefcase filled with bootleg recordings of albums on tape from artists; mostly British artists like her favorite band, Culture Club.
This was the only way for her to buy new music, but because of her utter and unmistakable love for the art, the risk was worth it.
“That was my lifeline. That was what made things normal for me,” Moayeri says. “My tape collection was out of control.”
Eventually, with that out-of-control tape collection, Moayeri became an extension of the underground network when she started making mixtapes and made “a shit ton of money” selling them to her friends.
“It goes back to being part of Iranian culture. It was just a way to share the music. I wanted to find people to be excited about the music with me,” Moayeri says.
There is no shortage of Iranian people who are excited about music and the arts, both living in Iran and within the 8 million people of the Iranian diaspora spread around the globe, all of whom have united in their rebellion against the IRI.
Because no matter where any one person lives, the despotic rule of the IRI has had a dire effect on everyone with Iranian blood.
Many artists in the diaspora, like Shirazinia and Hamidzadeh, left Iran in their youth for countries like the US and Canada, and so while they didn’t experience the horrors of the IRI in the same way as the people who remained in Iran (some of whom are members of their families) forced relocations are never easy.
“Coming to America was a whole different stress because we weren’t sure how long we were going to stay. We weren’t sure even where we were gonna ultimately stay. We just shacked up with friends of the family, and I didn’t know what would become of our lives as we knew it,” Shirazinia says.
But through determination and hard work, Shirazinia and his family persevered, just like Hamidzadeh and her family, who spent eight years working to get a visa to leave Iran specifically because they had two girls. If they had two boys they would have stayed.
“[My family] wanted to give us an opportunity to create a life and be whoever we want, and I don’t take that lightly,” says Hamidzadeh. “I’ve always worked really hard since I was a kid. I’ve always seen my mom be a really big example for me, and she’s one of the hardest workers I know.”
Both Shirazinia and Hamidzadeh honor their families’ hard work and sacrifices as they build their careers as international artists.
Furthermore, they honor the continuing sacrifices of the Iranian people in their unwavering dedication to their craft.
Though they live outside of Iran, they remain united with their fellow artists in Iran in having no delusions about why they’re pursuing music. There is no other option. They would risk everything for it.
“My approach was never to have a plan B. Always go for what I felt in my heart was my calling,” Shirazinia says.
“This is my purpose in life. Honestly, I love this so much. I’m so inspired to wake up every single day to do better and to learn more and to create more and continue building something beautiful because every day I feel like I just started. There are just so many things that I want to do and create. It’s my calling in life,” says Hamidzadeh.
Photo: Rebeat
Now the people of Iran, the Iranian diaspora, and allies around the world are fighting to give every artist there, and every human there, the chance to build something beautiful, and everyone can assist in that effort through the internet.
“Even if you’re sharing on your Instagram stories to 30 followers, sharing information with the rest of the world is so impactful,” says Rezaei. “[It’s] probably the most instrumental piece of the rest of the world knowing what’s going on.”
Bahrani was able to sign his Butterfly Dream EP to Shirazinia’s label, SCI+TEC, by connecting with him over the internet, and Rebeat’s follow-up EP on Dubfire’s label, Arista/Neval, drops this month (preview below).
Rezaei and Azadikhah were able to connect with the other artists on WOMEN, LIFE, FREEDOM because of the internet. In fact, the slogan itself, “Women, Life, Freedom” came from the internet as Shervin Hajipour’s lyrics for “Baraye” were inspired by tweets from the Iranian people.
“Baraye” means “for the sake of” in Farsi. Each line of the song begins with “Baraye” and follows with tweets from Iranian people.
As such, one line is “Baraye zan zendegi azadi,” which translates to “For the sake of women, life, freedom.”
With Hajipour’s Grammy win combined with the voices of Iranians and their allies around the world, there is more momentum behind this movement than any revolution in the past.
And with the success of this revolution, the artistic culture of Iran will be open to the world for the first time in the modern era.
An entire population of artists who are insurmountably dedicated to their craft would flood the industry with their music.
And far more importantly, an entire population of artists who are insurmountably dedicated to their craft, as well as the almost 88 million people living in Iran, will have a future.
Harry Levin is a freelance journalist living in Los Angeles. Find him on Twitter.
Welcome back to On Our Radar, Beatportal’s monthly roundup of the DJs and producers we can’t get enough of. This time, we highlight six emerging women artists from around the world that are blazing new trails in dance music.
Check out the On Our Radar Beatport Chart to find tracks from the artists below, along with additional tunes that have caught our attention this month and beyond!
ANNA KOST
Earlier this year, emerging star Anna Kost released her See Life BetterEP on Hotflush. The Berlin-based producer has built a steady name for herself with releases on Suburban Avenue, EarToGround Records, Soma Records and Hotflush sister label Who Whom, but this killer EP confirms her as one of the techno scene’s most exciting new talents. It’s sharp, deft, rhythmic and combines the rough cut of UK techno with the precision of Germany’s underground. But this is just the tip of the iceberg. Kost’s recent set on HÖR Berlin was made entirely with her own material, showcasing her versatile production catalogue and talent as a DJ/producer. So check out “Dub89” right this second – a UK-tinged techno roller with heavy percussion and ethereal vocals. There’s no doubt this young artist has a big future ahead.
Swiss live artist, DJ and producer Sensu flies far beyond the boundaries of electronic music. The multi-faceted artist has an unflinching approach to soundscapes and genres, refusing to conform to one creative expression. She began her production journey in 2017 with her track “Far Away” on Quartz Records, and her music soon got picked up by Universal. In 2020 she released her track “Outspoken” alongside British rapper LYAM, and that same year won the Best Talent 2020 Swiss Music Award. Her debut EP Numéro LDN was one of Mixmag’s Best EPs of 2022, and her recent single “Fuse” from her upcoming EP AM___PM follows beautifully in its wake. Sensu says, “AM___PM is the space between the fears with which we wake and those pressures that remain last thing at night.”
Hailing from Atlanta, Georgia, rising talent Zaida Zane‘s music is inspired by the diasporic underground, and her productions and DJ sets encapsulate romance, rhythm and defiant hope. Her DJ sets turn dance floors into riots, and her two-year residency at Club Morph in Atlanta is testament to that. In 2021 Mixmag hailed her mix as one of the best of the year, and she’s a regular on Reprezent Radio and South London’s Night Slugs imprint and party. She’s only just embarked on her producer journey but that hasn’t stopped her making big waves. Her debut track, a remix of Bok Bok’s “Ouais” came out in July 2022 on Night Slugs, and her debut EP Boy Eyes is out on the same label this month. It’s a three-track project that sits on the house spectrum but spans multiple genres. It’s unique, vibrant, quirky and as unforgettable as the artist herself. Zaida Zane’s Boy Eyes EP is officially released on March 23rd, and you can purchase it here.
Classically trained DJ and producer LUXE’s latest EP Mineral & Moss — which will drop via Planet Euphorique on March 31st — will cement this artist as one of the newest faces of rave. Based in London, she’s released on Femme Culture, Dansu Discs, Banoffee Pies Records and many others, with each release celebrating her love for hardcore, trance and rave culture. It’s already been a big year for LUXE. She released her Moonquake EP alongside Tom Place with a remix by Angel D’Lite, which got big shouts on Jaguar’s BBC Introducing Dance show, she’s just started her Rinse FM residency and she has her debut album in the works. Her touring schedule’s just as busy, with March shows in Corsica Studios, Ulster Sports Club, Fabric and 02 Academy Lees lined up, and she spent her birthday in everyone’s favorite Berlin toilet (Hör, to be clear) doing what she does best: raving.
MHA IRI
Scottish export Mha Iri just dropped her debut release on Adam Beyer’s goliath Drumcode label, “Never Go Back To Sleep,” and it’s a straight-up scorcher. The release comes out in tandem with International Women’s Day as part of the label’s Drumcode Presents: Elevate compilation platforming female talent, including BEC, Chelina Manuhutu and Tini Gessler. Mha Iri is making waves as one of techno’s standout talents of 2023. She was the fourth best-selling female techno artist on Beatport in 2022, and counts Amelie Lens, Richie Hawtin, Rebuke and Paco Osuna as fans. With killer shows under her belt including Rave The Planet Parade, Filth On Acid and ADE Amsterdam, there’s no doubt Mha Iri is well on her way to becoming techno royalty.
Photo by: Nick Astanei
PRETTY GIRL
Pretty Girl’s muse is the dance floor, and she aims to recreate those magical, euphoric 4 AM epiphanies through her left-field house and techno productions. Rising out the ashes of the pandemic, the Aussie DJ, producer and vocalist is on an unstoppable rise thanks to her recent Boiler Room in Melbourne and her stints supporting global names including Bonobo, Fred Again.., Skin On Skin, DJ Seinfeld, Mella Dee. Her 2021 EP Middle Ground on Gallery Recordings catapulted her into the global psyche, with her rich voice and emotive lyrics capturing the imagination of a world in lockdown. This year alone she’s released a remix of Fred Again.. and Romy’s track “Strong” as well as two new singles, “All Good” and “A New Light.” There’s no doubt Pretty Girl’s one to watch, so keep your eyes peeled for her second EP, One Night, One Time, out on April 14th via Mall Grab’s Steel City Dance Discs.
Germany’s Magdalena lends us her fine-tuned selection skills and zeros in on some majestic dance floor tracks for Beatport’s Playlist of the Week.
With this playlist, I have selected some of the tracks that have been making a big impact in my recent sets, including the tracks from my Opia EP, which came out in January on Warung Recordings. I wanted to capture deep and groovy soundscapes, playing with light and dark elements; emulating my live sets. I hope you enjoy this playlist and hope to catch you on the dance floor very soon!
This is the title track of my EP and I am very proud of it! Although it only recently came out, I have been playing this in my sets for some time now, and feel like it really represents my sound and my performances.
Magdalena – Recycle [Warung Recordings]
Like “Opia,” actually like all the tracks from the EP, they have a very special place in my heart. ‘Recycle’ has been getting a lot of good feedback and I love witnessing the journey it takes people on in my sets.
Magdalena – Alate [Warung Recordings]
‘Alate’ is perfect for late night sets and heating up the dancefloor. It’s dark, heavy and keeps you on your toes!
Magdalena – Back To The Beat [Warung Recordings]
The last track from my Opia EP, but definitely not least. “Back To The Beat” is a dark and stormy number that gains so much power throughout its course. I love playing this one out and watching it in action.
Luka Alessi – Scuze Me
I love the energy this one gives off, and the way it works on the dancefloor. I played it in a lot of my sets and people respond really well to it.
Ivan Masa – Uno [Rose Avenue]
Another track that is right up my street. Ivan is a super talented guy and I remember when I met him for the first time in Italy, he was always playing massive tracks and producing good stuff, so it’s great to see how he is growing.
Yotto – Rhythm (Of the Night) [Armada Music]
I love what Yotto did with this evergreen! It keeps the classic essence of the original, but also incorporates modern club culture, which is euphoric and uplifting. Big track!
19:26, Animal Picnic – XX [Siamese]
Rising star 19:26 is quickly establishing himself as a force to be reckoned with in the melodic techno industry, with a distinct sound that blends emotional depth with influences ranging from ambient to neoclassical. His collaboration with Animal Picnic has been making waves on the scene, with their track being played by some of the most prominent names in the industry. It’s always a joy to play this collab during a set, as it never fails to bring back the emotions and captivate the audience. A unique sound to make a lasting impact!
Adam Ten, Mita Gami – Golden Boy Remix [Maccabi House]
Another one that I really enjoy playing by Adam. It’s such an explosive number that it basically turns the dance floor upside down! You have to watch out for this fantastic combo, as they’re both on fire at the moment.
Toto Chiavetta – Next To Me [Borders Of Light]
Toto is a super-talented artist who always has fantastic tunes. This one really packs a punch and takes the crowd on a wild ride. It has created some really epic moments whenever I have played this one in my sets.
A former long distance runner, Pretty Pink used her drive and dedication to hit some of the biggest festival stages on the planet. She’ll never turn back.
