6 tracks listed below by Primărie will do all the talking;
1- RQZ - Freaks EP // MODEIGHT004
So let's start this session with an artist who is stepping up in the vinyl only world, and that is the Romanian DJ, Midi Club Resident, RQZ. With a great approach to his sound and his techniques, this EP is a great anchor beetwen the house world and the more deep and fractalized micro-house music.
2- Miroloja - Subtitle EP // OLOREC001
Another great and courageous opening are from the Miroloja brothers, with their first release at their headquarters Olo Records. Armed up with two smooth remixes from artists like Nima Gorji and Rowlanz, they make a great promise to the scene, and that is to release quality music in their view and understanding. Done well so far for me.
3- Silat Beksi - Shushu EP // WOW05
Back to groove and to that peculiar sound we cherish most, Silat Beksi showing two sides in his What you Want release called Shushu EP. What we love about Silat is that he won't let the guard down and he's always massaging our ears with some breaks on every release. Of course the other side of him is revealed in the more detailed Java track.
4- Floog - Gicu cu Robotzi EP // HOARD003
Great to see such an experienced artist going out on his own and showing his more soulfull side on his solo alias Floog. We are talking about George the third part of Premiesku near Livio and Roby. Now we get to see where the more esoteric and atmospherical parts of that were coming from, it's all over this EP and i really look forward to the direction of Floog.
5- Vlad Arapasu - Artifical Moves // SBTL010
Talking about taking things on a solo attitude, Vlad Arapasu from Dubsons did that recently also, delivering his first EP at the German Subtil Records. He is expressing his happiness and thoughfull messages throughout his music and my guess he's got a lot to share! Great EP representing our Romanian sound signature.
6- Beaver Sheppard - TORNADO BRAIN - VILLALOBOS MIXES // SED009
And.. not to be missed is the new release from Sei Es Drum, Villalobos trips are being out on A and B, one expressing the 'sensitive' voice direction and the other one drumming on the bass and playing it low. This is what we should do also, beat the earth to raise the frequencies and be open cosmical energy from the above.
With care and appreciation from P. with Love
Words by Dan Primaru
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10 AM at an afterparty, and through the misty haze and your friends’ chatter, you can hear the twinkling arps of “Mahoney” rising. Or maybe you’re at a festival’s peak time, and it is “Frischfisch” that sends the crowd into a frenzy. Other places, other tracks, but what’s for sure is that Traffic tunes have been ubiquitous in the past year. Your favourite DJs probably played them, and it’s likely their favourite DJs did too.
Traffic records formed back in 2013 in the Frankfurt/Offenbach area — a region that evokes an important financial center to many, but which to dance music fans brings to mind some of house’s and techno’s household names. From Sven Väth to Robert Johnson, by way of Perlon, Playhouse, Roman Flügel and countless others, this city breathes electronic music like no other, in a very free-spirited way — and you can tell the Traffic boys did soak in its air. Technoid beats, alien sounds, synthetic textures. Few live up to the old techno ideal of machine funk the way Traffic does. In spirit at least, they’re proper members of the Midnight Funk Association. Even their graphics resemble strange textures, evoking the swirl of perception your dazed brain cannot process on a night out. Hell, this logo sure reminds me of my blurry-sighted intoxicated self, happily caught in the strobes and lost in the sound.
Martyné is one of the crew’s founders, and it’s little to say we’re excited he agreed to do an interview with us. In it, he frequently stresses the idea of crossing borders, of overcoming limits. Martyné knows his dance music history. He’s part of a generation of DJs who seem to have an unquenchable thirst for the most obscure records, those that will live on in the dancers’ memory long after the night is over, and be jealously guarded in the coveted shadows of the DJ’s bag. This passion for dance music’s legacy and their open-mindedness to cross-fertilization means the Traffic sound is a mixed bag of influences that exceeds their sum.
