In part of two of D.M.M's three part interview with John 00 Fleming we delve into his J00F Editions tour concept.
In John's own words, J00F Editions, is about "returning the club to the clubbers." Here's what he had to say...
Renowned for his darker edged style J00F’s music has a texture which sets him apart from the cookie cutter mould. It’s this unique mould which has also shaped his J00F Editions tour concept.
J00F Editions, John says, is solely about the music for music lovers. It's not the guest list, not the pyrotechnics, and not the stage dancers. And it is definitely not the DJ’s ego – which he argues has largely overshadowed the scene to wilt clubland and lighten punters wallets.
"The concept was a difficult one for promoters to initially swallow because it’s the opposite of what they’ve been conditioned to over the last ten years, what with the big television screens, fireworks and fluffed up shows. I’ve gone right, get rid of all that and let’s move the DJ booth off the stage. Let’s keep it dark, with really long sets and minimal distraction, let’s play it on a rocking sound system which recaptures dance’s essence back onto the music,” he implores passionately.
"It was really challenging at the start, slightly less so now, and so far the feedback has been tremendous. The best reaction has naturally been from the clubbers, they’re hanging around the entire night, enjoying the musical ride benefited by the long sets. And the crowd isn’t glued to the booth; they’re facing each other, heads down dancing, ripping it up. Essentially, I’ve tried to recreate what it once used to be.”
No one says it as plainly as John.
And nothing says John more than than this Nine Lives floor pumper: Baphomets Horn...
Keep groovin'
DC
Sunday, September 18, 2011
Friday, August 19, 2011
John 00 Fleming: Nine Lives - the album
John 00 Fleming, a DJ with a truckload of albums already to his name, has just released his debut artist album.
Yes, you read right, his first ever, from go to whoah solo creation.
D.M.M recently caught up with John and here's what he had to say:
"My goal is to share my artistic creations with everyone. That's simply what I’m about.”
It’s with this opening pearler that trance doyen John 00 Fleming begins to explain his inaugural solo artist album, Nine Lives.
To the album: it’s something almost 20 years in the making. This in itself is perplexing as this is a DJ who has over 10 million album sales to-date. So then, as anomalous as it is how can this be? It can be because Nine Lives is, for the first time ever, pure unadulterated J00F from go to whoa.
Zero collaboration. Zero outside input.
Pure unadulterated J00F – now that’s worth a wait, but why such a long wait?
"I don’t like to work as many other DJs do with teams of writers and engineers. To me, it’s not a factory and I refuse to do that,” he says steadfastly. “When I write a track in my head I’m the only one who can truly see it, and when I create I’m often going to dark, weird places. No one can know these places and ideas apart from me. Digging those ideas out when I’m alone in the studio is what gives me the real buzz; it’s just me with my sleeves rolled up,” he muses.
"To me, that is what being an artist is and they are the ones who last the longest. Yes, I could go and employ someone to write tracks but it isn’t me. And that goes for anyone, not only those in electronic dance music.”
Bluntly honest in his appraisals, that’s the J00F we know. His beautiful truths underscored by his longevity in the scene and straight talk.
"
Nine Lives was released on 16 August.
Get it from Beatport, iTunes, or Amazon.
Meanwhile, here's track seven - Finding Ganesha:
Check back real soon, or simply subscribe to the RSS feed, to catch part two of D.M.M.'s interview with John. Keep groovin'
DC
Yes, you read right, his first ever, from go to whoah solo creation.
D.M.M recently caught up with John and here's what he had to say:
"My goal is to share my artistic creations with everyone. That's simply what I’m about.”
It’s with this opening pearler that trance doyen John 00 Fleming begins to explain his inaugural solo artist album, Nine Lives.
To the album: it’s something almost 20 years in the making. This in itself is perplexing as this is a DJ who has over 10 million album sales to-date. So then, as anomalous as it is how can this be? It can be because Nine Lives is, for the first time ever, pure unadulterated J00F from go to whoa.
Zero collaboration. Zero outside input.
Pure unadulterated J00F – now that’s worth a wait, but why such a long wait?
"I don’t like to work as many other DJs do with teams of writers and engineers. To me, it’s not a factory and I refuse to do that,” he says steadfastly. “When I write a track in my head I’m the only one who can truly see it, and when I create I’m often going to dark, weird places. No one can know these places and ideas apart from me. Digging those ideas out when I’m alone in the studio is what gives me the real buzz; it’s just me with my sleeves rolled up,” he muses.
"To me, that is what being an artist is and they are the ones who last the longest. Yes, I could go and employ someone to write tracks but it isn’t me. And that goes for anyone, not only those in electronic dance music.”
Bluntly honest in his appraisals, that’s the J00F we know. His beautiful truths underscored by his longevity in the scene and straight talk.
"
Nine Lives was released on 16 August.
Get it from Beatport, iTunes, or Amazon.
Meanwhile, here's track seven - Finding Ganesha:
Sunday, November 14, 2010
A six month real time hiatus is equal to six years online...
The electronic music world's ephemerality is a well known quantity, and the same exists for the online world; an idle blog's audience vanishes quicker than any guest list's freeloader fill up.
But I've excuses, and the primary one is lucubration.
I'm at the tail end of a degree, and as those in learned land know, there is not enough time in any Roman inspired calendar, even more so when working full time, to fit it all in.
Secondarily, almost another month was lavishly eaten up by 'The Pact'.
The Pact, 18 months in the making, was a life altering journey travelling the Middle East with three high school friends.
The Middle East being Syria, Jordan and Israel.
It is a journey I would recommend to everyone.
It is not until you've seen through the eyes of others that you can truly see, with the path to accepting others first lying in accepting yourself.
And that's from an athiest - who's still an athiest.
These virtues permit you to really treasure the wisdom that travel ingratiates, and to cherish what many take for granted.
And it hurt's when you forget to cherish - and for me that's family, friends, Bondi Beach and dance music musings.
At most, a largely advertisement free place where one can catch up with what's choice in choons and interviews; at least, somewhere to digitally store my creativity.
But I'm back, and I hope you will be too.
