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.
French dance floor veteran Jennifer Cardini details how the initial blueprint of her revered Correspondant label first came into focus, and how its sound, vision, and diverse roster of artists has evolved over the past decade.
Jennifer Cardini’s schedule is as busy as it’s ever been. Catching up with her in Lyon, she had played a b2b with Gerd Janson the night previous as part of the Nuits Sonores festival. The founder of Correspondant Records continues to tour as a DJ whilst running the label. Established in 2011, Correspondant started from a club night ran by Cardini in Rex Club, Paris. For the past 12 years, it has grown to include an international roster with artists from Mexico to Israel. Going from strength to strength, Cardini is now leading her label to global success as more and more emerging artists make their debuts under her guidance.
Correspondant’s French spelling contains the true meaning behind Cardini’s project: “When you’re a kid, you can travel to England for a couple of months, stay with an English family and you would learn the language,” says Cardini. “The English would do the same thing and stay with your family, speak French. That’s a Correspondant.”
Swap out learning the local language for collaborating on club nights and Correspondant was born. Cardini’s residency in Rex saw her invite artists from Germany to give the French capital a taste of what was happening in the German underground electronic scene. “It was really fun because people would come over and would crash at my place. I would cook for them because there was no budget… We’d go to a city for one night. We’d take the temperature of the counterculture or the underground there. Then, we’d bring back whatever impression it made on us. It was like a mirror with DJs from other countries, so it came from that.”
The time spent as a warm-up DJ gave Cardini time to big up more down-tempo music, which in turn led to the theme for the first releases on Correspondant. “At Rex, I was doing a warm-up for 3 or 4 hours. You build the tension and an atmosphere for them which is what a warm-up DJ is supposed to do. Most of the first releases of Correspondant were down-tempo with a bleep-y slow-mo vibe. That came from me digging for warm-up music.”
Cologne-based record label Kompakt was key to Correspondant’s foundation. Cardini’s connection to Michael Mayer got her to be part of the agency and with Michael Mayer being the German penpal, the music exchange was in full swing. “There was a flow of creativity and energy between people who share the same love for club culture and the same vision for electronic music.”
Cardini moved to Cologne and with Kompakt’s help, the label had a blueprint to follow: “They taught me how to run the label and gave me the distribution structure and they took care of uploading everything. Then we had a release schedule. I learned how to be on time, not always but I try. They’re long-time professionals so it was great to learn from them.”
After 14 years as a DJ, Cardini wanted something more tangible to work on, something where she could help nourish the careers of younger artists. “I started to think ‘it’s been almost 15 years. Where am I going? What am I doing?’ I was 30-something. I also started to think about what I wanted now. I’m a first-generation DJ, so we started DJing because we were just partying. Suddenly it became a job. How much do I want music to be part of my life in the future? I didn’t want to party so much anymore. I wanted a healthier life and then I thought I know everybody now, so it was a way to offer the network that I had built to younger artists.”
Once the label started to grow, Noura Labbani joined the Correspondant team where she took charge of the production end of affairs. “I got really lucky when Noura joined because at the same time, my schedule ad a DJ got busier as well.” With the likes of getting pre-masters, mastering and PR exchanges taken care of, Cardini is able to focus on A&R where she listens to submissions and finding the next big release for the label. “I’m the ears. I hope I have good ears.”
In 2021, Correspondant had its 10-year anniversary, which coincided with the label’s 100th release — headed up by Zombies In Miami. Cardini stays focussed on the day-to-day as the release schedule gains momentum: “I’m very happy that we made it to 10 years, and I’m super proud of all the releases we’ve worked. I think it’s great we’ve been doing it for this long. I’m constantly thinking about the next release and the next release after that.’’ The label’s longevity lies in its ability to adapt to an ever-changing music industry. When they first started, they were reaching the end of the modern era for vinyl which was quickly replaced by digital releases and streaming. Now competing with the rapidity and virality of TikTok, Correspondant quickly decided to stick with singles rather than EPs or albums.