This also means that it’s a sound hard to pinpoint. House, garage, breaks, techno, electro? All of those, and more? Really what binds together the label’s tracks is more akin to a spirit than a music genre: at its heart is an inherent playfulness — a deeply infectious playfulness that explains the label’s success. As Martyné explains, this is the product of a close group of friends who grew up together, shared their first parties and ended up making tunes together. You could dissect these tunes for sure, study their use of drums and steal their synths. Yet the inimitable ingredient is this close bond that allows Martyné, Bodin, Jacob and the others to let go and capture the essence of a session — you may call it a feeling, or an aura, but this surely is what makes these sounds click.
At the end of the day, this is a group of friends having a bloody good time together, and you can hear it. This has clearly been there since day one. But as they mastered their gear, the mixture became deadly; a sound-transmissible virus aiming straight for your eardrums — to be fair, you’ve probably already caught it. This virus is very much present in the exclusive mix Martyné came up with for us: sprinkled with some unreleased tracks from the crew, it features breezy house, queasy bleeps, and a bunch of basslines designed to tear up dancefloors. Careful, it ain’t no cure — but why’d you want one?
MEOKO caught up with Martyné to hear about his and Traffic’s journey — a journey that took them from the Rhine banks to the breezy shores of Ibiza and saw them come up with a unique sound. Press play, and read on.
1- Who are the main characters running Traffic right now and what ́s your relationship? Apparently you and Jacob grew up in the same village...
The inner circle of Traffic Records consists of Bodin, Jacob, Patrick and me. We are the main characters and producers, running the label and managing everything linked to it. Jacob ́s brother Julian Chenaux is also co founder, belongs to the collective and is a very close friend. I know the Chenaux ́s and Patrick since the age of 15. We all grew up in a small town in the countryside next to Frankfurt where we had our first beer together and also our first party experience. So it ́s quite a long term friendship. In 2010 we met Bodin at a party. He was playing one of my first records and was hardly into it. So he is actually the only one of the collective coming straight out of Frankfurt and was more or less the last piece of our Traffic puzzle.
2- What led you guys to launch Traffic? Did you have a specific idea in mind about what the label should be, or was it a case of “let’s see what happens”?
The intention was to create a platform for our own creativity. Releasing several EPs on different labels is important for an artist but you always give away a small part of yourself. An own label is the best way to express your own identification or personality with different emotions and to show the specific style of likeminded musicians. Its a kind of a white sheet of paper giving you the opportunity to draw your personal picture and write down your own story. All our productions are reflecting exactly these inspirations and moods. Starting with more reduced sound, over garage, house till raw techno and breaks. Its a very personal journey showing a lot of different faces.
3- Do you feel like now you’ve reached a distinctive sound with Traffic?
After almost 5 years you can say the label is a cross-section of electronic music with the fingerprints of each of us. Coming from euphoric impressions down to sentimental, hypnotic grooves - you can feel and hear everything in our productions. This personal touch is very important for us and a kind of a trade mark not to sink in any hype. It ́s representing the development of our musical consciousness. Traffic Records is not focusing on a specific genre. It´s more about the variety of sounds. It really feels conclusive to me. Due to the fact that there are only some protagonists and key producers, the label got its own identity really quick. The releases by A2, Z@P and Edward were carefully selected to deliver even more variety. But all in all the label still keeps up the main spirit and it ́s identity. So I can say we reached a level where we can look back with no regret and we can be happy with our discography so far.
4- Traffic feels very much like a family affair between a close group of friends, what’s the spirit behind the label?
The spirit behind the label is based on friendship. We grew up together, shared big nights, experienced great sets and therefore we are on a very similar level when it comes to music. Everyone of us is following the same idea and is bringing in his strengths. Hate or jealousy are loanwords so we ́re able to create things with a free mind.
5- Frankfurt and Offenbach have got quite a legacy in terms of electronic music, how do you relate to the city’s old guard? Were some of them a big inspiration for you?
Yes, definitely! The former Freebase Records shop for instance was my very first base to explore electronic music. It was one of the places where I met many of my current friends and learned about the Frankfurt scene. Carsten Schuchmann aka MEAT (owner of Freebase Records) gave me the first opportunity to play at Robert Johnson, a very important experience for me back then. Another important spot was the Cocoon club where we started our first raves, listened to Sven and other big names. A lot of characters from the old guard and places from the past still have an influence on today ́s generation. Actually there are too many to mention right now but I would like to highlight Heiko MSO. Once I did an interview with him for my studies where he told me all stories about "Snap!", the development of "I ́ve got the power" or stories about fundamental movements of this city. It was really impressive and showed me how that kind of music stands for the area in and around Frankfurt. Many people connect Frankfurt with big banks and the stock exchance but in fact the most important cultural identification is its steady contribution to electronic music.