Keep groovin'
DC
p.s - A visit to the Middle East is not truly a visit unless you cake yourself in Dead Sea mud.
But I've excuses, and the primary one is lucubration.
I'm at the tail end of a degree, and as those in learned land know, there is not enough time in any Roman inspired calendar, even more so when working full time, to fit it all in.
Secondarily, almost another month was lavishly eaten up by 'The Pact'.
The Pact, 18 months in the making, was a life altering journey travelling the Middle East with three high school friends.
The Middle East being Syria, Jordan and Israel.
It is a journey I would recommend to everyone.
It is not until you've seen through the eyes of others that you can truly see, with the path to accepting others first lying in accepting yourself.
And that's from an athiest - who's still an athiest.
These virtues permit you to really treasure the wisdom that travel ingratiates, and to cherish what many take for granted.
And it hurt's when you forget to cherish - and for me that's family, friends, Bondi Beach and dance music musings.
At most, a largely advertisement free place where one can catch up with what's choice in choons and interviews; at least, somewhere to digitally store my creativity.
But I'm back, and I hope you will be too.
Keep groovin'
DC
p.s - A visit to the Middle East is not truly a visit unless you cake yourself in Dead Sea mud.
Monday, May 24, 2010
Richard Durand: In Search Of Sunrise 8 album review
The ISOS series, dating back to 1999, is a trance aficionado's must have. When the albums mixing desk reigns were handed over by Tiësto to Richard Durand earlier this year many questioned if it would retain its essence or lose its soul. Released earlier this month and freshly reviewd by D.M.M., In Search Of Sunrise 8 - South Africa, is Richards's debut.
This is what we thought:
In Search Of Sunrise 8 - South Africa is a strong but safe addition to the series by new Dutch helmsman Richard Durand. The series, originally kicked off by trance titan Tiësto back in 1999, now has Richard as In Search of Sunrise’s new master and commander. It is arguably one of the genres most consistent album compilations, and this instalment is no exception. With Tiësto formally handing over the controls back in April, Richard expertly fills the Songbird/Black Hole Recordings owned ISOS void with a revitalising mix that breathes a new freshness into the long running series.
First tipped by Tiësto back in 2006 as an artist ready to break, Richard Durand has spent the last four years putting in solid performances both in the studio and the booth. From the early days of his Lethal Industry and Flight 643 remixes, he has moved to become one of the most consistently dependable players on the scene; crafting and shaping his own model sound & style. Parallel to that, his spinning career has graduated from that of ‘next big thing’ to that of headlining, all-club-conquering DJ - a passage that now sees him ranked as one of the 50 hottest spinners on the planet.
As with every album since ISOS3, each edition’s roots grew in a specific country. In choosing South Africa to seek his first ‘Sunrise’ Richard explained, “I actually saw South Africa first from a vacation point of view. When I returned I spoke to my agent, told him what an incredible place it was and how much I’d like to experience the country from a clubbing side. Gigs were arranged and gigs were played and – simply put - I was blown away for a second time. The scene there is so fresh so open-minded and still is rapidly expanding; it almost made the choice for me!”
In Search Of Sunrise 8 - South Africa navigates the melodic trance plains right across the span to the bigger & bolder tech-side. Disc one is the slightly lighter offering and by song three, The Violet Hour - a track already on Armin’s playlist, the groove warmly builds into a catchy crescendo, smoothly rolling into Madelin Zero’s whispery voice in Envy. Richard continues to mine this vein in As The Rain Falls, before shifting into the uplifting Never Alone, which cleverly morphs into the mantra-like vocals of Rasmus Kellerman in There is Hope. Straight out of central casting is the deliciously trancy Pillars Of the Earth while Introspection Attempts (Moonbeam Remix) channels the Tiësto sounds of old. Tom Cloud’s The Darkest Star lives to its namesake, and signals the albums deepest drawing before ending with Richard Durand’s own personal caress in For No Reason.
Deltree kicks off disc two and its tech feel subtlety is immediately evident. It’s a smart opener, and by midway through displays its layered warmth before coolly cruising into the close your eyes goodness of one of my favourites, Something For the Pain. The clean riffs in September Rain must mimic the steep cliffs in South Africa, and it’s from here where the album takes a brief but subtler more progressive step in Ocean Terrace. Collaborations abound on this album, with the well renowned BT teaming with Andrew Bayer in The Emergency, and with what may become another in the Tiësto legacy, a partnership with proven vocalist JES and Richard Durand with N.Y.C. The album remainder glides through some climbing euphoria in Satellite Of Love (Fabio XB Rework Dub) and We.are before the smooth guitar sounds of With Me land you not wanting to re-open your mind’s happily closed eye.
The ethos attached to the ISOS brand makes any follow up a tough task. However, Richard’s admirably achieved it, and one can only hope we all get to experience him pushing it out live amongst a room full of likeminded types. Yes, it stays away from anything experimental or groundbreaking, but to the naysayers, the fence sitters, the unconverted, this is a new sunrise and it tingles the skin in all the right places. If you are a fan of early Tiësto you will be a fan of Richard Durand.
Check out Richard's ISOS8 world tour kickoff in Amsterdam:
Keep groovin'
DC
This is what we thought:
In Search Of Sunrise 8 - South Africa is a strong but safe addition to the series by new Dutch helmsman Richard Durand. The series, originally kicked off by trance titan Tiësto back in 1999, now has Richard as In Search of Sunrise’s new master and commander. It is arguably one of the genres most consistent album compilations, and this instalment is no exception. With Tiësto formally handing over the controls back in April, Richard expertly fills the Songbird/Black Hole Recordings owned ISOS void with a revitalising mix that breathes a new freshness into the long running series.
First tipped by Tiësto back in 2006 as an artist ready to break, Richard Durand has spent the last four years putting in solid performances both in the studio and the booth. From the early days of his Lethal Industry and Flight 643 remixes, he has moved to become one of the most consistently dependable players on the scene; crafting and shaping his own model sound & style. Parallel to that, his spinning career has graduated from that of ‘next big thing’ to that of headlining, all-club-conquering DJ - a passage that now sees him ranked as one of the 50 hottest spinners on the planet.