Pretty Pink used to be a long-distance runner before her knees gave out. This will make sense to anyone familiar with her work. She sees her career as a marathon, not a sprint, and that ethos shines through everything she does. Her upcoming debut album, Born Digital, out in April on her own imprint DEEP WOODS, embodies the full trajectory of her artistry in one shiny package. It’s a long-awaited debut, and one that will switch her status as a melodic house artist from pioneer to legendary.
Born Digital was written almost entirely during lockdowns, and switches between moods like changes in weather. It’s packed full of collaborations, with some tracks swerving towards pop while others lean hard into the artist’s techno roots. As with all of Pretty Pink’s projects, home plays a huge part in the new album. She has deep ties to her hometown, Harz, and is constantly revisiting it in her work. The nature she grew up surrounded by is the inspiration for her label and event series DEEP WOODS and Born Digital is the flip side to her connection to nature and an exploration of the cyber side of the Pretty Pink project. Gliding from progressive to techno to melodic to minimal, it’s an ode to the sights, sounds and scenes that have influenced the artist since she began her journey in music, almost entirely by accident, 15 years ago.
Google image search “fairytale village” and a picture of Harz comes up. Her hometown boasts some of the most beautiful scenery in the world, and it’s surrounded by dense forest, crystal clear lakes and a UNESCO-protected mountain range. A cute-ass river runs through the centre of town, between houses made of timber with thatched roofs, and a steam train rumbles past a medieval fortress twice daily. It’s so picturesque it’s thought to have inspired the setting of some of The Brothers Grimmfairy tales, so this might explain why her life always felt slightly enchanted. She grew up listening to her dad’s record collection, which ranged from indie to rock to pop. She was always creative, and spent her evenings logged onto the family’s desktop computer messing around on the Adobe suite.
Harz may look quaint, but the population takes techno seriously. In the late ‘90s and early 2000s there were two serious, bunker-like clubs, and as a teen she had easy access to some of the best house and techno artists in the world. Armand Van Helden, Oliver Koletzki and Oliver Huntemann all stopped by Harz to tear her sleepy old town a new one.
Naturally, she wanted to be involved, so she used her Adobe suite experience to design flyers for local parties. One day the organizer asked if she could play a few records on vinyl, just to keep the crowd happy. She enjoyed it, and started playing more often to save the promoters money. It was 2009, a time when it was still unusual to see a woman behind the decks, and so it wasn’t long before she was being asked to play in her own right. She didn’t have a name back then, but she was wearing a lot of pink, so she decided on Pretty Pink with her friends.
Pretty Pink started out as a vinyl-only DJ, and spent the early years of her career playing intermittently around Germany. She knew she loved music but wasn’t convinced she could make it into a career, so she studied Multimedia Design and Communication at Bodensee near Munich. After she graduated, she decided to dedicate herself to music for a couple of years to see what might come of it. Soon she felt the urge to play her own music during her sets, so she teamed up with her brother to make a bunch of remixes and edits. In 2013 she released an edit of Daft Punk’s “Get Lucky” and it still gets played out today. It laid the foundations for the artist’s current style – slow-building, subtle and teeming with energy. It was an overnight hit and put her on the radar of just about every house DJ and label on the planet, boosting her profile far beyond Germany’s borders. “I think it had like 2 or 3 million plays after six months,” says Pretty Pink, speaking from a hotel room in Mexico City. “It went viral, and that’s where it all started.”
The Pretty Pink project’s always been a collaborative one, and after the success of her first release, she knew she’d made the right choice pursuing music. Looking back, she says, it makes sense that it all fell into place. She has a massive amount of energy and focus, and she needed to find somewhere to channel it.
“When I was a kid I was a long-distance runner on the German national team,” she says. “So I was always really focussed and determined, and I applied that to music. When I play in front of people, I get the same boost of adrenaline I used to get running.”
Just like any athlete, Pretty Pink’s ambitions have developed over time. She started out playing indie disco, then glided from melodic house to techno to progressive house. You can hear her development over the years, with her 2016 release “GUNFIRE“ on Suara reaching number two on Beatport’s House chart, and her follow-up singles “Run”, “My Kick”, “Trick” and “Change” catching the attention of Armada Deep, Sony, Warner, and Universal. But it was launching her own imprint that cemented Pretty Pink’s name in dance music culture permanently, and helped expand the sound she’d spent so many years exploring.
“I started Wanderlust in 2017 to release a variation of music including house, tech-house and techno,” she says. Wanderlust released music from dozens of artists, including Instant Groove, Nico Pusch and Bastixs, and soon became a well-respected imprint. “But after a couple of years,” she continues, “I decided to start a label that reflected my actual music taste of progressive house and melodic house and techno – and that’s when I started DEEP WOODS.”
If Wanderlust champions the full scope of Pretty Pink’s influences, then DEEP WOODS reflects her refined music taste. Within just two years of launching DEEP WOODS, she appeared on 30 leading radio stations around the world and her social media following went through the roof. It was as though she’d lifted the lid on her potential and found a long-lasting way to connect through music. This was further cemented when she hosted her first-ever DEEP WOODS event in her current home town Leipzig. She held it in her own venue, which has a large outdoor area. “I always try to have my live sets in a forested area or in a green valley,” she says. “The music and the events are very visual.”
Perhaps the reason why Pretty Pink’s trajectory has been so consistent is because she stays true to her vision, connected to her roots and identity with her DEEP WOODS brand. During COVID she filmed live streams from some of the most beautiful locations in Germany. It means her fans know exactly what to expect from her – aesthetic, uplifting house music which transports and heals.
“I’m always working hard for the project every day,” she says. “I have a goal to be known for my sound, and that’s what I want to reach. And I think the outcome of that is everything is growing. The label is growing, and the label showcases, and I’m working on it all the time.” Few artists are able to connect their music, visuals, events and imprints as coherently as Pretty Pink. But perhaps one of the biggest milestones for Pretty Pink was her debut release on Anjunabeats – a remix of Gabriel & Dresden’s track “Remember.” Being part of the Anjuna family was a life goal for the artist, and the Anjuna release was soon followed by “Come Back” in late 2020. By the end of the year, Pretty Pink had released on almost all of her bucket list labels, including Found Frequencies and Armada Music.
Although COVID devastated Pretty Pink just as much as any artist, she didn’t let it get in the way of her vision. She spent lockdowns locked in the studio, and wrote much of her upcoming Born Digital album there. By the time the world emerged, she had a complete album under her belt and was booked for the main stage at Tomorrowland – another one to check off the list.
Pretty Pink says Born Digital is the next step in her progression as an artist. She wanted to combine nature with technology, so sampled sounds from her hometown Harz. “In the songs you can hear wind recorded from the trees and bird sounds,” she says. “So the whole thing is based on nature and forest and I gave it a digital touch with digital programming, and that’s the premise behind the album.”
Pretty Pink will release a single from the album every few weeks until it is available in full in April 2023. “It doesn’t make sense to release albums all in one go anymore,” she says. “I want to give people steady content, and give every track the time to shine, that is why I release the album not at once.”
The first single, “Euphoria” came out in early February. “Full of fervour, the ecstasy of ‘Euphoria’ unfolds in the body,” reads the accompanying text. “Every cell, no matter how small, starts to vibrate and moves incessantly to the rhythm.” It’s a peak-time track that uses drops and builds and the spaces in between them to create a thick sense of emotion. “Miss You” is the second single — a progressive house anthem with vocals from Dan Soleil. She explains that the track is about the search for a lost love and aims to provide hope, positivity and a sense of transformation.
Producing such emotive tracks hasn’t gone unnoticed. Often, after a gig in Antwerp or a performance in Croatia, people will come up post-show to say her music has changed their lives. It helped them get through heartbreak or depression or just gave them hope when they had none. For Pretty Pink, that makes all of the hard work worth it. “I love how my music connects with so many different people,” she says. “And I love getting feedback and seeing how people interact with my songs. It’s amazing.”
The track on the album that means the most to her is “Lost and Found.” “I’ve been playing it out for a while, and I played it on the Tomorrowland main stage, and at Ultra festival and also a lot of club shows,” she says. “I play it in big festivals and small clubs and the reaction is always really good, so I’m excited for this one.” It’s a slow-building trance-like track, with vocals from Christian Burns, a long-time collaborator with Tiësto and BT. Burns had been on her radar for a while, and when they finally met at an Anjuna label showcase they instantly decided to collaborate. “The track is a combination of the harder stuff I play with vocals and melodies, so it really embodies the entire album in one,” she says.
Amongst it all, Pretty Pink remains dedicated to platforming emerging producers. “I think the most important thing for new producers to just get their music out there and promote it,” she says. “Send it to the labels and artists you like and don’t be afraid to shout about what you’re doing. A lot of artists wait for the labels to do the promotion, but that’s the wrong way. As an artist, you have to push your own promotion really hard.”
Now, with so much already achieved, Pretty Pink is setting her sights even further. She plans to tour Born Digital in Europe and the US, and is designing new visuals for her event series. She has her own club in Leipzig called Wolkezwei, which she describes as a Berlin-style outdoor venue with a familial atmosphere, and she’s the main attraction at many festivals this summer, including EDC in Las Vegas and Lollapalooza in Stockholm. She’s planning to release another edit of “Get Lucky” to mark ten years since her remix catapulted her into the stratosphere and when she’s not neck-deep in all that, she’ll be spending time in nature, reconnecting with herself and picking up that long-distance running habit again. And she knows that if she’s ever feeling low on inspiration, all she has to do is travel back to the place where it all began.
Pretty Pink’s debut album Born Digital is out via DEEP WOODS on April 7th.
Alice Austin is a freelance journalist who regularly contributes to Beatportal. Find her on Instagram.
Beatport.io will bring electronic music to Web3, giving fans access to exclusive collectibles and interactive experiences with artists and labels.
Beatport is joining forces with Polkadot, the next-generation blockchain network powering the movement for a better web, to launch Beatport.io, a digital collectible marketplace bringing the next generation of electronic music to Web3. Developed and designed in partnership with Define Creative, Beatport.io will launch on Aventus, a Web3 solutions provider for enterprises and parachain in the Polkadot ecosystem.
Marking Beatport’s first permanent home in the Web3 space, this project will allow artists, producers, and record labels to enjoy the benefits of Web3, while also giving music fans an opportunity to deepen their connection to their favorite artists and DJs.
These digital collectibles will also, in some cases, become a fan engagement tool for artists and labels by providing early access to bonus features such as unreleased tracks, discounted tickets, and access to VIP areas at global events.
On a technical level, the NFTs will be distributed via Aventus, a blockchain built on Polkadot that helps established enterprises deliver Web3 use cases from their wide suite of modular and composable products.
In addition to launching Beatport.io, Beatport and Polkadot will also collaborate on ten major events over the next 18 months. Each event will celebrate the launch of a new collection accessible via Polkadot-integrated wallets. The events will be produced by Beatport and will take place alongside major music and Web3 events.
To register your interest today, visit: Beatport.io
A new release from Alan Fitzpatrick is always an exciting proposition, and his latest trick to celebrate his We Are The Brave label’s 100th release keeps the pressure cooking.
Born in Southampton, the new Alan Fitzpatrick is indeed as classy as can be expected and Aura/Distance is the name of the brand-new EP. The release includes remixes from Planetary Assault Systems and Klint and is released on his acclaimed We Are The Brave imprint for its celebratory 100th release. Looking back briefly on the label, you’ll soon be reminded of the caliber of artists who have released on the imprint, which include music from Sasha, Rebūke and Skream as well as remixes along the way from Anfisa Letyago, Reinier Zonneveld and Dense & Pika.
This new WATB100 two-tracker is out now, featuring the pummelling but melodic lead cut “Aura” is a brilliant slice of bleeps and fierce drums, while “Distance” is underpinned by sensual synths. The full EP will arrive on March 24th with two noteworthy reworks from Acclaimed British producer Planetary Assault Systems, who adds eerie chimes and synth flutters on his remix of “Aura,” while Montpellier-based DJ and producer Klint takes on “Distance.”