6- I know Robert Johnson played an important role in shaping you and the label, what’s so special about the club? Do you have any memories associated with it that stick out?
Robert Johnson is limitless and places with no limits are a rare good in this world. Artists are able to break through their comfort zone and to experiment with different kinds of styles. There is no need for steady floor bangers to keep people dancing. The venue represents a level of openness which I ́ve never felt in a club before. Robert Johnson is my personal school of sound and when it comes to producing music I always have it ́s floor in my mind. I don't know how many hours I spent there, but this club has had an big impact on my musical education. The experiences I ́ve made there are helping me to know what sound suits me and how my productions have to be finalized. When it comes to a specific, influential night I really can't figure it out, because we had so many of them. The crowd there is really into the music and together with all our friends every night is a special one.
7- What does a Traffic night at Robert Johnson sound like? I’d imagine it’s always special for you to play there.
Since the very first Traffic showcase at Robert Johnson in 2015 it ́s usual that we invite a guest who is close to the sound and idea of the label. We had artists like Binh, Onur Özer, Andrew James Gustav or Etienne in the past. At the moment we are planning to host different live acts when it comes to the next edition of Traffic at Robert Johnson. All these artists are likeminded in terms of our definition of musical quality and we ́re always happy to play alongside with them at our favorite club. It ́s very important for our development to have a residency in a well respected club and to gather experiences and increase our skills. From the proper sound system to the professional team on site - the whole package let you feel good and it ́s a great to have our label nights in such good hands.
8- I feel like release after release your sound has become leaner, crisper — more focused in a sense. Do you have a clearer idea of what you’re looking for when going to the studio, and do you feel more confident production-wise?
We never have a specific idea when we ́re in the studio. Most of our output is driven by inspirations, moods and emotions. So it ́s difficult to compare one session with another; but during the last years we ́ve been getting more and more experienced with our gears and the way of how to arrange all these different inspirations in our tracks. The beginning of Traffic around 2013 was also the beginning of our work with machines and hardware. So for sure we needed time to gain experience with it. In the past we always had the feeling the track needs more fullness and elements, but with every year we reduced this thought and this leads us to a cleaned up arrangement of sounds. With every track we come closer to the ability to recreate our imagination in a track and this is what its all about for me. Get away from "Try and Error" to a focused. clear view on producing music.
9- Many of the tracks on Traffic tend to be collaborations between you guys, how do you usually proceed? What does each of you bring to the table? What’s the atmosphere like when you’re all in the studio, behind the scenes?
These collaborations are an important factor and also a kind of a unique feature. The inspirations and influences of two guys are always more versatile and are leading us to better results. We share a special energy in company linked to a higher level of quality. It´s easier to cross borders together especially with someone you know for so long. It keeps your mind free and open for any impressions. When someone stucks the other one will always have an idea of how to proceed. All these components give us the possibility to work on a fast and focused level.
However, when I produce by myself it takes me longer to get lead just by my feelings and to reach a thoughtless state of mind. Therefore I need to do longer sessions to make sure to reach my personal intuitive flow. The differences in terms of the output itself aren ́t that big due to the fact that Bodin, Jacob and me are all on a similar level. Producing alone is an introvert way of working for me. It ́s also the time for me to come down a bit.
10- To me it felt like the label broke through big last year, and around the same time you really seemed to establish a distinctive aesthetic, did you feel any pressure following up and keeping things interesting?
No I don't feel any pressure to keep things interesting. We have a steady development in our studio work and never have the feeling that we reached a point of stagnation or boredum. Specific hypes doesn ́t affect us and we always stay real to our style and the people around us. That ́s what people feel when they listen to our music. You can feel the energy and situations we shared in that very moment when the track was created. With this attitude and behaviour in mind your music never get an expire date .