As with every album since ISOS3, each edition’s roots grew in a specific country. In choosing South Africa to seek his first ‘Sunrise’ Richard explained, “I actually saw South Africa first from a vacation point of view. When I returned I spoke to my agent, told him what an incredible place it was and how much I’d like to experience the country from a clubbing side. Gigs were arranged and gigs were played and – simply put - I was blown away for a second time. The scene there is so fresh so open-minded and still is rapidly expanding; it almost made the choice for me!”
In Search Of Sunrise 8 - South Africa navigates the melodic trance plains right across the span to the bigger & bolder tech-side. Disc one is the slightly lighter offering and by song three, The Violet Hour - a track already on Armin’s playlist, the groove warmly builds into a catchy crescendo, smoothly rolling into Madelin Zero’s whispery voice in Envy. Richard continues to mine this vein in As The Rain Falls, before shifting into the uplifting Never Alone, which cleverly morphs into the mantra-like vocals of Rasmus Kellerman in There is Hope. Straight out of central casting is the deliciously trancy Pillars Of the Earth while Introspection Attempts (Moonbeam Remix) channels the Tiësto sounds of old. Tom Cloud’s The Darkest Star lives to its namesake, and signals the albums deepest drawing before ending with Richard Durand’s own personal caress in For No Reason.
Deltree kicks off disc two and its tech feel subtlety is immediately evident. It’s a smart opener, and by midway through displays its layered warmth before coolly cruising into the close your eyes goodness of one of my favourites, Something For the Pain. The clean riffs in September Rain must mimic the steep cliffs in South Africa, and it’s from here where the album takes a brief but subtler more progressive step in Ocean Terrace. Collaborations abound on this album, with the well renowned BT teaming with Andrew Bayer in The Emergency, and with what may become another in the Tiësto legacy, a partnership with proven vocalist JES and Richard Durand with N.Y.C. The album remainder glides through some climbing euphoria in Satellite Of Love (Fabio XB Rework Dub) and We.are before the smooth guitar sounds of With Me land you not wanting to re-open your mind’s happily closed eye.
The ethos attached to the ISOS brand makes any follow up a tough task. However, Richard’s admirably achieved it, and one can only hope we all get to experience him pushing it out live amongst a room full of likeminded types. Yes, it stays away from anything experimental or groundbreaking, but to the naysayers, the fence sitters, the unconverted, this is a new sunrise and it tingles the skin in all the right places. If you are a fan of early Tiësto you will be a fan of Richard Durand.
Check out Richard's ISOS8 world tour kickoff in Amsterdam:
Keep groovin'
DC
Saturday, May 22, 2010
J00F Editions World Tour: Returning the club to the clubbers
John 00 Fleming is soon to kick off a world tour which he says will be totally focussed on "returning the club to the clubbers."
The J00F Editions tour, starting in John's hometown of Brighton UK mid July, begins an event series aimed at refocussing on the music and sound rather than props, pyrotechnics and stage dancers.
J00F Editions will feature extended sets, pumped up sounds systems and new talent, all themed to a musical style similar to John's much lauded Februaury BBC Radio 1 Essential Mix.
This perfectly sums it:
Keep groovin',
DC
The J00F Editions tour, starting in John's hometown of Brighton UK mid July, begins an event series aimed at refocussing on the music and sound rather than props, pyrotechnics and stage dancers.
J00F Editions will feature extended sets, pumped up sounds systems and new talent, all themed to a musical style similar to John's much lauded Februaury BBC Radio 1 Essential Mix.
This perfectly sums it:
Keep groovin',
DC
Tuesday, May 11, 2010
Marco V: He's come and he's gone but the music stays with you
In the second part of D.M.M's interview with Marco we continue where left, jumping straight into his quest for musical perfection:
“Right now I’m currently redoing Scenario for re-release as its first go didn’t do for me what I really wanted. This time my aim is to give it a more edgy flow, in a more similar theme to Predator.”
In taking this evolving ‘it ain’t over till that fat lady is belting it out to the back row’ approach to a seemingly new level I questioned this. What I got back was a typical Marco like humble reply, “This is actually the first time I’ve ever done it this way. Normally I do a track, release it, and tweak it here and there like I did with Predator.”
“But with Scenario I was unsatisfied. I love the vocal so what I’m doing now is taking the voice and putting it into something totally different, to see how it works. Musically there are always so many variables, and when you really believe in a song you’ve got to go back and hit it from another angle.”
It seems music to Marco V is an everlasting ephemeral paradox. In what sounds like a personal growth experience he continued, “I’m always reading feedback on my website and analysing what people send me. I never dismiss it. I’d been getting many remixes of this particular track and it made me take notice, so instead of letting the track go and focussing on something else I delved back into it.”
And back into he is. With a helter skelter schedule of studio and gigs Marco is always on the go. “I’m really busy but I’m really disciplined with it. You’ve got to be. I’ve just had a studio built in my house so this keeps me from sleeping the day away but I’m doing something I really love so I don’t really work a day in my life.”
It’s with these wise words that Marco V reinforces his integrity as a DJ. His dedication it seems is to never rest on his laurels but to openly embrace a never ending edict of improvement. An improvement it seems that has us finally being aurally gobsmacked by the musical force that is Creamfields. Look out dance dudes and girls this field of dreams is uncovering something entirely new.
And new indeed. Check out the remix of Scenario:
Keep groovin'
DC
“Right now I’m currently redoing Scenario for re-release as its first go didn’t do for me what I really wanted. This time my aim is to give it a more edgy flow, in a more similar theme to Predator.”
In taking this evolving ‘it ain’t over till that fat lady is belting it out to the back row’ approach to a seemingly new level I questioned this. What I got back was a typical Marco like humble reply, “This is actually the first time I’ve ever done it this way. Normally I do a track, release it, and tweak it here and there like I did with Predator.”