“I’ve worked with others and learned so much. I think this has been the most amazing experience of my life. To work on a project with someone else, it’s a wonderful thing. It’s such a rich experience. There are some really super beautiful moments. When we did the Man Power record, he was so happy plus we got him to play at Fabric [London]. When we released Red Axes, Rebolledo did this super crazy remix when we knew the label was still new. When we also had Polina from Agents of Time, it was also a big moment for Correspondant. There were the compilations as well. Compilations 3 and 4 really put the label out there. The fact that we had a roster with so many nationalities like people from all over the world. A lot of Mexican artists, Israeli artists. It’s really nice for us to have such an international roster.”
Not only is the label becoming more diverse with its roster of multiple nationalities but its striving to be more inclusive of LGBTQ+ artists too: “Correspondant is not as diverse as I wish it would be, but it’s definitely becoming that. In the early 2000s when electronic music became more mainstream, I think globally it lost its connection to its roots. Everything became more heteronormative. The label is definitely morphing at the moment. The future releases and the shape of the label are changing. We’re working really hard on this.’’
The changes that have happened during Correspondant’s lifetime include encompassing more genres. Correspondant is also the parent label of Dischi Autunno, which set up in 2017 and goes beyond electronic, house and techno with tracks varying from experimental ambient to indie prog. “The idea was to have something different. It’s connected to the fact that my sound shifted as well. I was more into EDM, electro stuff again and Dischi’s more in that vibe. I received Dollkraut’s beautiful album [Holy Ghost People] and that was the beginning of Dischi.”
What’s on the cards for Correspondant? “The year is packed. I took some time to myself after something happened in my personal life, and after Covid, we’re back on track. It’s a completely new chapter for the label. I’m really looking forward to having more female artists on the label. They can send me demos through Instagram which I check all the time. There’s so much good music out there and most of the tracks I play at the moment are from female producers. It’s a great time music-wise.”
The track first debuted at John Summit’s Caverns showcase in Tennessee and later at his packed performance at EDC Las Vegas, resulting in a flurry of excitement across social media for this demanding and heavy rework of a track that’s been riding the airwaves since it dropped back in early March.
It’s the first time that GRiZ has put out an official remix in seven years, and his fresh, wonky, melodic dubstep spin to “Where You Are” is bound to become a fan favorite throughout the summer and beyond. Listen below.
Of remixing the track GRiZ shares, “‘Where You Are’ is an absolute anthem of a song. It made me feel so warm and euphoric when I first heard it that I immediately went to my studio and ripped the acapella of the vocals and made a version of it – really just for myself. I wanted to hear it the way I heard it in my head. I felt really inspired, so the main chunk of it I made in just a few hours. Then I really took my time finishing the song and making it sound good. So blown away by the response to it. I hope it makes your soul feel beautiful.”
GRiZ’s remix of “Where You Are” by John Summit and Hayla is out now via Off The Grid. Buy it on Beatport.
Damian Lazarus talks to Beatportal about early trips to the Balearics, the future of his career, 20 years of Crosstown Rebels, and what it’s like releasing a book.
I started writing this new feature two days after Damian Lazarus made a serious splash in London with his new book and a twentieth-anniversary party at fabric straight after where Damian celebrated two decades at the very forefront of dance music with special guests Clive Henry, Mathew Jonson, Yulia Niko and Tibi Dado.
From Get Lost in Miami to Crosstown Rebels parties from London to Ibiza and Day Zero in Tulum, Damian has always had his ears to the ground and his CDJs set to stun so he’s someone I’ve always enjoyed conversing with. In addition, cool and astute collaborations have always been explored, including a link-up with Diplo and Jungle in the summer of 2021 for “Don’t Be Afraid.”
This latest piece looks forward as much as it looks back but starts all the way in Ibiza in ‘97 and slowly makes its way through East London and then across the world to Tulum and finally to Italy, where he now lives. Damian’s book is also a brilliant retrospective through two decades of a label and a life in electronic music. Damian is now a husband and a father, but that dedication to being a dance music wizard will never leave him.