11- I know you’re on the Cocoon roster now, what did it change for you?
Cocoon, especially our booker Gregor, did a very good job in the last year. We played in well known clubs across Europe which brought us to another level. You can feel their long experience in the business and they have a sensible, professional way to handle our bookings and everything around. We are grateful to be in a roster of such an agency following their goals since 20 years now. Many important protagonists of our scene are related to Cocoon and have been part of their agency over the last two decades. Now we can bring in our part and we are curious about the plans for 2018.
12- You also played in Ibiza for the first time for a b2b with Bodin&Jacob at Amnesia, how was that? Were there any moments you wondered what the hell is going on?
It was definitely one of our highlights in 2017. We played the warm-up slot before Sonja Moonear and Ricardo Villalobos on the terrace. I cannot imagine a better way to make your debut at Amnesia. I ́ve been already there as a guest and its pretty impressive to go through this venue. It ́s a kind of an aim of life for many artists to play there and we had the opportunity to reach it. It was a proper night with a great line-up on both floors. Everything went very well and I ́m still impressed by the sound system and the atmosphere of Amnesia. A massive night and we had a lot of fun. Of course we hope to be back in 2018.
13- Were there any other highlights in this busy year, for you or Traffic?
Apart from Amnesia we were really happy about our first appearances at Concrete Paris. It was in March when Brice invited all of us to play the whole night on the wooden floor. In September Bodin and me returned for a Most Wanted showcase. Concrete really belongs to our favourites now. Another gig to highlight was our Traffic showcase at the famous Goa Club in Rome in October. It ́s a super nice venue and the Nozoo team did a great job to make our label showcase a real blast. Also our showcases at Robert Johnson in March and August have to be mentioned and we ́re really grateful to host a third date now in December. Apart from the dates together with Bodin and Jacob, I played my first gig alongside Sven Väth in Antwerp. It was a Cocoon showcase where I warmed up for him and took over for the final shift. That was really heavy and intense but it worked out pretty well. A very positive feeling and of course a night to remember. In general I have to say the whole year was a highlight. I really can't complain.
14- Whether in Ibiza or at a confidential afterhour, do you have a routine when preparing a set?
No, there is no specific routine. Of course it depends on my playtime but in general I just pick the records I like the most. I don't have a specific way of playing either. My aim is to absorb the mood of the crowd and to play with it in the most positive way. Every venue and crowd is different and when you know how to catch the mood you can act or react quite flexible. A good night for me is mainly based on the wordless communication between the artist and the crowd. If you have the sensibility to connect to that you can't pick wrong. Of course, sometimes that connection can be disturbed but there is no preparation for this case.
15- How important is the pacing of a night, from the warm-up set to the late-hours? Are you more of a peak-time sort of guy or do you revel in those hazy hours?
I feel quite comfortable in the early morning hours, this is my favorite time to play. People are getting focused on the music, they had their talks and met their friends and then its the time for the floor. It ́s a very thankful time and you get back what you give to them. You can bring some bangers or try to lead to a more mind based sound. It depends on you but in these hours the variety and the spectrum you can serve is not comparable to the main time or the warm up. But for sure also the main set is one of my favorites, I love to play out bangers and this is also characteristic for our sets.
16- With all the hype around the kind of sounds you’re pushing, aren’t you afraid it ends up becoming too formulaic? How do you keep things fresh?
I don't have a plan to keep my stuff fresh. A hype can be over in a second, so you should not concentrate on it. This whole movement creates a platform for a lot of amazing artists who are spreading their sound now. So to keep things fresh you just need to focus on your ears and listen. At the moment there is so much great output like I didn't hear for years now. A musical hype always ends when there is no variety anymore. It ends when everybody is jumping on that train and the market is flooded with similar, copied music and the loss of creativity. For sure this will happen somehow. You ́ve to keep a constant state of quality, don ́t get lazy and dig deep to keep things fresh.
17- Do you feel like the obsession with obscure records leads to some kind of exhaustion, or does the competition sort of pushes you to dig even deeper? Is it all about Discogs these days for you?