It seems music to Marco V is an everlasting ephemeral paradox. In what sounds like a personal growth experience he continued, “I’m always reading feedback on my website and analysing what people send me. I never dismiss it. I’d been getting many remixes of this particular track and it made me take notice, so instead of letting the track go and focussing on something else I delved back into it.”
And back into he is. With a helter skelter schedule of studio and gigs Marco is always on the go. “I’m really busy but I’m really disciplined with it. You’ve got to be. I’ve just had a studio built in my house so this keeps me from sleeping the day away but I’m doing something I really love so I don’t really work a day in my life.”
It’s with these wise words that Marco V reinforces his integrity as a DJ. His dedication it seems is to never rest on his laurels but to openly embrace a never ending edict of improvement. An improvement it seems that has us finally being aurally gobsmacked by the musical force that is Creamfields. Look out dance dudes and girls this field of dreams is uncovering something entirely new.
And new indeed. Check out the remix of Scenario:
Keep groovin'
DC
Thursday, April 22, 2010
Marco V: Creamfields Australia call-to-action
The Creamfields festival juggernaut hits our shores next month and flying its flag high is none other than Dutch DJ Marco V.
In a two part series D.M.M. interviewed the Netherlands native to find out what he's most pumped about and to chat on his latest album release Propaganda V2:
Should the sound of racing dance be your thing then Marco V is your Formula One driver. Encompassing a heady fuelled mix of electro-house, progressive house and progressive trance he combines a soundscape which rides as smooth as a Prius wrapped in muscle car like handling. Spinning into Australia next month to celebrate Creamfields inaugural tour D.M.M. went for a few laps with The Netherlands native.
“Creamfields is going to be mammoth. I have a great history with the festival and to be involved in bringing it to Australia for the first time is a 2010 highlight. It’s been 12 months since I was there last for Trance Energy and I had a blast. I’ve been doing a whole lot of smaller club gigs so it’ll be nice to cut loose again with a big room ambience.”
The contrast of playing the festivals versus the more intimate club gigs is a balancing act on most DJs turntables and I asked Marco on their differing dynamics and how he approached them. “When I play on the big stage I like to quickly pump it up with the big sounds, while in the clubs I trend towards a darker edge. The big room energy gives me a magical peak but equally the smaller club is a nice change as it allows me more creativity. Together, the combination works well as it emulates my manner in many ways, and I naturally like to travel these two roads in my production style.”
It is this reputation defining production style which has the likes of Above & Beyond and Armin regularly dropping Marco’s tracks with stompers such as When The Night Falls that keeps the unassuming DJ in the CD wallets of an esteemed crew. Much more, it has culminated into him winning the prestigious ‘Best Tech House DJ’ at the DJ Awards in Ibiza last year. “That was a total surprise. I have always tried to play as many styles as possible in my sets and radio show and I guess the tech must’ve been loudest,” he quipped.
The tech house Marco describes lives large in his latest release, Propaganda V2, and in addition to this moniker one could easily double tag it as an album of collaborations. Predator and Scenario are two such tracks fitting this bill with Marco describing the peculiar way in how he teamed up with English vocalist Khashassi. “It’s very funny story. Ben, my studio mate, met her playing World of Warcraft online. They got chatting, she ended up sending us some demos which we really liked, so we invited her over and these tracks are the result.”
For me, Predator is a killer, with Khashassi’s voice having a Nadia Ali like wispiness (think Rapture by iiO) devoid of the usual trance vocal cheesiness common to the genre. The solid bass also dimensionally delivers mid through to give the piece some real hypnotic substance. Asked on its big room feedback Marco said, “Everyone loves her voice and a lot of people are asking me who is that girl? I’ve also just done a new remix which is more in tune with the dance floor than the album version and the results have been great. I’m really looking forward to dropping it in Australia.”
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Marco V, where we continue the chat on his album and on what he's mixing next.
Until then enjoy some boom crash moments with Marco and Khashassi's collaboration Predator:
Keep groovin'
DC
In a two part series D.M.M. interviewed the Netherlands native to find out what he's most pumped about and to chat on his latest album release Propaganda V2:
Should the sound of racing dance be your thing then Marco V is your Formula One driver. Encompassing a heady fuelled mix of electro-house, progressive house and progressive trance he combines a soundscape which rides as smooth as a Prius wrapped in muscle car like handling. Spinning into Australia next month to celebrate Creamfields inaugural tour D.M.M. went for a few laps with The Netherlands native.
“Creamfields is going to be mammoth. I have a great history with the festival and to be involved in bringing it to Australia for the first time is a 2010 highlight. It’s been 12 months since I was there last for Trance Energy and I had a blast. I’ve been doing a whole lot of smaller club gigs so it’ll be nice to cut loose again with a big room ambience.”
The contrast of playing the festivals versus the more intimate club gigs is a balancing act on most DJs turntables and I asked Marco on their differing dynamics and how he approached them. “When I play on the big stage I like to quickly pump it up with the big sounds, while in the clubs I trend towards a darker edge. The big room energy gives me a magical peak but equally the smaller club is a nice change as it allows me more creativity. Together, the combination works well as it emulates my manner in many ways, and I naturally like to travel these two roads in my production style.”
It is this reputation defining production style which has the likes of Above & Beyond and Armin regularly dropping Marco’s tracks with stompers such as When The Night Falls that keeps the unassuming DJ in the CD wallets of an esteemed crew. Much more, it has culminated into him winning the prestigious ‘Best Tech House DJ’ at the DJ Awards in Ibiza last year. “That was a total surprise. I have always tried to play as many styles as possible in my sets and radio show and I guess the tech must’ve been loudest,” he quipped.
The tech house Marco describes lives large in his latest release, Propaganda V2, and in addition to this moniker one could easily double tag it as an album of collaborations. Predator and Scenario are two such tracks fitting this bill with Marco describing the peculiar way in how he teamed up with English vocalist Khashassi. “It’s very funny story. Ben, my studio mate, met her playing World of Warcraft online. They got chatting, she ended up sending us some demos which we really liked, so we invited her over and these tracks are the result.”