Alan Fitzpatrick’s Aura/Distance is out now via We Are The Brave. Buy it on Beatport.
Check out Alan Fitzpatrick’s latest Beatport chart here.
From AI to Ageism, IMS Ibiza has announced the first 20 speakers and key topics.
For the fourteenth edition, IMS Ibiza returns to Destino Pacha for a series of talks, topics and cultural conversation over three days from April 26th-28th. This is the second year that IMS has been hosted at Destino and as before, the summit is co-hosted by BBC Radio 1 broadcasters Pete Tong and Jaguar. As ever, the always anticipated IMS Business Report will be unveiled at IMS, which has been consistently critical to the industry’s positioning and success.
In terms of guests, the initial list of ten announced names is as impressive as ever. Making his debut at IMS Ibiza is Max Lousada, CEO of the Warner Music Group, who will make a keynote speech. Another guest speaker having an impeccable moment, SHERELLE will be joined in conversation by jungle pioneers Fabio & Grooverider. And in ‘Reclaim Your Rights’, Ben Mawson, the co-founded of TaP Music, will present a case study on how his team spear-headed the lawsuit that led to house music legends Larry Heard and Robert Owens winning a major court battle to reclaim the rights to their back catalogue after decades of tumultuous struggle to get those rights back.
In addition to these stellar conversations, you can also catch DJ and presenter Fat Tony, TOKiMONSTA discussing her role as co-founded of SONA, LP Giobbi leading a workshop to teach key skills in Sound Production, Elijah presenting Yellow Squares, a workshop on ‘Social Media As A Canvas’ and in ‘Trust The Process’, Cristiana Simon, manager of Black Coffee, will share her experiences as a young manager. And finally (for now!), IMS brings back the Presidential Debate to the floor, with Tom Schroeder, a key partner at Wasserman, going head to head with a leading promoter still to be announced, while David Sinopoli, the co-owner of Club Space, will share secrets of his success behind the scenes at iii Points and Space, arguably the most cutting-edge and open-minded open dancefloor stateside.
Beyond the daily conversations, you can also experience IMS College, IMS Tech X, the YouTube Lounge and of course the IMS Legends Awards Dinner, where previous recipients have included Underworld, Pete Tong, Nile Rodgers and Carl Cox. “We’re presented by a dizzying array of new products, problems and possibilities,” says co-founded Ben Turner. See you back on the island where you can experience and hopefully help solve all these conundrums for yourself! And, of course, there are plenty more announcements to come.
Check out the first wave of key speakers below:
– Max Lousada (CEO, Recorded Music, Warner Music Group)
– Sherelle w/ Fabio & Grooverider (Artists)
– Ben Mawson (Co-Founder, TaP Music)
– Jennifer Justice (CEO, The Justice Dept.) w/ TOKiMONSTA (Artist)
– Fat Tony (Artist)
– LP Giobbi (Artist)
– Elijah presents Yellow Squares (Founder, Make The Ting)
– Cristiana Simon (Artist Manager, Alegria Agency)
– Tom Schroeder (Executive VP, Wasserman)
– David Sinopoli (Founder, iii Points; Co-Owner, Club Space)
– Andreea Gleeson (CEO, TuneCore)
– Becky Tong & Frankie Wells (Co-Founders, Foundation FM)
– Silvia Montello CEO, AIM
– Stephanie LaFera (Global Head of Electronic Music, WME)
– Sydney Blu (Artist)
– TAAHLIAH (Artist)
– Tracey Fox (A&R, Helix Records & Ultra Publishing)
– Katie Bain (Director, Billboard Dance)
– Hannah Shogbola (Music Agent, United Talent)
– Jessica Capaz McCarthy (Pacha Group, Artistic Director)
Stay updated with speaker and topic announcements over at the IMS Ibiza website.
The East London MC and producer is giving out the tools to break down ‘Writer Blocks’ with his new sample pack on Beatport Sounds.
With over 20 years in the music industry, Flowdan knows a thing or two about the creative process. Hailing from Bow, East London, the MC and producer was instrumental in the formation of the famed grime collective, Roll Deep. As well as featuring in all five Roll Deep albums, Flowdan has had a successful solo career and has released music on Tru Thoughts, Hyperdub, Ninja Tune and more. Some of his biggest tracks, such as “Horror Show Style,” “Jah War,” and “Skeng,” are staples of the UK’s dubstep scene, still commonly cited as textbook examples of the genre’s pioneering sound and dubstep’s kinship with grime lyricism that will forever stand the test of time.
More recently, his feature on the immense and widely popular tune “Rumble” by Fred Again.. and Skrillex perfectly shows off his versatility and unique vocal delivery. Flowdan’s skills aren’t confined to the MC booth though. In 2015, he launched Spentshell, his own label and agency, giving a platform on which to release his own music, as well as relative newcomers to the scene including YGG and PK. It’s through his Spentshell imprint that Flowdan has been able to flex his studio muscles, producing a great deal of the tracks on his label.
Despite a clearly packed schedule, Flowdan has generously offered his time to share some insights on creativity, collaboration, his production process and much more. He also discusses the thinking behind his new ‘Writer Blocks’ sample pack, which is available now on Beatport Sounds.
A specific collaboration that means a lot to me happened around 10 years ago, maybe more. It was with a producer called Kevin Martin, also known as The Bug. We made a track called “Skeng.” I didn’t really expect much to come from the track, we were just being creative, making music with no specific intentions or goals other than just to create. The track became a bit of a cult classic within the Grime scene. When we made the track, I just had an every day expectation for it, it was another song, another thing for us to vibe to. I had no idea it would go on to be such a big tune.
Patience Is Key
I made “Rumble” with Fred (Fred Again…) about five years ago. He had heard Skeng and was a fan of the track as a lot of people were. We had a mutual friendship so we got going in the studio, had a session, spent some time together and had some conversations. As I was leaving he said, “I’ve just got this idea here, what do you think?”. I told him I thought it sounded sick, and I had little something for it, and that was that.
Fred said about a year later he met up with Sonny [Skrillex], and showed him this track he was working on. Skrillex thought he could offer something to the project and asked to get involved. They did what they did, and worked on the track until it became what it is today, which was probably a good two to three years ago now. They unleashed the track on Boiler Room and it’s a wrap from there.
It’s about timing, and sometimes it’s not about being so attached to the music that you think everything needs to be released. Sometimes it’s about accepting that you’re making these songs as part of a process to make that song. You can see it as training to make a bigger and better song.
Trust Your Collaborators
I like to collaborate, but sometimes I’m isolated and alone when creating. What I have found is that some people were fans of parts of my music that I hadn’t really considered was the cool part, or the sick lyric. I originally had “Yo, listen, you hear that?” down as an intro, I didn’t ever think I was gonna hear that again. Sonny had different ideas and a different creative approach, he thought “Nah, that’s actually a hook”. You build on yourself but at the same time, be open to suggestions and sometimes someone might say “Nah, this part of your work is sick as well, don’t neglect that.”
You’ve got to be open to suggestions, I’m aware that I don’t know it all, and that my perspective is sometimes limited. Allowing someone like Sonny, who I respect and trust, to add perspective can open the project up a lot more.
Stay Close To The Studio
The way I keep track of my ideas and my creative output is very simple. I stay close to the studio and I don’t let there be a buildup of ideas. I’ve been angry at myself in the past for thinking I’ll do this later, and I’ll do that later. I even think to myself “Right, I’ve got it, just remember remember remember, then when it comes to studio time, it’s not there.” So once I have something I try to record it, even if it’s just with my phone. I’ll often hum, tap or record what I’m hearing in my head, then when I get to work I’ve got my initial thoughts and ideas ready. Obviously at this point, I’m just putting content down, I’m not adding character or drip, or sauce, I know it’s not exactly how I want the finished product to sound. It’s just a snapshot of the original thought and idea.
Finding Inspiration
Every day is different in the studio, the approach is always to look for something you don’t know exists. Coming into the studio with an idea sometimes spoils that. In order to spark ideas, there’s many ways and many routes. One of them is definitely Loopcloud, there’s a whole database of ideas. For me, it’s not even from a lyrics perspective, but a beat-making perspective. I’ll open up Loopcloud just to get that floor, that base of a track, something to get me going. For quick inspiration on the beat-making side of things, Loopcloud is a go-to for me. Facts. I think people are just into new things, and the stale type of formulas are just yesterday’s.
Finding Balance
Don’t try too hard, don’t be scared to have a rest. Turn off the screen, turn off the computer, have a nap, have a rest, have a sleep. I definitely do that more than you’d know. When I’m working it’s really about how much rest I can get, and how much I can relax, and how much I can take my mind off the specific task, which is being creative.
Basketball was vital to my development as a young person, it taught me about working as a team, playing a role within a team. It taught me that not everything is about yourself, and also how to be accountable for your actions and your role within a team.
Writer Blocks
When it came to putting this sample pack together, I wasn’t thinking “Yeah, you might want to sample me”, but I’m a name you might have heard of, with a voice you might recognise and can’t get access to. My Writer Blocks sample pack changes that.
I know it’s the first time you’ve got my voice, loops of me and my beats and my sample style. If you’re a writer, and you come to a block, you can open up this pack of building blocks and start creating. You can go from step one to step one million if you want, using entire loops to build up a complete track. Or you can just start with step one and take it from there, using one shot samples to build your own loops, or transforming a loop into something different altogether.
Obviously, I want to hear something I like, but I’m also going to be interested to hear the stuff that I don’t like. I’m going to spend more time listening to that, I think.
Flowdan’s Writer Blocks sample pack is now out from Beatport Sounds, and available on Loopcloud. The pack encompasses a wide range of sounds that are influenced by his background in drum and bass, dubstep and – naturally – grime. Check it out here.
The Canadian figure skater turned transcendent DJ, producer, and singer-songwriter, WHIPPED CREAM, celebrates the arrival of her new Someone You Can Count On EP with some splendid dance floor selects for Beatport’s Playlist of the Week.
Hey, I’m WHIPPED CREAM. I am a producer, artist, and DJ. I like to make all kinds of music. My DJ sets always include the same vibe. All genres! Whether it’s a festival or a set in the club, I love playing out a diverse selection of records. What I do as a music producer is really shown & felt during my DJ sets — curating energy-fueled performances for fans across the world.
As an intro to my work, I put a new track of mine in here. The rest are all songs I really love, with all sorts of different genres, vibes, and feels. The songs I chose capture underground sounds like Drum & Bass, Electronica, Trap / Wave, Dance, Electro Pop, Dubstep, Bass / Club, and Bass House. My picks also highlight artists that I respect in electronic music, such as Devault, IMANU, Overmono, and others that have a diverse style. I hope you enjoy my picks!
WHIPPED CREAM’s new Someone You Can Count On EP is out now via Monstercat. Buy it on Beatport.
This one is one of my favorite songs I have ever made. So I’m plugging it in. “Us” is a song about bringing people together, sound inspired by a movie drive. A road trip record to play on repeat.
WHIPPED CREAM, The Duchess – Be Here [Monstercat]
This is a single on my latest project, Someone You Can Count On, which is a collab with my friend, The Duchess. It showcases my voice and writing with dark bass and heavy cinema influence.
ZHU, Elderbrook – Unbothered [Astralwerks]
ZHU is one of my favorite artists due to his vision and cool sleek sound. It makes me feel confident and fierce listening to ZHU’s work. I really love this record in particular with Elderbrook’s voice on it. It is stunning.
Donnie Sloan, Devault, Ricky Ducati – Nothing But You [Geffen Records]
The is one of my favorite newer artists right now. Devault’s taste and vision are spectacular. I love this record in particular for the melodies and hook. I haven’t played this out yet but can’t wait.
Flume – Highest Building (feat. Oklou) [Future Classic]
One of my favorite Flume songs from more recently. I love the evolution of his record and how it grows slowly. I love ending a set with this kind of experimental vibe and left wanting more.