For me its the only thing which continously pushes me. I never get bored to search through this limitless amount of music. It ́s a task for your life and the feeling when you find great records is not comparable. In my opinion showing unknown, flashing music to the audience is the one of the most important parts of a dj. I get bored very fast as a listener so I always need some new impressions to keep on going. For example, I heard Nicolas Lutz and Binh recently at Hoppetosse and I danced the whole night. Djs like them are giving me the motivation and impressions to continue my game. So for me it ́s all about obscure, rare records. I don ́t criticize anyone who has a another opinion about it but I can't find my pleasure in another, more generic sound.
18- Do you play exclusively vinyl? How important to you is it as a medium?
Vinyl is my focus but I don't play it exclusively. For our own unreleased productions and the music of our friends we use USB. Furthermore there aren ́t so many venues focusing on this medium so you have to be prepared when it comes to problems with the turntables. But I have to say that our agency has a focus on artists playing vinyl. So the promoters are mostly aware to optimize the setup as far as possible to play records.
19- Is there any scene or genre that you’re particularly obsessed with in terms of digging right now?
Being focused on just one genre is not my style. I just go through a collection and pick what I like. I like listening to bleepy techno and electro but I also enjoy great house tunes. It ́s really difficult to figure out a specific genre which I listen to mostly. Sticking to a specific sound is boring for me. We can look back on such a long history and variety of music so why build up borders to yourself?
20- Speaking of digging, this is how you ended up releasing A²’s new material and contributing to put them back on the limelight, right?
Yes, that ́s right. First we found their records and we were really impressed. Then we started working on the EP. It ́s cool to work together with the older generation of producers. They have their own view on music and we learn a lot from their experiences. In general I feel another energy when I listen to old tapes and recordings. The aesthetic of these old tracks tells another story than the music from today. But the combination of impressions from today and the past is what keeps the music always interesting in my eyes.
21- Are there any other forgotten producers that were instrumental in shaping your sound, and that you might want to release as well?
We have no specific plan to release another artist from the past but we are always open for that. There are many artists out there who shaped our sound from today. A² is a great example.
22- On the other hand, one of Traffic’s most recent releases was by Z@P, how did that connection happen? Do you intend to welcome other producers to the Traffic family?
Z@P catched our attention when Vera played his Melliflow release at Robert Johnson. We asked her for the track id and the day after we connected us with him. He is a very cool guy and right from the beginning there was a friendly relation between us. After sharing some tracks we asked him if he is up for a release and he agreed. The tracks fit perfect and we are really happy with that release. Sadly we havent met him so far but we are working on it in 2018. We gonna try to get him over to our label nights. I really like the people I met from Montevideo. It feels like they are sharing the same idea like we do in Frankfurt/Offenbach. It was just a logical result to connect these two cities with this release. Of course we´ll welcome other producers to the Traffic family sooner or later. But right know I cannot mention any names.
23- You’ve been associated with a strong scene of labels (Pager, HardWorkSoftDrink, etc) achieving similar recognition lately, but are there any up and coming crews and artists from the Frankfurt/Offenbach area you’d like to shed some light on?
We have a lot of groups in Offenbach/Frankfurt and all of them are doing great in their own style. There is the crew around Orson Wells with more rough electro and the guys of Hotel International who are doing great parties in our area. Talking about the younger generation there are talented guys like Tom Ries and Robin Stern. They are doing a great job with their productions. In general there is always a development going on here and it is important to always have an eye on it.
24- The label’s already turning five next year, are you planning on celebrating in any way? More generally what’s in the works for Traffic? Any upcoming releases and gigs for you?
There will definitely be a proper rave to celebrate our 5th anniversary. We are going to start working on it very soon so keep your eyes and ears open :) Furthermore we´ve planned our first solo EP´s on Traffic Records. This is quite a premiere and we ´re really looking forward to it. Another highlight production-wise will be the EP on our close friends label Pressure Traxx. All three of us contributed here and it´s gonna be released at the beginning of 2018. Finally we are going to launch a new label which is related to our afterhour project called „Not on Earth“. 2017 will be closed with two label showcases. The first one at Robert Johnson together with Dopplereffekt LIVE and the second one at White Noise in Stuttgart. I´ll also play at RED58 together with Dana Ruh right before Christmas. All in all we want to take up that drive from 2017 and continue with it in the new year. There is still a lot to do and we´re are really looking forward to it!