For me, Predator is a killer, with Khashassi’s voice having a Nadia Ali like wispiness (think Rapture by iiO) devoid of the usual trance vocal cheesiness common to the genre. The solid bass also dimensionally delivers mid through to give the piece some real hypnotic substance. Asked on its big room feedback Marco said, “Everyone loves her voice and a lot of people are asking me who is that girl? I’ve also just done a new remix which is more in tune with the dance floor than the album version and the results have been great. I’m really looking forward to dropping it in Australia.”
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Marco V, where we continue the chat on his album and on what he's mixing next.
Until then enjoy some boom crash moments with Marco and Khashassi's collaboration Predator:
Keep groovin'
DC
Monday, March 1, 2010
Why so quiet around here?
Howdy D.M.M. followers,
Why the digital ghost town you may be asking with nary a post in 2010?
Just another blog wilting in the Cacti filled ether amongst the typing tumbleweeds of desolation?
Fear not.
It's just the conspiring universe of studious lucubration and a serious lack of worthwhile interviewing talent.
Did Obi-Wan really die when struck down by Luke's fathers light sabre?
Be assured, I'm still around and hunting for the right interviewee to enliven and give reason to delve into the backbeat of electronic dance music's culture.
And it's just around the corner.
Keep groovin'
DC
Why the digital ghost town you may be asking with nary a post in 2010?
Just another blog wilting in the Cacti filled ether amongst the typing tumbleweeds of desolation?
Fear not.
It's just the conspiring universe of studious lucubration and a serious lack of worthwhile interviewing talent.
Did Obi-Wan really die when struck down by Luke's fathers light sabre?
Be assured, I'm still around and hunting for the right interviewee to enliven and give reason to delve into the backbeat of electronic dance music's culture.
And it's just around the corner.
Keep groovin'
DC
Tuesday, December 29, 2009
Pete Tong: Movies, mixing, and more...
In the second part of D.M.M's interview with Pete we delve into his latest foray into film, his new website and on mixing digitially:
While on the topic of new big things Pete also outlined his latest projects: his contribution to the score on the feature film, Harry Brown, and the going live of his new website http://www.petetong.com/
“It’s directed by Daniel Barber and stars Sir Michael Caine. It’s a hard and dark film, but is has a real message, and we did about fifty percent of the soundtrack. I like this field as it has both similarities and differences to DJ’ing. Similar in that you’re picking the right music for a mood but different because you’re putting music to scenarios which are less organic to a live crowd,” he muses.
“Film scores is something I’d like to do more of but it’s a difficult world to break into, particularly when there’s so much money at stake. It’s a steady climb, and this one was far different from my involvement in other films such as 24 Hour Party People and It’s all gone Pete Tong. But I’ve now developed a good rapport with the team at HanWay films and I’m working on something new with them right now.”
As to the overhauled website Pete laughs, “Yeah, you caught me. It literally went live today. It used to sit on a record company’s server and we finally had to chance to move it, social network enhance it and fire it up.”
With longevity in the game going way, way back I questioned Pete on how he kept his perspective fresh.
“It’s enthusiasm really; if I was bored it would come across as such. I’m fidgety, hungry for change and on finding new things, whether it be a new single or new talent. It’s a simple formula really and it ties in with the joy and passion.”
Speaking on change and new things I turned to the mixing booth: Vinyl, CD, or laptop?
“I’ve done the full journey over the years and I’m now fully entrenched with the computer. It’s the most creative way of doing it, and while it may upset the purists, I’ve played for long enough, and as part of the change we just talked about, it keeps things fresh. I don’t think I could ever go back now,” he says.
Pete Tong may appear to have icy armour but he’s cool. As a veteran who’s peered into electronica’s every nook and cranny he brought it all back to its essence with this one comment:
“At the end of the day it’s about picking the right music and playing it in the right order.”
Sweet, that hottie just smiled back.
Here's a preview from Pete's 2004 signature film It's all gone Pete Tong. If you're yet to see it then you're missing out on one of electronica's best ever stories:
Keep groovin',
DC
While on the topic of new big things Pete also outlined his latest projects: his contribution to the score on the feature film, Harry Brown, and the going live of his new website http://www.petetong.com/
“Film scores is something I’d like to do more of but it’s a difficult world to break into, particularly when there’s so much money at stake. It’s a steady climb, and this one was far different from my involvement in other films such as 24 Hour Party People and It’s all gone Pete Tong. But I’ve now developed a good rapport with the team at HanWay films and I’m working on something new with them right now.”
As to the overhauled website Pete laughs, “Yeah, you caught me. It literally went live today. It used to sit on a record company’s server and we finally had to chance to move it, social network enhance it and fire it up.”
With longevity in the game going way, way back I questioned Pete on how he kept his perspective fresh.
“It’s enthusiasm really; if I was bored it would come across as such. I’m fidgety, hungry for change and on finding new things, whether it be a new single or new talent. It’s a simple formula really and it ties in with the joy and passion.”
Speaking on change and new things I turned to the mixing booth: Vinyl, CD, or laptop?
“I’ve done the full journey over the years and I’m now fully entrenched with the computer. It’s the most creative way of doing it, and while it may upset the purists, I’ve played for long enough, and as part of the change we just talked about, it keeps things fresh. I don’t think I could ever go back now,” he says.
Pete Tong may appear to have icy armour but he’s cool. As a veteran who’s peered into electronica’s every nook and cranny he brought it all back to its essence with this one comment:
“At the end of the day it’s about picking the right music and playing it in the right order.”
Sweet, that hottie just smiled back.
Here's a preview from Pete's 2004 signature film It's all gone Pete Tong. If you're yet to see it then you're missing out on one of electronica's best ever stories:
Keep groovin',
DC
Monday, December 14, 2009
Pete Tong: Playing it up 'Downunder' this NY
Pete Tong is the gateway for so many into the realms of electronica.
Heading downunder this festive season to play a number of gigs across our wide land D.M.M. caught up with the maestro to chat about his impending visit and what Australian artists are, in his opinion, leading the way in the global scene:
Headlining Sydney’s first ever Space Ibiza event on New Years Day in Sydney, as well as several other events around the country, I asked how he approaches such gigs, particularly as the event heralds yet another Ibiza staple to our shores. Will it be a festivalised, anthem-laden affair, or a more ad-hoc feed-off-the-crowd style?