WHIPPED CREAM, Asian & Crimson Child – The Dark [Monstercat]
One of my more recent releases. This record infuses opera with heavy dark bass cinema, and was one of the most leftfield experiments I had done as a collaboration. It’s meant to feel like you’re in a movie.
BLOND:ISH – Hold Tight (feat. Darla Jade) [SPINNIN’ DEEP]
I love playing this song at after-hour clubs. It’s got such a vibe of every tasting life, Darla Jade’s voice is incredible and BLOND:ISH is one of my favorite producers right now. The journey of this one is taste.
Overmono – Diamond Cut [XL Recordings]
I love this record. I first found it in a clothing shop in London. The simplicity yet bure brilliance of the vocal with the synths really is like butter on break for me.
This is one of my favorite songs to play out right now. It is sexy, dark, full of energy and character. It always makes the club go crazy. Devault really makes some great club records and this is one of them.
Overmono – So U Know [XL Recordings]
I love this record. I hear this sample so much, but I feel like this is where it’s done best. I could repeat this song forever. I love to play this kind of vibe mid set.
In celebration of International Women’s Day, we hear from some of the women who work at The Beatport Group to learn more about what motivated their journey into the music industry, where they draw their inspiration from, and some of their favorite tracks!
Alice Clark
Social Media Manager
What inspired you to want to be a part of the music industry?
My passion for producing music and DJing, combined with my BA degree in music management. Plus my experiences living in Ibiza for 10 consecutive summer seasons.
When and where do you feel most creative?
When I have mental clarity and my mood is calm I am more susceptible to creativity. I produce my best work when I am in more of a flow state, fully immersed in the task at hand. Helping my ideas grow and develop at a smoother and more consistent pace.
Share a track that’s meaningful to you!
Brooke Fifield
Project Manager
What inspired you to want to be a part of the music industry?
As an artist myself, I wanted to be part of an environment where people from different backgrounds can collaborate and work with the same passion for music. As well as representing women in a male-dominated industry, it’s an opportunity to help be a voice in impacting the culture with inclusivity.
When and where do you feel most creative?
Every time I go to a show or a festival, I feel inspired by different sounds and emotions that I then work to translate into my music production. I have been more cognizant in my day to day to see if anything stirs up my creativity, based on conversations I have with friends, exercising and getting in the zone with upbeat music, and finding art online or even better when I come across it in unexpected places outdoors like street graffiti or billboards.
Share a track that’s meaningful to you!
Courtney “Dazzler” Ibarra
Manager, Events & Partnerships
What inspired you to want to be a part of the music industry?
The most inspiring sector to be professionally involved in is the creative space, specifically the music entertainment industry. I wanted to utilize my business savvy while flourishing in a lane where my core values and authentic self can be appreciated and be a voice for those who need to be heard and who want to make an impact.
When and where do you feel most creative?
I feel the most creative when I identify and execute on-brand ways for my clients to achieve their event goals and desired outcomes, especially when their target audience is a big part of the conversation, whether it’s through music or logistics.
What inspired you to want to be a part of the music industry?
I cannot overstate the importance of my incredibly hip mother, who exposed me to the likes of Pink Floyd, Talking Heads, and the Grateful Dead at a young age. As expected, this early exposure drove me to follow bands like Phish and The Disco Biscuits across the US for an (arguably excessive) number of years throughout my young adulthood. This became my segue into electronic music and unlocked a new perspective on life and connectivity. As cliché as it seems, these experiences truly altered the trajectory of my life. The power of music to bring people together is a constant source of inspiration and a form of therapy for me. It’s a universal language that transcends boundaries and unites people for positive change. Being part of the team at Beatport affords me the opportunity to contribute to our community and make a meaningful impact, and that lights me up!
When and where do you feel most creative?
Being in nature is a powerful source of inspiration for me. The fresh air, the sounds of leaves rustling, and the feel of the earth beneath my feet have an undeniably calming effect on my psyche. It’s like my mind can finally chill out, and my creativity can flow. The colors, textures, and patterns throughout nature never fail to fascinate me, no matter where I am. Whether hiking in the mountains or walking my dogs in the woods, being out in nature allows me to tap into a deeper part of myself where I feel at peace.
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Emilie Birks
VP Marketing, The Beatport Group
What inspired you to want to be a part of the music industry?
I was always fascinated by music and the industry from a young child. When I was 15, I purchased my first electronic album – Pendulum ‘Hold Your Colour’ and it changed the trajectory of my life. I shifted my studies to focus on music and business so that I could pursue my passion and started discovering more genres that drew me in. ‘Love Story’ by Layo and Bushwacka! will forever be the track that transports me back to those moments in my early 20s when I fell in love over and over again with this industry. I feel so privileged to work in such a dynamic industry with incredibly inspiring and creative people.
When and where do you feel most creative?
Feeling creative is a difficult thing to pin down, because like so many other disciplines it takes that magic of inspiration to hit just right. I’m reminded of Richard Dawkins ‘The Magic of Reality’, which explains many of the world’s natural phenomena in an inspiring and thought-provoking way. So when I think of moments where I need or want to be creative, I think back to chapters in the book and remember that inspiration and creativity is all around and I get out and about in nature. Sure enough, creativity floods in.
What inspired you to want to be a part of the music industry?
Beatport, with its innovative technical approach, inspired me to work in the music industry, I love to be part of creating innovative solutions that contribute to society. Besides that, I have always had a passion for music. I am a first-row kid, now an adult, at concerts. Music motivates me and sets the tempo for my work.
When and where do you feel most creative?
I would describe myself as a creative person who is problem-solving-oriented. So, ideas just keep coming through my head whenever, but I think the best ideas come when I am communicating with people or in the process of learning something new.
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Helen Sartory
SVP, Creator Services
What inspired you to want to be a part of the music industry?
Music has been a present fixture throughout my entire life, from being a (very nerdy) classical music kid, through to studying at university and then eventually dipping my toe into EDM. Now several decades later, I’m constantly inspired by the artists I’m surrounded by and am driven by a desire to make sure that real talent is allowed to flourish and receive fair compensation. Music isn’t just a product, it has the power to shape culture and provoke real change, so it’s important that we build an environment that allows artists to thrive and express themselves freely.
When and where do you feel most creative?
I used to say in the studio at 3 am was when I felt most productive, because something about knowing that everyone else was asleep somehow took the pressure off. These days I’m tucked up in bed by then, so I get in the zone to blast through spreadsheets with my noise-cancelling headphones and a good blanket.
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Iman Cavargna-Sani
Label Coordinator – Label Relations
What inspired you to want to be a part of the music industry?
It’s when I learned to DJ while at university… it made me feel so alive. The best thing about electronic music is how much it connects people. On both the dance floor and the DJ booth side, you can really feel that symbiotic energy bringing people together. Realising this from day one made me want to dedicate myself to working in music and here I am!
When and where do you feel most creative?
When I’m playing music to a crowd of fearless dancers… And when I’m working on projects involving causes I care about, such as IWD 🙂 We’ve got to keep fighting for women and minority-group folks in our industry!
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Josie Baker
Content Operations Coordinator
What inspired you to want to be a part of the music industry?
Growing up in a heavily musical household meant that even from a very young age, I was exposed to a huge range of musical influences, which really shaped me into the musically-minded woman I am today.
As I got older and realised more keenly the genres and sounds I was into, I knew that I wanted to be ‘in on the action’ as it were, and my path toward working within the music industry was set!
When and where do you feel most creative?
I probably feel most creative when I’m fiddling with a new plugin, having worked out some of the finer intricacies of it, which allows me to unlock a sound I’d previously been unable to achieve. It’s a great feeling to finally get something you’d previously only imagined into a real-world audible form.
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Jules Kammann
VP – People & Culture
What inspired you to want to be a part of the music industry?
Music makes the world move! Working within a creative environment (and creatives) is inspiring. Feel especially fortunate as everyone that works at The Beatport Group is compelled by positive impact at wherever position they may be, personally and professionally. Particularly love the fact that passion is the main driver, being that of course, music, and purpose of its community.
When and where do you feel most creative?
Innovation is at the epicentre of the entrepreneurial spirit at The Beatport Group, and that entails creativity at its best. Personally, I feel most creative when challenged, looking at my own perspective and not being afraid to look at something through someone else’s lens. It widens my own view of things, and looking at creative solutions to me, is consolidating with something you (I) didn’t account for, to begin with.
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Juliane Allen
People & Culture Manager
What inspired you to want to be a part of the music industry?
My love for music started as a child, ever since growing up in my mother´s dance studio in Cologne, Germany. Throughout my life, dancing has always played an important role and still is an essential way to express myself. Years later, I had the opportunity to work at Fabric in London when it first opened, which ignited my passion for electronic music, such as Breakbeat, House, and Techno. Being surrounded by many talented DJs and producers, I eventually went on to become an international booking agent for 10 years, co-running Wilde Agency in Berlin. I loved supporting emerging talent and helping established names grow their profiles and elevate their brands by running label nights and events. I thrived on co-creating and sharing magical experiences with artists and audiences alike on dance floors around the globe. To this day, I continue to feel inspired by working in an international and creative environment with a dedicated and passionate group of music lovers – here at Beatport.
When and where do you feel most creative?
I feel most creative and in the flow when I allow myself enough time and space to just be, whether this is in nature, after meditating, or whilst dancing like no one else is watching. Playing with my 18-month-old son is definitely also one of the best ways to be in the moment and boost creativity levels!
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Lynda Phoenix
Head of Marketing for Music Services
What inspired you to want to be a part of the music industry?
My love of US house and Garage Vinyl (imported to the UK in the ‘90s)!
When and where do you feel most creative?
My creativity kicks in at night. There is something about the stillness and calm at night that helps me with the creative process.
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Marina Palacios
Senior Label Relations Manager
What inspired you to want to be a part of the music industry?
Soundtracks! Discovering that there were people who got paid to curate music for films and TV shows was a revelation that forever changed my career aspirations and this happened at a very young age. But it wasn’t until I discovered Electronic music when I started considering the idea of working closely with artists and musicians so I could be inspired by their creativity every day. To have a job like this is really a gift!
When and where do you feel most creative?
Photography is very important for me and it has played a huge role in the way I perceive the world and understand Electronic music. I’ve discovered some of my favourite tracks, albums and artists while going on a walk with my camera and my headphones. The combination of these two, photography and music, is my happy place.
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Michelle Holmes
Database Engineer
What inspired you to want to be a part of the music industry?
Absolutely everything is better with music! It connects you with every feeling on the spectrum deep in your soul. EDM music in particular has been a major part of my life’s soundtrack.
When and where do you feel most creative?
In the mornings after a good workout and shower. Putting on some noise-cancelling headphones with some great tunes.
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Nina Mučibabić
QA Engineer
What inspired you to want to be a part of the music industry?
My passion for music inspired me, actually the feeling that I experience when I listen, dance and sing to my favourite tracks. When I was a child my father showed me his favourite vinyl records, which were mostly synth-pop, disco and dance and that left an enormous impact on me. Music from artists such as Bee Gees, Boney M., Depeche mode, Sisters of Mercy, Modern talking were very present in our home and later on, when I grew up I started exploring more genres and realised that I like house and techno too. Actually, what makes me happy and what inspires me very much is the process of finding new music and also when I mix those new tracks with some old ones that I love.
When and where do you feel most creative?
There are a lot of places and ways which help me to boost my creativity, for example, when I spend time with the people I love, when we tell jokes, play board games or dance at the party. Such times fill my batteries and later on, I am able to continue to be creative while alone, at peace and calm. Also, reading books such as biographies stimulates my creativity, such as the one about George Michael, which I started reading recently. I can be inspired in nature too. I like mountains, and picking flowers is a sort of ritual for me. Such activity brings me a lot of joy and creative energy later on, too, when I create jewelry out of those plants.
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Olivia Keppel
Paralegal, Legal & Business Affairs
What inspired you to want to be a part of the music industry?