25- Finally, can you talk a little about this mix you did for MEOKO? Was there an idea to it or did you just go with the flow?
I chose some nice house stuff and unreleased Traffic tunes for the mix. Hear it upfront the night, fits very good ;)
Words by: PierreAlexis
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Romain Reynaud is a restless guy. He broke through as Traumer in the early 2010’s, releasing driving techno on Skryptöm, the label operated by French scene veteran Electric Rescue. This is a sound he diligently refined, sometimes on his own, sometimes as part of Skryptöm supergroup Möd3rn or with his many projects with another legend of the French underground, DJ Deep. But these days, this sound belongs more to his Roman Poncet alias. A creative frenzy has seemingly seized the ever-productive Frenchman: Romain came up with Marion Poncet to release his more housey fare, while Traumer ditched the techno and started churning out microhouse bangers. Romain can proudly consider himself a descendent of those 1990s producers who would casually craft house, techno and everything in-between under a myriad of aliases — bearing the spirit of a time where things seemed to be less compartmentalized. And this free-spirited approach belies raw talent too: no matter the genre he tackles, one can always rely on the now seasoned producer to provide booming kicks and a solid groove.
Put simply, Romain Reynaud is a diamond with many faces. And for us at MEOKO, it’s under his renewed Traumer monicker that he shines the most. Gettraum, the outlet he launched to host these minimal-leaning productions, is full of chiseled drums, odd and seductive vocals, and expertly timed breakdowns. Seemingly overnight, the already successful techno producer naturally became a sensation amongst lovers of the bouncier stuff. What happened though? Did Romain take a nap on Mamaia Beach a fateful day, and wake up determined to spread the gospel with the distinctive zeal of the newly converted? Or was this sound brewing inside him all along, ready to bloom? In any case, it seems obvious that he caught the virus, and is now as hooked as the rest of us — which we couldn’t be more happy about, since the string of EPs he lined up on Gettraum have been flawless so far. Don’t believe us? Well you can hear it for yourself, because Traumer will share the bill with Apollonia at Unleash’s December 16th party. So to get to know the man and find out about his truly uncommon trajectory, MEOKO caught up with him ahead of his upcoming London gig.
1- Hi Romain, thanks for taking the time to answer our questions! I wanted to start talking about your touring. Between Traumer and Roman Poncet, you’ve been on the road all the time for three or four years, playing every continent, so how’s this lifestyle going for you? How do you manage keeping things fresh and exciting?
My pleasure! Travelling the word to play my music is probably one of the best jobs in the world – you’re always inspired by new people, new cultures, new places and so on. However, this can also create some difficulties – especially if you’re missing someone who’s waiting for you at home. In my case, there is someone waiting for me every weekend, during every tour. I can handle a single weekend away – but for the longer tours, like a week or two – it’s always a mental challenge for me. Even if the people I meet during the tour give me a lot of good vibes, when you get back to your hotel and you’re all alone, this is not so easy sometimes.
Still, I am very enthusiastic about touring, this is my passion, my thing. I guess having different monikers linked to different kind of music, also helps me lot in terms of keeping myself inspired.
2- Among these gigs all over the world, did any make a particularly strong impression? I’m sure you’ve had your fair share of crazy stories, could you share a few of those with us?
It’s almost impossible to give you a short selection of the best moments – there are too many. Maybe one though yes, because it’s very special, and isn’t part of the classic circuit : My friend Pepperpot and I were playing for four days (daytime parties) on a wood platform in the middle of the pacific ocean, in the Fiji Islands. The name of the venue is Cloud9 – it’s very small and it isupposed to be quite chill, music-wise. We had an incredible week over there.
Crazy stories: I’ve a million for sure hehe – again, it’s difficult to pick one specific tale. Also, I think I prefer telling those kind of stories in real life – face to face – I like to act it out a little bit, to mimic, to use gestures etc – trying to tell a real proper story, like you might do for a child. Come and ask me on December 17th…
3- Being at the top of the bill is a fulfilment for DJs and producers, so what’s making you dream now? Do you still have more ambitious projects you’d like to get on with, or places you wish you could play at?