“I try to make it as entertaining as possible irrespective of the gig,” Pete qualifies. “I always go out to do the very best I can do… it won’t be cheesy, it’ll be an event.”
Amongst the heady backdrop of big names arriving for the new year in Australia (with Carl Cox, Tom Novy, Sandy Rivera being just a mere few of them), Space Ibiza looks to be a standout, particularly given it’s at a fresh (although untested) location in Moore Park. Given that it’s been quite a while since his last visit, it led me to query what was special this year that got him down here – was god really a DJ, celestially aligning his galactic turntables for us or was it Santa riding in on a subwoofer sleigh?
As a gateway to the electronic dance world for so many, Pete is the industry’s pulse, and as an ex A&R music exec who’s used to unearthing the next big thing, I ask who from Australia is musically exciting him? “*TV Rock* and Dirty South are two that spring to mind. TV Rock’s reputation is ever growing and Dirty South is producing some great stuff and travelling the world. Sneaky Sound System is another. All have really done some big things in the last 18 months,” he elaborates.
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Pete Tong, where we discuss his latest foray's into film and his personal mixing preferences.
Until then groove to this gem from the film "It's all gone Pete Tong" produced and starring the man himself:
Keep groovin',
DC
Heading downunder this festive season to play a number of gigs across our wide land D.M.M. caught up with the maestro to chat about his impending visit and what Australian artists are, in his opinion, leading the way in the global scene:
Pete Tong is an interesting man – but he’s not an easy one to interview. Like waiting for the buildup in a dance track, you groove, you grin, you slowly await the wave-releasing sensation of the breakdown; to let loose with the beat and melody as you smile at that hottie across the floor – only they don’t smile back. This is Pete Tong. Perhaps he was having an off night. Perhaps I was having an off day, and as we chat I metaphorically chink at the ice that lies between me and the legendary DJ and Radio 1 host as he’s being driven to a gig in downtown Paris.
This is Pete Tong. Eventually, he speaks of his love of Australia, and the frost begins to melt. “I’ve been visiting since the late 80s and this’ll be my fifth or sixth time. It’s always a pleasure to get down there,” he says.
Headlining Sydney’s first ever Space Ibiza event on New Years Day in Sydney, as well as several other events around the country, I asked how he approaches such gigs, particularly as the event heralds yet another Ibiza staple to our shores. Will it be a festivalised, anthem-laden affair, or a more ad-hoc feed-off-the-crowd style?
Amongst the heady backdrop of big names arriving for the new year in Australia (with Carl Cox, Tom Novy, Sandy Rivera being just a mere few of them), Space Ibiza looks to be a standout, particularly given it’s at a fresh (although untested) location in Moore Park. Given that it’s been quite a while since his last visit, it led me to query what was special this year that got him down here – was god really a DJ, celestially aligning his galactic turntables for us or was it Santa riding in on a subwoofer sleigh?“Australia is so attractive this time of year with its climate, and it synchronises perfectly for so many of us DJs with the Ibiza and northern hemisphere festival season over. Plus the people – always up for it, always primed to party hard. It’s also fair to say the Australian electronic scene is making a bigger impression and contribution worldwide. Music is even breaking there, especially on a crossover level, before anywhere else,” he adds.
As a gateway to the electronic dance world for so many, Pete is the industry’s pulse, and as an ex A&R music exec who’s used to unearthing the next big thing, I ask who from Australia is musically exciting him? “*TV Rock* and Dirty South are two that spring to mind. TV Rock’s reputation is ever growing and Dirty South is producing some great stuff and travelling the world. Sneaky Sound System is another. All have really done some big things in the last 18 months,” he elaborates.
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with Pete Tong, where we discuss his latest foray's into film and his personal mixing preferences.
Until then groove to this gem from the film "It's all gone Pete Tong" produced and starring the man himself:
Keep groovin',
DC
Saturday, November 21, 2009
The Shazam Experience: the only way is up
In the second part of D.M.M's interview with this Gold Coast gang we touch on their sound, career highlights, and the release of their new tracks: 'Lost in Surfers Paradise' and 'Into the Deep'.
It’s this unique sound which has seen them perform at a variety of name events and I asked for some career highlights. “The MTV Europe gig back in 2007 was a great experience, to be invited over and to play to such a huge crowd was unforgettable. Performing in Bali was a lot of fun, and our gig on Australia Day this year at Brisbane’s Birdee Num Num was another one we’ll never forget,” Jay happily reflected.
As highlights go the recent release of their original tracks, Lost in Surfers Paradise and Into the Deep on Dektek Records adds to their ever growing dance cred. The tracks expertly emulate the light and dark which The Shazam Experience weaves into their shows and I asked how they translated this vibe in the studio.
“I produce the main bodies of the tracks, which initially have a darker edge, the instrumentalists then add their own flavour to lighten things up, and Tasha and Brandon finish everything off by bringing some soul to the tracks with their vocals,” Jay described.
“We all have different musical tastes and influences, but we all share a common love for quality electronic sounds, and when fused together, you can really hear and feel the synergy of the dark and the light in our music,” Tasha added.
The results speak for themselves and both pieces seem to capture the bands essence without diminishing their live power. Into the Deep particularly plays on these light and dark contrasts and sounds just at home whether unleashed in a club’s darkened room or pumped out on the patio of any Sunday arvo session.
Looking beyond, I asked what was on the horizon now that they had their songs out.
“We’re currently working on an EP for release early next year and after that will come the album,” Jay informed.
With a reputation growing quicker than any genie’s wishlist, The Shazam Experience is a breath of fresh local air to the Australian dance music scene.
Better yet, they finally give the Gold Coast’s shallowness a well needed deep end.