It’s SO cliche, but moving to Bristol (UK) definitely inspired me to pursue a career in the music industry. Nightlife is at the core of the city — there are literally hundreds of raves thrown every week, and the choice and range of music is incredible. I got involved in all aspects; DJing, artist liaising, and promoting, I met some amazing people and I quickly realised that this was what made me the absolute happiest, and was determined to merge this with my Law degree…which lead me to Beatport!
When and where do you feel most creative?
100% in the rave. I find it more refreshing than a good night’s sleep sometimes; if I hit a creative block or feel like I’m low on passion, go to a rave and boom, it’s back. My phone notes after a night out are always full of ideas for blends or samples or little melodies.
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Omnia Elashmawi
Audio Editor (Loopmasters)
What inspired you to want to be a part of the music industry?
I’ve always had a passion for music. I’ve played the violin since I was a kid, and then I went into further music studies for university, where I discovered my passion for composition and sound design.
When and where do you feel most creative?
Usually, I get the most creative during nighttime and when I’m in my bedroom, but I do get my biggest creative flow when I am back in my summer home in Egypt. I could produce a whole track in one day when I’m there!
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Roberta Annecchino
Manager – Customer Support
What inspired you to want to be a part of the music industry?
Music, for me, is an ever-changing flow, the best place to experience Heraclitus’ Panta Rei (everything flows) and the interconnectedness of everything with everything. I absolutely love the freedom of music and the music industry. In music, you can be whoever you want to be, and if you don’t fit, you can create a whole new style and genre.
When and where do you feel most creative?
I feel more creative when I am surrounded by children: I have created the best stories, ideas, and music just to see the twinkle in the eyes of my son and his friends! Playing, being silly and playing music make me creative!
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Sandy Bartsch
Digital Marketing Coordinator
What inspired you to want to be a part of the music industry?
Total cheesy story: My husband and love – we met at a music festival and kissed in Berghain the first time, and since he worked in the music industry already, he introduced me to a world full of daily excitement and great people. We own a label and love working together and supporting each other. It’s such a benefit we share the same working environment, music is our live and bond.
When and where do you feel most creative?
When something goes wrong or doesn’t work out as it was planned originally — then I try to set my mindset on creative modus and rather make the best out of it. When problems appear, also new paths can be discovered, so I look around for alternatives and other solutions, even if it means going back to square one. But I never said it would be easy.
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Selin Kosova
Product Strategist
What inspired you to want to be a part of the music industry?
I have always been passionate about music and the unique power it has to bring people together, transcend language and cultural barriers, and inspire creativity and expression. I am driven by the opportunity to create experiences that connect people with the music they love in new and innovative ways.
In my view, the music industry is one of the most exciting industries in the world, constantly evolving and pushing the boundaries of what is possible. From the creation and production of new music to the development of innovative technologies and platforms, there is always something new and exciting happening in this field.
But what truly inspires me about the music industry is its ability to create transformative experiences that stay with people for a lifetime. Whether it’s the shared experience of a live concert, the emotional resonance of a favorite song, or the memories created through music, this industry has the power to shape our lives and bring joy and inspiration to millions of people around the world.
When and where do you feel most creative?
I thrive on the energy and inspiration that comes from being part of a diverse community. Being around people who bring unique perspectives and experiences to the table allows me to expand my own horizons and explore new ideas and approaches. Ultimately, it is the sense of being included, enriched by diversity and mutual support, that fuels my creativity.
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Selma Chachia
Performance Marketing Manager
What inspired you to want to be a part of the music industry?
Attending concerts since a young age has made me want to participate in the music industry. I have always felt swept by the energy and social connection that music can spark. As a hobby DJ and passionate appreciator, I aim to support talented artists to flourish and I believe that my job helps me accomplish that in my own way.
When and where do you feel most creative?
I love spending time alone at home to focus, and it’s in the morning when I usually feel the most creative. But I am also very much inspired and boosted after evening DJ sessions, playing and sharing music with my friends.
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Yasemin Kosereisoglu
Head of Client Relations & Creative Production
What inspired you to want to be a part of the music industry?
I knew I wanted to be a part of the music industry when I realized creating experiences and supporting artists is extremely fulfilling!
Over the past six months, The Beatport Group has been working with external DEI consultants and collaborating with internal working groups to develop our new company Purpose, Values and Operating Principles to address historical issues of inequity and guide the continued development of our organizational culture and community.
As our company and our industry evolves, The Beatport Group invites the global community of companies, leaders, and participants to engage in a constructive dialogue around other ways these statements can manifest into tangible progress that ultimately helps shape the future of our culture.
As we chart this new course forward, it’s critical that all the diverse people that make up our global community of DJs, producers, partners and fans know what Beatport is all about, why we are here doing our part, and how we will accomplish our goals.
The purpose, values and operating principles of The Beatport Group are:
Purpose:
The Beatport Group exists to serve the global DJ & music producer market and the companies who service them, with tools and digital commerce platforms that enable the production, promotion and monetization of their creativity.
Values: D.A.N.C.E
Demand Diversity
We reflect the communities we serve and aim for a balanced representation of genders, ethnicities, and cultural backgrounds in our workforce, partnerships and community.
Accountable to our communities
We stand united with historically marginalized communities and remain accountable to supporting efforts to improve diversity, equality, inclusion and mental health.
Nurture our ecosystem
We hire and partner with those who share our passion for a collaborative process, providing a platform and voice for the creative community making and promoting dance music of all types.
Community first, always
Music is best consumed with others, so we’ll always emphasize acceptance of all musical experiences and respect the range of imagination, from creation to performance, while providing a safe environment for the community.
Evolution of our mission
The natural diversity of our community and infinite evolution of music is the heartbeat of our business. We promise to constantly evolve to serve the genres most demanded by DJs and provide samples and plugins to producers of all genres.
We realize that while statements can be powerful, they can be meaningless when they’re not backed up by actions which is why The Beatport Group has also created some operating principles that promise to help guide the teams across the company to make better decisions.
Operating Principles:
Setting Industry Standards
Our industry is capable of achieving ethnic/racial and gender parity by 2030 and we’ll do our part to reach the milestone while bringing our partners and friends along with us.
To achieve this, we utilize a diverse group of human curators to ensure that we fairly represent our dynamic communities at all times. This includes content suppliers, artists and label partners from every race, ethnicity, gender and socio-economic standing.
Celebrating Diversity
We operate a Diversity, Inclusion & Social Action (“DISA”) Committee that is composed of ten employees representing various constituencies at the company, the purpose of which is to assist the operating units in evaluating public statements, diversity and inclusion guidelines, and partnership opportunities.
DISA builds and renews partnerships with organizations that represent historically marginalized groups in the global DJ and producer communities.
Foster Curiosity, Creativity & Collaboration
Music is best when shared and the insatiable curiosity behind exploration is similarly more fun when done with your tribe.
At every step of our process, we identify partners who think like this to ensure diverse perspectives, constructive teamwork and an indefinite examination of our output to ensure optimal experiences for our communities.
Our next steps will be to incorporate the Values and Operating Principles into every aspect of The Beatport Group, so that everything we do is aligned to achieve our Purpose. We encourage open conversations at any time around this topic, including at the International Music Summit in Ibiza from April 26-29 where all of the company’s operating units and leadership will be in attendance. Furthermore, we will shortly be announcing our new Chief Community Officer to manage all community partnerships, DEI initiatives, and expansion into new communities and markets around the world.
We endeavor to constantly reflect and re-evaluate our Purpose, Values and Operating Principles as we continue to grow and serve the global DJ and producer markets. We thank all of our partners and customers for their patience while we implement these organizational changes and solutions. We look forward to a healthy and productive 2023.
While their memories of how they met might differ slightly, there’s no doubt that when it comes to their Peach Discs label, Shanti Celeste and Gramrcy are laser-focused.
“I met you at a rave, didn’t I?” asks DJ and producer Shanti Celeste of her friend, former housemate and Peach Discs label co-founder Gramrcy. “Do you not remember? I made you a mix CD!” Gramrcy – AKA DJ and producer Graeme — replies, going on to recall a contrasting version of events. “I worked at a bar/club on Stokes Croft in Bristol called The Bank Of Stokes Croft (now called The Love Inn and run by the esteemed Love International crew), which was a few meters up the road from Idle Hands, the record store run by Chris Farrell that Shanti worked in at the time,” he says. Having been in a few times to buy records and hang out, Graeme had already bought records from Shanti and vaguely knew her. She was also running a party called SUM (Super Ultra Mega) that he really wanted to play at, so Graeme recorded a mix, burnt it onto a CD and gave it to her one day when she was working in the shop.
Although Shanti liked the music, SUM finished fairly soon after so Graeme never got his chance to play. However, she was also running a night called Housework, at The Bank with Alex Golesworth, around the same time that Graeme was running his own party there. Then, one day, the manager mentioned they were both putting on basically the same party so suggested they combine forces. An unofficial meeting followed and Graeme ended up sacking off his own party to do Housework with the others instead. “That’s how we first started properly hanging out, and then we became mates,” he recalls. The trio ended up living together (and later met the final fourth member of the Housework crew, Daisy Moon, after they posted an advert on Gumtree for a room in the house).
By 2016, Shanti had released music on tastemaker labels including Apron, Secretsundaze and Future Times, while her DJ schedule was getting busier, and Gramrcy had put out his debut EP, Ruffian, on Berceuse Heroique a year previous. While there was no big plan, starting a label was initially Shanti’s idea – because she wanted to have an outlet to release her own music (naturally, she would go on to release her debut album, Tangerine, via the imprint in 2019). “I was hanging out with people and thinking about how I could do something of my own that would mean I’d always have some way to release music if I want to release music,” the Berlin-based Chilean producer and DJ recalls. “Rather than always being at the mercy of people liking my tracks or giving me feedback and only liking two tracks out of the five that I send them and then having to make more.”
Although she didn’t realize that she necessarily wanted or needed to have an imprint until it happened, finding a way to have control of all aspects of the process has long been Shanti’s intention. Plus, “knowing people who make really cool music” was certainly helpful to get everything up and running. But, after a year of going it alone, she started finding it difficult to manage the workload by herself. “To run a label properly and to pay people and make sure that you’re doing it to the best of your ability, doing it on your own is just impossible — especially if you’re a touring DJ.” With this in mind, and thinking it would be helpful to have someone who she could bounce ideas off of — “someone who I trusted and who I knew had really good taste in music” — Shanti asked Graeme (who had already been writing the label’s PR text and helping with design) if he would like to come onboard.
Happily, Graeme agreed and the pair started readying the label’s early releases. However, just as the label’s first record was about to go to press, they had to come up with a new name and logo. As Graeme tells it, the pair were sat in Shanti’s flat in Berlin one day and “the name Peach Discs just appeared,” Graeme says. “I like fruits!” Shanti shouts down the phone… “I like fruity things”. Thankfully, the name proved a perfect fit as it translated to the colourful style of music that Peach Discs — whose releases veer between house, techno and electro with experimental twists — would become known for.
Although the label has never had a particular ethos, Graeme says he and Shanti set out “to work with our mates where possible and then, alternately, the people we don’t necessarily know but are upcoming who we want to give a bit of a boost”. These ideals were clear from the start: after the first Peach Discs release — a two-tracker from Shanti in 2017 — EPs from then-rising artists Chekov, Ciel and Videopath followed and became underground favourites. “We’re always keen to give new artists a platform where we can,” Shanti adds. Over time, the label has also naturally become a home for the pair’s friends to release music — for example, Peach, whose Galaxy Girl EP comprises four acid-tinged underwater bubblers — landed in November 2021.
The label’s compilation series, Peach Pals, helps achieve both goals too. As a label that gets sent lots of demos, Shanti and Graeme are able to look back at the end of a year and package up the one-offs that have dropped into their inboxes. “Often, there will just be one track that really pops out and it’s not enough to put an EP together, but we still want to do something with that specific track because it’s sick,” Graeme explains. Among the newer names who have graduated from featuring on one of the compilations to releasing their own EP is Buen Clima, whose five-tracker Transferencia Electrónica was released on Peach Discs in February 2022. “He’s our Chilean friend and I actually put him on in Berlin late last year,” Graeme says; “he’s got a really punk-y energy to his live shows. He’ll shout and scream into the mic, take his shirt off and it’s really fun”. “He’s an amazing musician,” Shanti adds; “he plays the piano, guitar and is very multi-talented”.