With your first question you insinuate I am at the top – but believe me I am very far from there! I’ve been dreaming about living from my passion all my life, it can through DJing, producing, scoring, etc… Whatever it is as long as it’s related to music – but it can’t be “pushed” – it has to remain a passion, not something that is forced or unnatural.
4- Let’s move to your Traumer alias. Your sound moved to the minimal side of things with Gettraum, even if we can still recognize your touch. I was wondering what led to this change: how did you fall for the microhouse sound, so to speak? Is it something you were already digging in the past? Was there a moment that clicked with you?
That’s true, my sound has recently moved a bit but I guess it always did and it will always do.
This is how I am, I like to discover new things, even if I’m not “using” this new thing in my music. Let me explain: with the micro-minimal-house sound, I was listening that stuff for a while, way before producing or even playing it. I was introduced to this music through the big names first: the label [a:rpia:r], and everything around Raresh, Rhadoo and Petre – and naturally, when you’re digging for something, you progressively get deeper and deeper into the genre. I was just getting into something which was new for me at some point - and like every new thing I get into, if I decide to “try something with it”, to focus my music on it, the move will be made only once I think I can do it, because I believe at some point I know the minimum that’s required to get started with.
5- By the way, why did you decide to create your own outlet for these releases? Is it going to stay dedicated to Traumer or would you consider opening it up?
I was pretty sure that the established labels who focus on this style of music would not release my music, because of my “past” or because the music itself would not be 100% suitable. The only way I thought I could initiate this change of style was to control the platform which would showcase this new “me”. Also, creating a new label - especially when it’s your first one – may ‘intrigue’ the scene a little bit, that way you might get some attention.
6- Is it a sound you deliberately tried to pursue, or did you spontaneously start producing more minimal tracks? I was talking about new projects or dreams, was tackling a new style a way to challenge yourself in a sense?
For sure, I did try to pursue this sound – I wanted to for a while – it just took me time to work on it, ‘backstage’ you know. I like to challenge myself yes, I do it every day actually (I’ve got eight monikers at least for eight different kinds/variations of music). That’s what keeps me inspired – I never get bored of something, as I’ll move to another style before that can happen. It works for me.
7- The French microhouse scene these days is really healthy — new festivals, labels, artists… Where are you based when you’re not touring? Do you manage to find the time to party and stay aware of what’s going on in the scene? Are there crews, labels, newcomers or old-timers, clubs, that you’d like to give a shout out to? Basically, do you have recommendations for MEOKO readers who’d like to find out more about the French scene?
I’m based in Paris. Time to time I manage to find some space to go clubbing – mostly during the week – but not anymore like I used to (my favorite sober-observation party was Concrete on Sunday afternoon btw) – Now I keep my “ears in the game” through different social media groups (not only FB). To name just one, not because they are friends ;but also because they are simply very good, too: Beau Mot Plage; Check them out.
To be honest I’m not as much into the details of the local scene as I was few years ago – it’s very difficult to stay 100% connected when you (have to) do too many things – even if I’m making a lot of effort to do the maximum possible by waking up at 4/5.00am during the week. All the (very basic, I’m sorry) recommendations I can give to find out more about the French scene could be :
- Check that Beau Mot Plage group on Facebook – which is also a DJ Crew/Label.
- Check artists (you know probably most of them) such as : Lowris, Varhat, Cabanne, Nunes, Loop Exposure, Hoser, Schaa,… I must have forgotten a lot but I’m not good at lists.
8- I feel like a defining features of all your works, regardless of aliases, are your drums. Can you talk about their importance? How would you define your sound, actually? Do you see similarities between your aliases? Do you have some habits when you’re producing?
Damn! I do love your questions (and observations) but it’s more like inception of inception ahah – so many question in one!
Yes I do love drums and percussions – that’s probably the most important aspect of a track for me. I’m not super comfortable with the idea of defining my own music – I don’t know. I guess there are a few similarities sometimes, first I’m producing with the same set up for most of them so obviously, the core sound can be a little bit similar.