For gig lists and a listen to their new tracks see:
http://www.myspace.com/shazamexperience
For bookings contact: info@jayplease.com
Keep groovin',
DC
It’s this unique sound which has seen them perform at a variety of name events and I asked for some career highlights. “The MTV Europe gig back in 2007 was a great experience, to be invited over and to play to such a huge crowd was unforgettable. Performing in Bali was a lot of fun, and our gig on Australia Day this year at Brisbane’s Birdee Num Num was another one we’ll never forget,” Jay happily reflected.
As highlights go the recent release of their original tracks, Lost in Surfers Paradise and Into the Deep on Dektek Records adds to their ever growing dance cred. The tracks expertly emulate the light and dark which The Shazam Experience weaves into their shows and I asked how they translated this vibe in the studio.
“I produce the main bodies of the tracks, which initially have a darker edge, the instrumentalists then add their own flavour to lighten things up, and Tasha and Brandon finish everything off by bringing some soul to the tracks with their vocals,” Jay described.
“We all have different musical tastes and influences, but we all share a common love for quality electronic sounds, and when fused together, you can really hear and feel the synergy of the dark and the light in our music,” Tasha added.
The results speak for themselves and both pieces seem to capture the bands essence without diminishing their live power. Into the Deep particularly plays on these light and dark contrasts and sounds just at home whether unleashed in a club’s darkened room or pumped out on the patio of any Sunday arvo session.
Looking beyond, I asked what was on the horizon now that they had their songs out.
“We’re currently working on an EP for release early next year and after that will come the album,” Jay informed.
With a reputation growing quicker than any genie’s wishlist, The Shazam Experience is a breath of fresh local air to the Australian dance music scene.
Better yet, they finally give the Gold Coast’s shallowness a well needed deep end.
For gig lists and a listen to their new tracks see:
http://www.myspace.com/shazamexperience
For bookings contact: info@jayplease.com
Keep groovin',
DC
Sunday, November 1, 2009
The Shazam Experience: What a genie would wish for
The Gold Coast isn't renowned for its substance, and it was with great relief when I encountered these guys pumping it out in the city of shallowness. In a two part series D.M.M. interviewed Jay and Tash of the The Shazam Experience on their origins, experiences and recent track releases. Enjoy:
If Crazy Penis ever made sweet love with Deadmau5 their lovechild would be The Shazam Experience.
Led by DJ Jay Please, The Shazam Experience harmonises a funky live performance mixed with DJ house grooves, colourfully combining to give some well needed house music depth to the Australian dancescape.
Weekly regulars to the Gold Coast music scene at The Deck, Perle and soon to be Mist, D.M.M. recently caught up with Jay and one of their lead vocalists, Tasha, to chat on their name, direction, and two new track releases, Lost in Surfers Paradise and Into the Deep.
“I came up with the name Shazam when I started DJ’ing for one of the first ever club nights I organised back in 2001. Shazam began as a concept of adding live instrumentalists to a DJ set. As the number of live instrumentalists grew, and with live vocalists also added into the equation, what began as a concept developed into a band. From then on Shazam just didn’t cut it, so we came up with The Shazam Experience,” Jay explained.
In dance music terms, The Shazam Experience is one pumping outfit of big band liveliness. Adding to Jay’s dex and effects are 11 other performers: two vocalists, three percussionists, two saxophonists, two trumpeters, a guitarist, and in what may be an electronic dance music first, a didjeribone. A sort of slide didjeridoo, the didjeribone Jay outlined, “is really cool as Dave actually plays it with the microphone in his mouth, hitting some really nice notes and making some great effects.”
With such a large ensemble Jay chuckled it can be sometimes hard to fit everyone onstage and they normally tailor their numbers depending on the gig. “We normally play as a group of five to six, and usually rotate everyone over the night as we often play such long shows,” he added.
“We love long sets as it gives us an opportunity to show our range. We’ll often start off funky and soulful and as the night progresses we’ll jack it up with a more techy and proggy house sound,” Jay said.
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with The Shazam Experience, where we discuss some gig highlights and get behind the scenes on their recently released tracks.
Keep groovin',
DC
If Crazy Penis ever made sweet love with Deadmau5 their lovechild would be The Shazam Experience.
Led by DJ Jay Please, The Shazam Experience harmonises a funky live performance mixed with DJ house grooves, colourfully combining to give some well needed house music depth to the Australian dancescape.
Weekly regulars to the Gold Coast music scene at The Deck, Perle and soon to be Mist, D.M.M. recently caught up with Jay and one of their lead vocalists, Tasha, to chat on their name, direction, and two new track releases, Lost in Surfers Paradise and Into the Deep.
“I came up with the name Shazam when I started DJ’ing for one of the first ever club nights I organised back in 2001. Shazam began as a concept of adding live instrumentalists to a DJ set. As the number of live instrumentalists grew, and with live vocalists also added into the equation, what began as a concept developed into a band. From then on Shazam just didn’t cut it, so we came up with The Shazam Experience,” Jay explained.
In dance music terms, The Shazam Experience is one pumping outfit of big band liveliness. Adding to Jay’s dex and effects are 11 other performers: two vocalists, three percussionists, two saxophonists, two trumpeters, a guitarist, and in what may be an electronic dance music first, a didjeribone. A sort of slide didjeridoo, the didjeribone Jay outlined, “is really cool as Dave actually plays it with the microphone in his mouth, hitting some really nice notes and making some great effects.”
With such a large ensemble Jay chuckled it can be sometimes hard to fit everyone onstage and they normally tailor their numbers depending on the gig. “We normally play as a group of five to six, and usually rotate everyone over the night as we often play such long shows,” he added.
“We love long sets as it gives us an opportunity to show our range. We’ll often start off funky and soulful and as the night progresses we’ll jack it up with a more techy and proggy house sound,” Jay said.
Check back real soon, or simply subscribe to the RSS feed, for part two of D.M.M.'s interview with The Shazam Experience, where we discuss some gig highlights and get behind the scenes on their recently released tracks.
Keep groovin',
DC
Wednesday, September 30, 2009
Why D.M.M.'s been quiet...the vacation is almost over
You may have been curious as to the silence on D.M.M.
I've been on vacation.