When it comes to deciding whether to release a track they’ve been sent or not, the pair agree there is no specific criteria to meet. Rather, Shanti says she considers several key things. “Do I like the track? Would I play it? Do I get excited when I listen to it? Is it interesting? Also, if it’s something that I wouldn’t play in the club, then I’m not going to sign it.” She likens this to the process of choosing music to listen to at home and asking yourself rhetorical questions like ‘is this going to make me feel good? Am I going to be relaxed when I listen to this?’ It’s just like, whatever you’re looking to feel, you go for that.”
Graeme adds that they both have to be into the music for a release to be agreed. “It’s interesting because, sometimes, we do have to compromise a little if one of us really loves something and the other is on the fence about it.” That’s a rare case, though, as “almost all the time, we’re in agreement. That’s why it’s nice to have more than one person involved, to be like ‘is this good?’ It’s affirming having someone else to be like ‘yeah, this is sick’,” he adds, pointing out that the Hessle Audio boys would probably not put something out unless all three of them were into the music.
Rather than wanting the label to be known for a specific sound or aiming to emulate a certain energy, Shanti says it’s always been “more just whatever we’re into at the moment. It’s definitely colourful and fun though; maybe apart from the Chekov releases because they were on the dark-ish side.” The releases are also a “presentation of where we’re both at the time, which is always changing and morphing into something else,” she adds. “Tastes change all the time and things are always evolving, and I think that’s kind of reflected on the label.”
Graeme expands on this point by saying that the releases they choose to put out are influenced by the kind of tracks they each play in their separate DJ sets. “I think, with me and Shanti, there’s a lot of cross-over, even though we do come at DJing from slightly different angles. We are both drawn to upfront melodies or vocals — nothing that’s spooky or too dark; that’s where we’re both at DJ-wise, so it’s an important part of it.”
Shanti says it’s also important for their releases to feature club-playable tracks so the “buyer gets more bang for their buck. With vinyl, it’s expensive to buy records, and it’s expensive to produce records,” she says, adding that it’s important for the label to give buyers value for money. “You need to make it so that people who are buying vinyl think and feel that it’s worth buying this expensive item,” she says.
Aware of the cost implications for fans and DJs, Shanti says she and Graeme always aim to make sure that at least two of the tracks will be club-playable and the other tracks are also functionable in some way or another.” To this end, Shanti considers her own mindset when buying records: “I think to myself ‘why do I buy them?’ Especially in this day and age, I will still buy probably quite an expensive record just for one track, but perhaps it’s different for someone that is just starting out.”
Incidentally, other than industry-wide vinyl plant delays, Shanti says the label wasn’t hindered too much by the Covid-19 pandemic. While they did consider not pressing records because no clubs were open, Graeme says “people seemed to buy more because they were just sitting at home on their own and wanting to play some records”. “It didn’t really affect us in the end, in terms of whether we should keep going or stop,” Shanti adds.
Aside from the music, Shanti has also incorporated another of her own passions into the label’s creative output right from the beginning: art. Having studied illustration at University for a year, she quit the course “because everything had to be so conceptual,” she explains. “I hated that I couldn’t just draw something that I liked and that I thought looked pretty for the sake of it because everything had to have a meaning.”
Now she has free rein, so Shanti has long created all of the label’s animated cover art illustrations while Graeme takes charge of the graphic design. Similarly, ahead of a newcomer’s releases, they ask artists they work with to share things that inspire them — “an image, or something about what the track titles mean, for me to go off of to do the artwork,” Shanti says. “It’s not completely random, there’s a bit of direction.”
As well as their physical releases, the label has been throwing seasonal events for several years now. “We do Peach Party at Corsica Studios in London three or four times a year. They’re really fun; we book a lot of friends, and a lot of people on the label,” Shanti says. Over the past year alone, they’ve hosted sets from Parris (whose texturally-soaring Peach Discs two-tracker Summer Of South West Waves is paradisial house at its finest) as well as Mor Elian, Club Fitness, DJ Fart In The Club and Amaliah.
On April 6, the first Peach Party of 2023 will welcome Darwin, Kiernan Laveaux and PLO Man. Only throwing a handful of parties each year makes them feel like special events, he suggests; “if we’re doing stuff all the time, it takes the shine off a bit. It’s nice to have them as little check-ins.” Sonically, he says they “allow people to spread out a little bit and explore the edges of whatever the sound is that we have”.
Looking to the coming months, Shanti and Graeme are preparing another Peach Pals compilation (“we’re going to talk about that as soon as we’re done with this call”, Graeme teases) while Nachtbracker’s stellar Capichone EP has just dropped (“that was a long time coming, and it’s really catchy”) and another is coming soon from compilation-contributor Jackson Ryland (“he’s somehow underrated but is amazing; he’s got a really distinct style”).
If all goes to plan, Shanti and Graeme plan to release two more EPs on their acclaimed label this year as well. It’s safe to say that the future of Peach Discs is, apologies for the unavoidable incoming pun, looking pretty darn peachy.
We catch up with Australian producer and DJ Dom Dolla and American house music legend MK whose Q-Tip-sampling track “Rhyme Dust” hit Beatport’s overall top spot.
Dom, Marc, Congratulations on your new Beatport Number 1 with “Rhyme Dust”! How are you?
Dom: Thank you. I just arrived back in Australia after a month of some amazing shows in the US. Catching my breath, finishing new music, and happy to be chatting with you again.
MK: Great! So happy to have the track out there. We knew the fans were ready for it but the reaction and support has been insane. Feeling grateful to be in this position.
You’ve worked together on remixes before but “Rhyme Dust” is the first time you actually made a joint track.
Dom: It is. Marc and I started crossing over at shows and festivals over the last few years, and we’d talked about working on a track together. Marc’s had a huge impact on dance music, so working on “Rhyme Dust” together has been pretty special.
MK: Yeah, we’ve wanted to collaborate on a record for some time and “Rhyme Dust” came about pretty organically. Dom has been making waves for a while now and I knew we could make something epic.
How did this happen? How did you work together on the track?
Dom: I sent Marc an idea for a track just before COVID started. It was an early, and completely different version of “Rhyme Dust”. We sent the track back and forth for a few months, and eventually got together in Marc’s studio. As fate would have it, it was the exact day that the borders were closing so I rushed to the airport to get home and we shared files back and forth for months.
MK: Dom came to my studio in LA and we landed on the initial idea. Unfortunately, this happened to be the day that COVID caused the world to shut down, so over the next two years we worked remotely on the track, playing it out live and making changes along the way.
The track is based on a sample from a hip hop classic – Q Tip’s “Breathe & Stop”. Who came up with this? And have you heard any reaction from Q-Tip himself on the track?
Dom: Q-Tip has always been one of my favourite rappers, “Breathe & Stop” is just such an iconic track. I’d been thinking about an idea to use the vocal for a while. Marc and I explored plenty of different ways of using the vocal – stretching, warping it etc. It was important to both of us to respect the authenticity of the vocal, but still shape it for the dance floor. Incredible to get Q-Tip’s blessing to release it.
MK: Making a record with Q-Tip has always been a dream. So when Dom & I found a way to incorporate his iconic vocal with our own sound we knew we’d hit the jackpot, and getting his nod of approval was a great feeling.
You started playing different versions of the track in your sets as early as summer last year and demand for it increased each time until the still unreleased track started to trend on TikTok. What happened and how much of this can you actually plan?
Dom: This track really was designed on the dancefloors. I started to include it in my sets over summer last year, and eventually in my Selected Session in November. It was one of my favourite moments in that set, the whole environment of being on a rooftop, in Serbia, as the sun went down just added some special magic. I posted it online and well, the rest is history… It’s always enjoyable getting feedback on unreleased music but Marc and I (and our teams for that matter) couldn’t have possibly imagined the reaction. It’s been a journey, that’s for sure.
MK: It’s definitely evolved from being part of our sets. We both started playing it out pretty heavy last summer, Ibiza especially, and the crowd reaction was wild. Then Dom shared a snippet of it from his Selected Session on TikTok at the end of last year and it took on a life of its own. We knew at that point we had to get it out, so it’s been a process for sure but an exciting one – the fans made it happen!
If you fans are now demanding a follow up collaboration – will you give in?
The fast-rising Italian electronic act are back their long-awaited first digital release of the year.
A hot new EP from the ever-rising Fideles? Fans of the Afterlife-signed act will find many reasons to be cheerful with this particular music news post. It’s been just under 3 years since their latest release on Afterlife and they are now back on the label for their first release of 2023 with a brand new EP called Night After Night. The EP includes the (naturally) Tale of Us endorsed Fideles – “Night After Night” (feat. Be No Rain) (Camelphat Remix) as well as a second track called “Overcome”. It’s a taster for where the duo are at in 2023, still brooding and epic but also bristling with melody.
Forming together as Fideles in 2010, Daniele Aprile and Mario Roberti have been shaping music that blends the melodic and epic for over a decade now and this latest trick from Italian duo Fideles might well end up being their biggest release to date. Camelphat on the remix is also the definition of not too shabby for fans of both electronic duos. “We asked Camelphat to remix ‘Night After Night’ because we love their music,” said Fideles. “They are such talented musicians. Ever since we produced it, we’ve felt like they would be the perfect artists to remix it.” So it goes without saying that these two are production juggernauts. In 2022, they released monumental productions like “No Human Interaction” and their collaboration with Agents of Time, “Drain” and you can expect plenty more to come in ’23.
The new EP from Fideles, Night After Night is out now via Afterlife. Buy it on Beatport.
London’s revered artist Josh Caffe celebrates the arrival of his new Phantasy Sound single with a personal deep dive into the masterwork of his favorite house music vocalists.
An integral figure in London’s underground house and techno circuit, DJ/producer, activist, and highly sought-after vocalist Josh Caffe brings an element of raw charisma to his sets and songwriting that has the scene buzzing. His slick and debaucherous sonic attitude and stage presence make it clear that he’s a loyal student and scholar of queer club culture and old-school Chicago house sounds.
Last year saw the release of his wildly successful single “Do You Want To Take Me Home” on Erol Alkan’s mighty Phantasy Sound, which — in addition to its Steffi & Virginia remix — saw widespread support on dance floors across the globe. He’s now followed up the potent 2022 club weapon with another significant drop on Phantasy, “Meine Lederjeans” — produced alongside Al White and paired with a characteristically raw rendition of the tune from Paranoid London.
We asked Josh Caffe to outline some of his all-time favorite vocal house tracks to usher in this new single and remix. We ended up with a masterful deep dive and history lesson behind some of house music’s best and brightest storytellers. Get educated and enjoy!
Josh Caffe’s two-tracker Meine Lederjeans is out now via Phantasy Sound. Buy it on Beatport.
Jamie Principle and I are good friends and feel weirdly connected in that we share the same birthday. Even before I knew him, he was an inspiration to my approach to vocals and performances, to going your own way when it comes to house music. He’s an important figure in the development of the genre, a person who was different to a lot of the acts. I immediately connected with the way he dressed and the way he sounded, which was very androgynous.
His voice is featured on some of the most iconic house records ever made, like “Baby Wants To Ride” and “Your Love,” which are perhaps recognisable to even casual dancers, and have of course been remixed time and again over the years. But every remixer always keeps Jamie’s voice front and center, which says a lot about the power of his voice and how inseparable that is from house music culture.
Cassio – Riding On A Train In Brooklyn
This is originally taken from an EP called Roaches On The Dance Floor, so definitely not the most romantic release on the list. It has a really powerful bassline and lots of train sound effects reminiscent of the sort that Ron Hardy would mix across Music Box in Chicago, although this is obviously a very specifically New York, East Coast record. The vocalist is James Vincent Ware (aka Cassio), who was also in the group Blaze. The record is from the mid-nineties, when Brooklyn was a very different prospect to now, before it had begun to be gentrified. The vocals share stories of the residents and the ‘brick city’ architecture itself. It sounds so urgent and as if Ware is reflecting his own environment. A super authentic record that sums up about how house music can be about places, as well as people.