Can you remember your first forays into Ibiza?
My first trips to Ibiza were extremely hilarious. I want to say 1997? I was managing and playing alongside an act called Instrumental, who had an album out called Acoustic, which was twelve covers of techno records. So they did things like “Little Fluffy Clouds” [by The Orb] within that context. Once I joined them and got them a deal, it came about that we were invited to play Café Del Mar’s 25rh anniversary and the band played hovering on the sea and I DJed and threw in odd sound effects to add into this beautiful string soundscape. That was my first trip to Ibiza. After that we found some shit hash from someone in the port and went back to Jet Apartments, where seven of us were crammed into one room with spare mattresses on the floor. And we got high on some bad hash!
The second time I was doing PM Scientists at Smithfields in Farringdon and our good friends Derren [Smart] and Rosanna were doing the Cocoloco at Privilege and at that time I was playing a fusion of house, techno and d ‘n’ b. But I packed specifically drum ‘n’ bass and electronic records. The following morning we went to Carry On at Space and I was sat on the old top tier on a Tuesday morning and there was no music and people were asking why is there no music?! I was sat there with my record box so totally uninvited, I decided to start playing. I would love to know who was opening that morning but I got away with that for an hour! Cut to 25 years later, and I now have a residency in the same room. You don’t get much more full circle than that.
Do you love Ibiza as much now?
Now? I love it more than ever! In 2002, I played CircoLoco for the first time and was introduced to Antonio and Andrea by Rosanna. It was open at 6 AM at that time and I was in the bottom of that poster for a couple of years before making my way to the middle! Ibiza has always been an opportunity for growth and change and when Black Coffee offered me the weekly residency, my first reaction was “how do I break the news to CircoLoco?” And the second was “can I do 21 weeks?” I was concerned! From experience, I asked friends how to keep things exciting for 21 weeks. So I put together a really cool and varied lineup of friends and artists and that’s kept me on my toes.
How did you first become aware of Black Coffee?
I first became aware of Black Coffee through Elliot Shaw who showed me video footage and I couldn’t quite see how it could translate: the first week he played at Circo Loco, he really hadn’t done his homework and his idea of Ibiza was big party classics. Soon after, he realized he needed to reassess. In the face of adversity, he’d become a household name in South Africa but he hadn’t broken internationally. The second show, he smashed it and its been upwards since then. Over time, we’ve been getting closer as friends so I asked him to remix the Ancient Moons project and then he asked me to remix “Wish You Were Here” and we both felt it was an opportunity. I have so much respect for him and his talent but I love playing B2B with him and we have an electric connection, I couldn’t have been luckier to join any other artist. I was fortunate in that he already had one of the most happening parties on the island but it was important to bring my own unique touch. And he’s been very open to that.
Maceo Plex is back on the new compilation, what’s your favourite track of his?
“I think it’s probably “Can’t Leave You.” That’s the one that epitomises the Maceo Plex sound. When we first met, he’d been making music for a long time as Maetrik and he came to me with new music he wanted to release but it wasn’t right to release as Maetrik: he had the vision to come to me. In all honesty, most of that album was complete and what was interesting was there was one track I felt that it sat in similar territory to other tracks which I wanted to shelve and that’s the track “Together” that at the time felt like a bonus track. I literally sat on it for 12 years and now finally it’s coming out.
Can you tell us about Major League DJs?
In the early pandemic days I was working on new music and “Into The Sun” came out during the front end of that period. Jem Cooke has a beautiful voice and together we concocted the track. Although it came out as a single, we never got any remixes. I decided against any remixes, I did the Worship Beatless mix which sounds beautiful at sunrise but for the 20th anniversary, I thought it was a good opportunity and the song was so precious to me, I was looking into the Amapiano sound and came across the Major League DJz and it turns out Diplo was also working with them. I did a lot of digging – they’re talented twins – and there was something about these guys I really liked. We met in Miami when they rocked up at a photoshoot and I really liked them. We exchanged numbers and they tour the roof off. And now they will play with me at High. They created an absolute monster!