Unfortunately all good things must come to an end (otherwise they wouldn't end right?) and my return home is imminent. D.M.M. will shortly return with an interview of some promising up-and-comers to the scene, and to top it off they're home grown Aussies.
So stay tuned and after recovering from jet lag, a return to the nine-to-five, and a long weekend music festival look forward to D.M.M's next instalment within the month.
Keep groovin',
DC
I've been on vacation.
Unfortunately all good things must come to an end (otherwise they wouldn't end right?) and my return home is imminent. D.M.M. will shortly return with an interview of some promising up-and-comers to the scene, and to top it off they're home grown Aussies.
So stay tuned and after recovering from jet lag, a return to the nine-to-five, and a long weekend music festival look forward to D.M.M's next instalment within the month.
Keep groovin',
DC
Thursday, August 13, 2009
John '00' Fleming: dropping some thunderballs
In the final part to D.M.M's interview series John hits us with some brutal honesty on the festival scene and on why he's no fan of the laptop:
On the current festival scene John has no trouble speaking his mind.
“It’s gotta be about no rules, no genres, and all in one big room. That’s where I express myself musically, and in not having to reach for the emergency section of the CD wallet for anthem after anthem after anthem,” he said.
It what are strong words from a strong DJ it is this progressiveness and honesty which makes John ‘00’ Fleming a true artist.
Such bluntness is typically what’s needed to not only perk punters ears up to new sounds but to also unlock their starry gazes from the dazzling lights at the top.
I laughed at hearing the mention of CD wallets and it prompted me to ask if he’d fully embraced the digital world like many of his peers.
"I’m still on CD’s after giving laptops a go. I desperately wanted it to work for me, and theoretically it does work, in making it easy to drag and drop files as opposed to burning discs, but my record bag was so heavy it became a logistical nightmare," he said.
"Paul Van Dyk carries three laptops with him simply for the technical issues," he added.
“There can also be so many compatibility problems. When you get to a gig with only 30 minutes to set up, rather than drinking the crowd and the vibe in your frantically setting up and hoping everything is going to work. I’m a people person and I’d rather feel the crowd,” he said.
John ‘00’ Fleming is a no holds-barred kind of guy.
However, in all of this there’s no arrogance or abrasiveness; just insightful and sincere passion, underpinned by a candour only found in someone so long in the dance game.
Musically, expect the unexpected. But one thing is for sure, when he whips that wallet out you’ll be in for an experience that’ll splash you harder than a face full of martini's.
That brings us to the end of a great interview series and there could be no finer closing than listening to John's remix of the Cafe Del Mar classic - Energy 52.
Keep groovin',
DC
On the current festival scene John has no trouble speaking his mind.
“It’s gotta be about no rules, no genres, and all in one big room. That’s where I express myself musically, and in not having to reach for the emergency section of the CD wallet for anthem after anthem after anthem,” he said.
It what are strong words from a strong DJ it is this progressiveness and honesty which makes John ‘00’ Fleming a true artist.
Such bluntness is typically what’s needed to not only perk punters ears up to new sounds but to also unlock their starry gazes from the dazzling lights at the top.
I laughed at hearing the mention of CD wallets and it prompted me to ask if he’d fully embraced the digital world like many of his peers.
"I’m still on CD’s after giving laptops a go. I desperately wanted it to work for me, and theoretically it does work, in making it easy to drag and drop files as opposed to burning discs, but my record bag was so heavy it became a logistical nightmare," he said.
"Paul Van Dyk carries three laptops with him simply for the technical issues," he added.
“There can also be so many compatibility problems. When you get to a gig with only 30 minutes to set up, rather than drinking the crowd and the vibe in your frantically setting up and hoping everything is going to work. I’m a people person and I’d rather feel the crowd,” he said.
John ‘00’ Fleming is a no holds-barred kind of guy.
However, in all of this there’s no arrogance or abrasiveness; just insightful and sincere passion, underpinned by a candour only found in someone so long in the dance game.
Musically, expect the unexpected. But one thing is for sure, when he whips that wallet out you’ll be in for an experience that’ll splash you harder than a face full of martini's.
That brings us to the end of a great interview series and there could be no finer closing than listening to John's remix of the Cafe Del Mar classic - Energy 52.
Keep groovin',
DC
The New Year heralds in Moby magic
Electronic maestro Moby is touring Oz over the new year.
Headlining shows across the country, the world's most popular vegan will be playing the Falls Festival in Melbourne and Tasmania, Sunset Sounds in Brisbane, and Southbound in Western Australia.
Tickets are yet to go on sale but demand is expected to be huge with a ballot process already in place for each of the festivals.
There is rumour that he'll also be doing NYE at Shore Thing on Bondi Beach.
Playing to sell out concerts when last here in 2003, Moby will be bringing with him the fruits of his latest album, Wait For Me.
Headlining shows across the country, the world's most popular vegan will be playing the Falls Festival in Melbourne and Tasmania, Sunset Sounds in Brisbane, and Southbound in Western Australia.
Tickets are yet to go on sale but demand is expected to be huge with a ballot process already in place for each of the festivals.
There is rumour that he'll also be doing NYE at Shore Thing on Bondi Beach.
Playing to sell out concerts when last here in 2003, Moby will be bringing with him the fruits of his latest album, Wait For Me.
Interviewed on suicidegirls.com about it he said, "I wanted to make a really emotional, beautiful record. I don't know if I've succeeded, but my goal was to make something very personal, very melodic, very beautiful."
With his 1999 masterpiece Play selling over 1o million copies, Moby's track record can only stand him in good stead for this latest addition to his album armoury.
A musical prodigy he plays the keyboard, bass guitar, guitar and drums, and recorded Wait For Me entirely in his own home studio.
The first track from it, 'Shot in the Back of the Head', was directed by Twin Peaks creator, David Lynch.
"i'm (sic) happy to announce that david lynch has done the video for it. he (sic) is my favorite film director, and i'm really happy to have him as the first video director on 'wait for me'," Moby said via his blog.
Moby added that the animation in the video is, ‘very dark and beautiful’.
Tickets go on sale real soon so keep checking back for further updates.
Keep groovin',
DC
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