Risque III – Essence Of A Dream
The vocalist featured here is K’Alexi Shelby, who had met Chicago legends like Ron Hardy and Frankie Knuckles when he was just twelve years old, so he had a direct line to house music culture. He was clubbing at The Warehouse and Music Box as a teenager! He was also writing songs inspired by Prince, which is something we share in common, even if the parties I was going to as a kid weren’t quite as historically important. This was his first release in 1987, a record that somewhat faded into obscurity outside of DJ circles, until it was reissued recently by the wonderful Dark Entries label. There are some sleevenotes with the record now that reveal that the record nearly had no vocals due to limits on studio time, and this is the first take. The engineers couldn’t believe what they were hearing.
The sexuality and sensuality on this record are still really important to me and inform my songwriting and performances. It opened me up to how powerful the spoken word can be in dance music. Playing the record out to a dance floor is always a pleasure as its absolute deep confidence brings people together in a way that encourages them to let themselves go, especially if dropped at the right time of the night. I was lucky enough to have K Alexi come and play one of my parties at East Bloc years later, and it was a pleasure to hang out with him for some time in person.
Mr. Fingers – What About This Love
The first appearance from Larry Heard in this list, “What About This Love” is a gorgeous record, a subtle love song that was very relevant to the queer community upon its release in 1989, at the peak of the HIV crisis. It has a very warm pulse, and is sung so beautifully but the intent of the record is definitely club-focused and ultimately, celebratory, which I feel is why it was so appealing. It really manages to lift a crowd, and in this case, helped lift a community. From a DJ’s perspective, there is a Kenlou remix available on vinyl that is more jackin’, but the original is so deep and seductive that any crowd quickly comes to appreciate it. Reading the Youtube comments for this one, you can find accounts and stories from so many people who would be moved to tears on the dancefloor at classic NYC clubs like Zanzibar, and I think I would have been one of them. As it is, I still get lost in this track when playing or dancing to it so many decades later.
Fingers, Inc. – Music Take Me Up
I would recommend anybody with even a passing interest in house music, or just a passing interest in music, to listen to Another Side by Fingers, Inc. Not only is this a great example of a house album that works on a deeper level than simply a collection of tracks, but it is a foundational record for house history. Fingers, Inc. was a supergroup of Larry Heard producing tracks with Robert Owens and Ron Wilson on vocals. They weren’t a supergroup or legends at the time, just three guys trying to go deeper and be more ambitious with a sound they had helped establish, and this LP did just that. It’s still raw and a little DIY, but the sound is all their own and it is a great document of just how ambitious they were to prove how versatile and appealing the house sound was, beyond just club tracks, although there are plenty of those here too. The way Robert Owens applies his childhood background in gospel choirs to the instrumentals was really revolutionary at the time, and got this music to a much wider audience.
My personal favourite track for playing out is “Music Take Me Up,” which is more obscure. It’s drenched in delay and reverb, quite trippy and psychedelic compared to the rest of the LP, but despite being so jarring, it just works perfectly on the dance floor. Something interesting but still driven by that house spirit.
Frankie Knuckles, Adeva – Whadda U Want (From Me)
Adeva was introduced to me by my Aunt during my childhood. She had a great record collection and inadvertently tipped me off to a lot of the music that I still reach for in DJ sets even now, as well as artists who have perhaps been overshadowed in time. Adeva is a US vocalist who had a big hit in the UK with her pretty fierce house rework of Aretha Franklin’s “Respect” and then worked with Frankie Knuckles in the ’90s.
To me, she’s very much the Grace Jones of house, but with a much deeper vocal. Her voice is feminine but on video on record artwork she was a strong, androgynous presence. The possibilities of this in regards to gender and performance were really exciting to me as a kid and still seem full of possibilities in the current scene. I will always have respect for artists who refuse to be pigeonholed by expectations, whether in terms of their music or their personality.
Green Velvet – Stormy Weather
Green Velvet is the alias of Curtis A. Jones, who also records deeper, more straight-ahead house material as Cajmere. His fingerprints are all over the history of the genre, either as an instrumentalist, or using his own voice, which is what he does as Green Velvet. His records are very distinctive and sometimes quite menacing. “Flash” and “Stalker” are still played endlessly in clubs, and he has stayed very visible through being so prolific.
“Stormy Weather,” from 1997, is a personal favourite for me. When I discovered it, the record taught me a lot about telling stories with your voice, and how that can ultimately be more than just talking over a track. You can be abstract but also compelling. The performance from Green Velvet on this feels really emotional and a little bit challenging and alien. Even if the lyrics aren’t typical of house music, there’s a lot you can project onto them personally.
Kim English – Night Life (Sound Factory Version)
One of the most important house records in history, not just for myself, but for a whole generation of DJs, dancers, performer and clubbers who came long before. “Night Life” by Kim English makes me wish I was alive and dancing during the days of Sound Factory in New York, listening to Danny Tenaglia and watching house music evolve in front of me. This record symbolises just what the genre can do both physically and emotionally, although it has been through lots of different versions and remixes.
Armand Van Helden’s mix from 1995, a year after it was originally released, took the record further into the mainstream, but the earlier, deeper mixes from members of Ten City are the ones that encapsulate the power of nineties houses and feel special to the day. Kim English, unfortunately, passed away a few years ago, but her voice is still essential to the collection of any self-respecting house music collector.
Ride Committee – Guess Who (Boogie Balo Mix)
This is a secret weapon of mine, released on Batty Bass, the label founded by my close friend and collaborator, Hannah Holland. It’s been in my arsenal for a long while, a properly raw queer club record that was released at a time when queer club culture wasn’t as celebrated as it is at this point in time.
Ride Committee have been making underground club records since the early ’90s, and received a lot of play and support from DJs such as Todd Edwards. Roxy, who was always responsible for the vocals, was a drag performer and vocalist with a very authentically camp delivery that expanded on the template of drag and vogue that a lot of people might recognise from films like Paris Is Burning, but as you can hear on this track, throws in a lot of other popular culture and general oddness. Unfortunately, Roxy passed away in 2020, but this track is a weird and vivid reminder of how funny and commanding she was.
Azari & III – Lost In Time
The sole Azari & III album from 2011 is one of the few great modern house LPs and a record that manages to sound futuristic while also paying tributes to the roots of house. It is full of great songwriting and hooks, and there was a time when certain tracks like the Jamie Jones mix of “Hungry For The Power” had become inescapable on the UK club scene.
“Lost In Time” is still my pick. The vocalists here are Fritz Helder and Starving Yet Full, and the way their vocal elements intertwine not only with each other, but also with the fantastic synth and percussion makes it really easy to get lost in this track while dancing. There’s a lot going on here, but it’s all really well-measured and super classy while crowd-pleasing. Similar to Fingers, Inc., twenty years before, the band was only together for five years, but they created some timeless house music in a short period and still burn bright, in my estimation.
With Beatport Insider, we dig into key stats from the Beatport store each month. This time, we look at the artists and labels that dominated our Afro House and Deep House sales and streaming charts for the past six months.
Rampa and his Keinemusik crew clock in at number one via their silky smooth collaboration with chuala on “Les Gout,” followed by future house pioneer Tchami’s remix of Shiba San’s deep groover “I Wanna” and Hannah Wants’ late night excursion on Defected with Clementine Douglas, “Cure My Desire.”
MoBlack Records locks it in as the top-selling label in both genres, once again proving itself as a leading hub for Afro House’s global appetite. The label is followed close behind by Calussa’s Hurry Up Slowly imprint and Kevin McKay’s Glasgow Underground.
The German/Nigerian DJ and producer based in Berlin, JAMIIE, takes home the prize for being Beatport’s top-trending artist in both genres, with Tuccillo taking the number two spot and Laurence Guy following up in third place.
Check out more key Beatport stats from our Afro House and Deep House sections below.
Top 10 Best-Selling Afro House / Deep House Tracks
Check out our Beatport Chart of the Top 10 Best-Selling Afro House / Deep House tracks here.
Top 10 Most-Streamed Afro House / Deep House Tracks
Check out our Beatport Chart featuring The 10 Most-Streamed Afro House / Deep House tracks here.
Top 10 Best-Selling Afro House / Deep House Labels
The beloved Glaswegian DJ, producer, and BBC Radio 1 Presenter Arielle Free celebrates her new Nervous Records release with some fail-safe selects for Beatport’s Playlist of the Week.
Hey! I’m Arielle Free, and I’ve put together this playlist of electronic music releases from across the board, which I love to play out at the moment. Any sort of track that can transport you whilst also unapologetically smacking you in the face is my jam. As an electronic DJ and producer, I am passionate about creating sounds that inspire people to get the eff up and dance. So expect everything from high energy to all the feels. I hope you like it!
Arielle Free – Release I Need (feat. Kelli Leigh) [Nervous Records]
A no-nonsense house stomper with a ripping power vocal from Kelli Leigh. I wanted to make the baseline nod to my love of indie music as well as house and it makes for a stand-out addition to my third solo release. My favourite I’ve made so far and the response has been phenomenal.
Sally C – The Way to Do It [Rhythm Section International]
Sally C is one of the most accomplished producers out there making consistently fresh cuts that are distinctly house and distinctly her. I’ve been opening my sets with this one recently and it’s the perfect start to a great night.
Melle Brown – Night Drift [&Friends]
Melle Brown is your new favourite producer, trust. Sumptuous vocals, tinkling piano-laden soulful house number with all the emotion and vibes. Drop this one at the afters to show off to your mates.
Icarus – Forever (AmyElle Remix) [Fly Boy Records]
Sibling duo Icarus are the finest in the land when it comes to making beats with all the feels. This Amyelle remix is heavenly and leans toward an Eric Prydz tip. It makes the hairs on the back of my neck stand up and has me wishing I was in the club, eyes closed and swaying whilst the speaker vibrates through my soul.
Jamie Unknown – The Get Down [Part 4]
Jamie has been on my radar for a while, but this sped-up garage number with a house nod just absolutely gets me going. The vocals with that garage beat, the little sprinkling of rave sounds and then the piano comes bouncing in! I challenge you not to go wild to this one.
Thomas Garcia – El Baile De Mia [Club Bad]
Dropping on Mele’s Club Bad label, I begged to get this after hearing the Scouse head honcho drop it at Rise Festival in 2022. It’s Latin, it’s groovy, it’s wonky, and with a stand-out sing-a-long vocal. The energy from this record is unreal. What more could you want?
Floorplan – We Honour Thee [Classic Music Company]
Floorplan, without a shadow of a doubt, take us to church every time! We Honour Thee is the best record to drop in 2023 so far. Drop it when people least expect it and see everyone’s faces fill up with pure joy and elation. This Father and daughter duo are out of this world not only behind the decks but behind the production desk. Get it in your record collection now!
D.O.D – Set Me Free [Armada Music]
An unashamed in-your-face ’90s anthemic rave number. D.O.D knows how to make an absolute coat hanger (BANGER). It works on the radio, in your sets and for when you want to fire a rocket up people’s backsides at the party. A surefire whopper!
Azzeca – Other Side [Higher Ground]
Chicago-based Azzeca takes you to the dark side with this one. It swallows you up, spins you about, drags you across the floor backwards and spits you out like the dirty little techno rat you’ve always wanted to be. The epitome of a bass face in a track.
I’ve been waiting for Chloe to start producing for years and her first releases have been the gnarliest game-changers you’ve never heard. This one with DJ ADHD is a masterclass in how to make music like no one else. It’s unpredictable, it’s like no other, and it’s the ultimate face melter you need in your sets to make people lose their minds.
Beatportal’s Ana Monroy Yglesias digs deep with Haiti-born producer Francis Mercier on sample clearance, the super-success of “Sete,” his hot new single “Kamili,” and his reimagining of the Afro House sound.