Has the book been a labour of love?
Well, not a labour of love… this book has been an exceptionally challenging episode of my life! The beginning of this situation came about last year when my manager Ed said next year is 20 years of the label and I really wasn’t thinking about numbers. We celebrated 10 but my knee-jerk reaction was let’s ignore it, that makes me feel old. But by the end of that week, I decided to make a book, a compilation and a world tour! He was right but the book was a very challenging and emotional episode. We flew to Italy, where the history vaults are locked up and we went deep. After much searching, I found boxes and it was a treasure trove! The first test logo designs. The various fonts we looked at initially. A letter from Orange telling me I was £860 overdrawn in the exact same month I launched the label. The first parties, Slash and Burn at The Key and Stink in London. The distribution meltdowns. That’s all in the book. The birth of Get Lost, me moving to LA to work with Insomniac. There’s a heavy focus on hedonism but primarily it’s all about community. We created a nucleus family of party-focused individuals making amazing music. It’s really special. And Pete Tong has written a forward.
What does the future hold?
That’s the hardest question you could ask me today. I don’t know what the future holds. Maybe I should take a rest. I don’t know. I do need a bit of time. After this celebration and once the summer is over, I may take some time for myself and make some new music. I would like to take a minute and assess! I am excited by Secret Teachings, our new label. But I am looking for new ideas.
What does Day Zero in Tulum represent for you?
I cannot think of a place more magical and satisfying. What we manifest there is amazing.
And Get Lost?
Get Lost of course will be back in 2024! It started in 2005 for 200 fucked up people in a small venue next to Space and it’s now a 24 hour, 95-artist extravaganza. But I’ve never lost sight of the reason I started it. It’s got underground credibility and still feels like a party for friends and family and we grow every year as a brand, constantly building a bond and taking stock. It’s a team effort and a better experience with every new occasion.
Finally, where is home now?
I’m officially a resident of Portugal and have a place in Lisbon but the family home is in Tuscany. I have built a house on top of a mountain which is a playground paradise for myself and my kids and Elisa and my studio is also here. We now have an office. We have a swimming pool. I come here to be real. As soon as I step in, I know this is the place. It’s serenity and nature and animals and vineyards and hopefully blue skies. This is the place.
Crosstown Rebels pres. CR20 The Album: Unreleased Gems and Remixes is out now. Buy it on Beatport.
The mesmerizing melodic house artist Tim Green treats us to some of his most euphoric dance floor selects for Beatport’s Playlist of the Week.
The ten tracks below that I’ve selected are songs that I have played the most in my DJ sets over the last 12 to 24 months. Actually, even one of them is almost four years old! But several of them have only just been released recently, featuring on my recent Balance 031 compilation. But I still play all these songs in my sets now. Which, to me, is the greatest test of a song, where I don’t get tired of playing it after so long. Even though some of them are my own productions, it would make even more sense that I get tired of hearing them, as I do commonly with some of my productions. Especially as you spend so long in the studio going over them before even playing them out countless amounts of times. But so far, these still seem to encapsulate my direction musically and reflect where I am musically right now in my life.
Underworld – Two Months Off (Tim Green Remix) [Balance Music]
Underworld are a big part of my electronic upbringing. so it was incredible that Balance was able to release this and get it cleared. I’m forever grateful that Underworld was happy to allow Balance to release my remix. As I originally made this unofficially, just more a bootleg only for myself, with never the intention for it to be released. I’m so happy it’s finally out there now, as I made it originally back in 2021.
mredrollo – Playces [For A Memory]
I recently released this amazing track on my label, For A Memory. Ed (mredrollo) had been sending me a fair bit of his music for a short while before this track, and I was playing everything he sent me. Always delivering great groovy music, extremely well thought out, simple (in a good way) and efficient, only using exactly what is needed to convey the song in the best possible way. I love this kind of songwriting, where you really boil it down only to the essential ingredients. Good pop music can be like this, I think, with The Beatles being one prime example, I think where they just created only what was necessary. But he’s a really exciting producer for me and somebody who I think will be one to watch! I’ll be releasing some more music from him in the future, also.