Make no mistake, “Sete” was one of the most undeniable dance tracks of 2022, and for New York-based, Haiti-born DJ/producer Francis Mercier, it was a game-changer for his career, one he’s very grateful for and proud of. After its release on March 25, “Sete” hit No. 2 on Beatport, Spotify’s Viral Top 50, and Shazam’s Top 50 Global Discovery. It’s a techy Afro house groover heard worldwide, and Beatportal decided it was time for an important electronic conversation.
“For me, its success is really satisfying because I’m able to reinvent a classic and bring this kind of African sound to the main stage, to a big platform and to give it global visibility,” Mercier told Beatportal on a Zoom call from his New York home studio. “To be able to sign an Afro house record to one of the biggest record labels in the U.S., Insomniac, is an honor. And to be able to have BLOND:ISH be a part of the project was a big treat for 2022. It brings me a lot of happiness. It makes me feel like I’m doing a record for the people, a big cultural movement, shedding light on original music and the culture as a whole.”
The upbeat track features legendary Malian duo Amadou & Mariam, via a sample of their 1999 song “Se Te Djon Ye,” on which they tell the powerful story of how they were once ashamed of being blind, but their faith helped them through difficult times and to understand a handicap is nothing to be ashamed of. The original track is slower and more bluesy, while “Sete” brings it straight to the dance floor and likely to many ravers who weren’t aware of the duo before.
This is why it’s so important to Mercier to go through the often-arduous process of sample clearing, so that the artists get their publishing and featured artist credits, and hopefully many new fans. It means a lot to him to be able to make a track with Amadou & Mariam, even more so that they gave their blessing and said they love it. The two years it took for the track to see the light of day was clearly worth the wait, and the dance floor was ready to receive it.
“100 percent, [crediting the sampled artist] gives the record more authenticity. How are you going to make an African record and sample a classic from India or South America and not credit the original? That’s not honourable. So, for me, I go all the way to pay homage to the original artists and to create a meaningful piece of art,” Mercier asserts.
The idea for “Sete” was born during the 2020 COVID-19 shutdown, when Mercier had more time to work on music and really explore his sound, without being rushed to hit deadlines or adhere to certain styles. “I wanted to rework African classics. I wanted to go back to my roots, back to the music that inspired me, that music I was first exposed to.”
And that’s how he found his fresh sound and flow, making Afro house by sampling classics from the African diaspora he heard as a kid growing up in Haiti. Before the pandemic, he felt he had to make whatever the label that was releasing his music wanted, but now that he’s gotten recognition for “Sete” and has found his sound in Afro house, he feels free.
“Sometimes, being restrained actually gives you freedom. Sometimes, defining yourself is what gives you freedom,” the producer muses. “You can actually perfect a style and give it your own touch, be the future of it. Whereas if you don’t really have a style, you’re just gonna fit in with what’s hot, what’s working, what’s in the club, and you’re just chasing, you’re never free… Having a project that worked, having an identity, gives me so much confidence and capacity to be creative in the studio.”
You can really hear it in his releases too, that freedom and expansiveness on each record.
His latest track, and first of 2023 is “Kamili,” featuring co-production from Zimbabwean DJ/producer Nitefreak, a regular collaborator of his signed to his Deep Root Records, and soaring, heart-piercing vocals in Swahili from Kenyan percussionist, performer, and teacher, Idd Aziz. “Kamili,” released on Higher Ground, has already hit No. 2 on the Beatport Afro House chart. On the driving, powerful track, Aziz sings his and his mother’s grief for his brother, who has been missing for over 20 years.
On the producer’s next track coming out on Insomniac, due out in March, he sampled GRAMMY-winning Jamaican reggae band Black Uhuru’s 1979 track “Guess Who’s Coming to Dinner.” He describes it as a reggae house record and Black Uhuru as the other biggest reggae act in Jamaica, next to Bob Marley. (A large Bob Marley hanging sat behind Mercier in his studio as we spoke over Zoom).
He made the track three years ago, and again, had to wait to get the sample cleared, and he’s excited for the world to finally hear it soon. And as these many of these heaters he made in 2020 take quite a bit of time to see the light of day, most of them still felt fresh and ready to go when they were finally about to come out, so he left them as is.
“Ayibobo” is another collab of Mercier’s with Nitefreak, released on Deep Root Tribe in June 2022. This uplifting, driving Afro house record wasn’t built around a vintage sample, instead featuring Haiti-born-and-based singer Lenny Auguste, singing a message of hope and resilience aimed at fellow Haitians. “It is a very dear record to me. It’s my only record where the vocals are in my home language, Haitian Creole,” Mercier says.
“The record has a very powerful meaning. It’s about freedom, and pushing yourself to get what you deserve, and has a political significance because Haiti’s in a very difficult political situation where there’s a lot of kidnapping, there’s no future for the youth. So basically, this record is about telling people not to give up and to keep your faith and to stay positive. I have the chills right now… [The singer recorded it] in Gonaïves, the city in Haiti where independence was proclaimed, and it was really challenging for the vocalist to sing it because there were riots in the streets… and you can feel the emotion in the record.”
Sometimes divine timing really does work its magic. Mercier had been getting tired of tech house and knew something else was coming “for the underground, for the unknown.” He launched his Emvafaya alias in early 2020, to give himself freedom to explore deeper, more melodic sounds and even had a few Emvafaya shows right before the pandemic. And when he had the time and space during the COVID-19 shutdown to really explore his sound and revisit the African and African diasporic music of his youth further, it clicked.
He dropped his first two Afro house tracks in 2021, reimagining Ivory Coast Afro pop quartet Magic System’s “Premier Gaou” and “Bolingo Naga,” which he released as his Emvafaya alias and features a sample of Congolese singer Bibi Den’s Tshibayi, on BLOND:ISH’s Abracadabra Music. Later that year, during Christmas time, he DJed in his home country for the first time. He was invited by Deep House Bible — one of the founders is Haitian — and feels that it was one of his best performances to date, enhanced by its significance and live percussionists accompanying him.
Mercier was inspired to start DJing after seeing Armin van Buuren show, saving up for a controller and playing his first gigs at college parties, which he’d land by reaching out via Facebook to the people throwing them. His entrepreneurial spirit and determined proactiveness has fueled his career in dance music and constantly pushed him forward. He was also trying to break into DJing at New York clubs, but obviously it’s a hard market to crack without a sizable following, so he played at restaurants and also started throwing his own parties and hired people to invite their friends.
This led him to start an event planning and production company, which evolved intoDeep Root Records, which he co-founded with fellow entrepreneur Ajamu Kambon in 2014, which has evolved to include the label (plus three sublabels), artist management and music licensing. Deep Root allows Mercier to uplift fellow artists with the skills he’s gained along the way as he’s done so for himself, to support their growth and build a collective of like-minded dance music producers. In addition to the main label, there’s Deep Root Underground, and Deep Root Tribe, representing the Afro house sounds of Nitefreak and more. Mercier says it’s been his way to figure out how to not rely on other people and be more hands-on himself.
It is also a genuine balm to the cutthroat New York scene, which he describes as competitive, fresh and filled with sounds from around the globe, but very territorial and not a supportive community. He’s been doing his thing in New York for 15 years and hopes that there will be more support of younger artists in the city and across the scene, which is what he tries to do with Deep Root, “to be more open and supportive.”
For several years, Deep Root has been hosting regular showcase parties in New York at venues that have included The Williamsburg Hotel, Public Arts, Somewhere Nowhere, as well as on yachts(!), programming their artists alongside very special guests like Eelke Kleijn, Roger Sanchez, Alex Cruz and more. He’s also brought Deep Root on the road, with parties during Miami Music Week.
Mercier has another big year ahead, with more anticipated releases and big bookings. He’ll be making his Coachella debut this year at the beloved electronic music stage, the Yuma tent, on Saturdays of the massive April fest. Ahead of the event, you can also catch him and his rhythmic global house sound at venues like Flash in Washington, D.C., Spybar in Chicago, and Soubois in Montreal, with more shows to be announced soon.
When asked what his biggest goals and dreams for the year(s) ahead are, he is set on keeping things moving forward. He has his eye on staying in the game for the long haul, to keep growing and touring in more places, with a healthy dose of sold-out shows, and to present his music on a global scale. Don’t bet against him achieving on every single level.
Ana Monroy Yglesias is a freelance music journalist based out of Los Angeles. Find her on Twitter.
As he marks his return to Dam Swindle’s label with Heist Mastercuts Pt. 2, we catch up with Holland’s prolific dance floor maven Orlando Voorn to learn more about his attested production approach, his fabled Detroit connection, his return to the stage, and more.
When Orlando Voorn first visited The Motor City back in the early ’90s, it would have been impossible for him to fully comprehend the deep-seated sonic link he was building between Detroit and his hometown of Amsterdam. Kicking it alongside techno originators like Juan Atkins, Blake Baxter, Mike Banks, and Kevin Saunderson, his machine funk wisdom would lead to the creation of foundational and timeless techno tunes like “Flash,” “Game One,” “Where Is Your Evidence?” and more, all released under a miscellany of monikers (totaling over 30 today).
As a DJ, you’d be hard-pressed to find someone who has been at it longer than Voorn. He first cut his teeth on the decks when he was 12 — the same age he first started sneaking into clubs — and won the DMC DJ Championship back in 1986. On the production front, his dance floor prowess has expanded well beyond the realm of techno. He’s produced every variation of house music imaginable (deep, tech, afro, jackin’, funky, you name it) and has also ventured into electro, minimal, disco, and electronica territory. The word “prolific” is putting it lightly, and with over three decades of experience and hundreds of releases under his belt, Orlando Voorn is a prime mover of dance music’s true school sound.
For his latest offering, Orlando Voorn makes his dazzling return to Dam Swindle‘s celebrated imprint Heist Recordings with the second iteration of his Heist Mastercuts EP from last year. To mark the occasion, we caught up with the techno veteran to learn more about his workflow, his path to Detroit, the sound behind Heist Mastercuts Pt. 2, his future gigs, and more.
Orlando Voorn’s Heist Mastercuts Pt. 2 EP is out now via Heist Recordings. Buy it on Beatport.
Hey Orlando! Thanks for joining us. How has 2023 been treating you so far?
Thanks for having me! 2023 has been good so far. Lots of things are coming up production-wise and a couple of gigs.
You first started making house and techno records back in 1988, which eventually led to you making your historical connection with Detroit. While your time in the Motor City is well documented, do you recall the first time you had any of these Detroit originators visit you in Europe? Do you stay in touch with them to this day?
Yes, I recall it very well. The very first time I went to Detroit was around 1992 after meeting Juan Atkins and Blake Baxter in Holland. I worked with Juan in my home in Holland on the “Industrial Metal Remix” from my Frequency project, and we clicked right away.
Once I was in Detroit, I was treated like family by everybody, and that was also the time I passed on records like “Flash” to KMS and “Midi Merge” to Fragile/Transmat — I met most of the Detroit guys back then. From time to time, we do connect through phone or mail. I have just made a few tracks for Rick Wilhite, the first vinyl is out through Mahogany distribution, a compilation with other Detroit artists, and there is still an EP to come out with AMP Fiddler on Burek.
Last year, you treated us to a ton of killer EPs on labels like Transient Nature, Deeptrax Records, Tech-um, Magnetron Music, Heist Recordings, Kompakt, and more. What’s your secret to maintaining and managing such a consistent and prolific output of new music?
Being consistent and making music according to my mood. It is something I choose to do, and it’s what I am good at, so I like to challenge myself, push some boundaries, or just have a funky ol’ time. I like variation as it’s the spice of life. I mean, we have favorite foods we eat, but if you eat the same food every day, that favorite will disappear. Of course, I stay in my lane to what I am able to do, but I wonʼt limit myself to not exploring the things I like.
Following the success of your Heist Mastercuts EP on Dam Swindle’s Heist imprint, we’re now gearing up for its follow-up release, Heist Mastercuts Pt. 2. How would you describe the EP?
It is definitely a house affair with a wink to Frankie Knuckles. His track “Tears” serves as the inspiration fo
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