Sébastien Léger – In A Distorted Galaxy [Lost & Found]
I play Seb’s tracks all the time, in every set. This was one of my recent favourites from him. Musical and groovy, but with a dirty bassline! Great fusion of different vibes going on. I like when Seb experiments with fusing different vibes together.
Serious Dancers – Callahan (Tim Green Edit) [Balance Music]
This was a fairly recent edit that I made, and like the Underworld remix, I only ever intended to keep it for myself and not release it. I make edits all the time for my DJ sets, similar to this one. Sometimes I do very little and just change the structure, for example. Other times it might be adding lots of elements and getting closer to a remix or something. This was fairly minimal in what I did, just adding a few extra drums and percussions. Plus, adjusting the drop to have more impact. Just small elements to lift the song in the areas I felt needed pushing. But again, something I played every set last year and still play a lot now.
Tim Green – Tears [All Day I Dream]
Since I wrote this song back at the end of 2021, I have pretty much played it in every set. Even now, I still play it every set. It’s quite a special song to me, I felt this way when I wrote it. I went through about 3 or 4 final versions, road-testing it and changing ideas. The first versions felt so incomplete to me, and I was struggling, I knew it could be more but wasn’t sure how. But I knew it was a special song from the start and just kept chipping away at it until the final version formed. I feel as though this song is starting to become a song that I think everybody expects me to play each set, which I love!
Obbie – Synesthesia [For A Memory]
Another song I released on my label, For A Memory. Obbie, again is another up-and-coming producer. I think he’s only just starting (musically speaking) on his journey. I think the more he develops his sound, the more special things will happen! I’ll be releasing some more music from him on my label in the future.
Axel Boman – Chestnut Heartsprite (Tim Green Edit) [Balance Music]
This edit is, I think, over, or around four years old now. Can’t quite remember. But again, was just supposed to be for me and my DJ sets. But it’s actually a track I really feel passionate about. The original I just love so much, as soon as I heard it, I knew I wanted to add drums to it. I can’t take any musical credit for this edit, the beauty is all from the great Axel! But I created the edit with many Burning Man memories in my mind. For some reason, the song just reminds me of Burning Man so much, and it takes me back to the Playa every time.
Dulus, Gorje Hewek, Molac – Astro World [Watergate Records]
One of the more recent tracks in this list. I think this song is so much fun and has a great party vibe. I play this song every set, and I wish I had written this song myself! It’s just got this great rolling movement to it, with just the right amount of melodic elements in there. Great tune!
Jim Rider – Two More Days [All Day I Dream]
Been playing this track since last summer now! Such a great crowd-pleaser of a track. Jim is such a great producer, and always so varied, in my opinion. I never quite know what to expect when I hear his new music, which is a good thing. And strangely quite rare nowadays. Lovely track from a lovely friend of mine!
Tim Green, Sébastien léger – Duel [For A Memory]
Quite an obvious choice as well, but this was another track that definitely seems to be quite timeless (so far!). It’s an interesting song, I think, because its got a fair few different genres in there. all fused together to create the final composition. Mainly because originally, it was a song I started myself (before Seb got involved) around five years ago. Pretty much the drums, the first set of hooks, synths, and sub-bass are all mine up until the second drop. Up to this point, it was kind of a tech house track, interesting and okay, but nothing special. My original demo continued like this throughout and was pretty average. I sent it to Seb, and he loved the groove and what I’d done, so he threw his awesome soaring synths on top, and that super funky bassline, and turned it into the special track it is now. Without his parts, the track is fairly boring, I think. But without my parts, his elements wouldn’t have the foundation to shine. So it’s super interesting to me how this track came together in a different-than-usual process.
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