I’m pretty sure I have some habits, but probably I don’t notice all of them myself, because they are habits, which are often unconscious ;but I can say I like to build up a soundscape, an ambiance before everything. Not a beat, not a melody – something (which can be atonal sometimes) that will help me to bring all the elements around. This is like “the soul” of the track, you can’t see/hear it but still it’s the essence of the music. After that, I build up the drums, sometimes to the final state – and then I can work on synths, if necessary.
9- In addition to touring all the freaking time, you’re not lazy on the production side of things either! Do you have upcoming releases on your label or others’? In general, what’s coming for Traumer in 2018?
- I did a remix for David K’s Tone Series project – which just has been released few weeks ago.
- Our collaboration with Lazare Hoche, on his imprint, just dropped as well.
- A three tracker on All Inn, called “Mezon”, should be release mid-December.
- Late February should (could) see Gettraum 5 coming out.
- We will release our second EP with DJ Deep as Deep Traum.
- In April will be released our collaboration with Point G on the London based label : Infuse.
There are many other things on the way as well, with my other monikers but also with Traumer.
10- You’ve been involved in many collaborations. What’s different when you produce on your own and with others? Can you talk about your partners, especially DJ Deep and your Skryptöm mates? DJ Deep in particular has always been a multifaceted producer, do you think he instilled that in you? You’ve also got an upcoming release with Lazare Hoche, how did that come about?
Working with another person is not so easy – everything is about ‘balance’. The relationship in the creative / technical process has to be balanced. For example, it can not work if you have two people who both have a strong attitude and who want to control everything. You take sometimes and you give sometimes. The working relationship has to be balanced.
That’s mainly the difference between working alone or with others : alone you’re balancing yourself. I’ve always been a multifaceted guy, a schizophrenic guy (in a good way). When I started to produce I loved making remixes of Marilyn Manson while trying to reproduce Bodzin’s synth modulation. Anyway – yes we’ve got a release together on his label, I’m really happy about the process that led to this release, everything went super fast – which is not usually the case. Charlie sent me a beat with an Ableton arrangement – like this : “hey, check this out”. I liked the very spontaneous way of doing it – I did my edits, add a chord synth. He did it again with another idea – which was super rich, so I could have two different perspectives with all the elements he gave me. And there we were, we had three tracks.
11- Speaking of him, he’ll be playing B2B with Djebali for Unleash on the 15th, and Apollonia and Mathew Jonson are there too. I guess you’re pretty used to share the bill with the cream of the crop by now, but what do you think of this line-up? Are you excited to return to London? What can we expect from you?
Hehe you know what? I’m absolutely not used to sharing the bill with those guys. In fact it will be the second time I’ll be playing with those names. For sure I’m really excited to be back in London with the crew and especially to play for Unleash for the first time – as I have heard so much about this party, in a good way of course – so yeah, I’m looking really, really forward to spinning there. I don’t know what you can expect, but I hope it will be good enough to satisfy your expectations!
Words by: PierreAlexis
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We are back with Under The MEOKO Microscope feature alongside a very exciting name – Giammarco Orsini. The Italian artist first enriched his musical culture in Italy where he grew up, influenced by the grooves of the 90’s. He further developed his musical identity by spending countless hours of discovering and playing vinyls. Soon enough, Giammarco started showcasing his talents to a wider audience and his first forays into DJ culture happened in Pescara, where he became resident DJ at Zu::Bar, thus kickstarting his career. Havinh many gigs there increased his notoriety in the local scene and allowed him to meet other inspiring talents, pushing him to start producing and to create his own imprint “Heko Records” - the label behind Pancratio’s stand out EP “Pancratio 1”. As well as bringing new producers like Pancratio to the fore, Giammarco Orsini is also behind a number of successful releases himself, his four-tracker « Game of chance » on Partisan an undeniable dancefloor favourite. His move to the German capital further cemented his profile, leading to gigs alongside big names such as Ricardo Villalobos, John Dimas and Shonky to name a few. He is a regular at venues such as Club der Visionäre and Watergate but still finds the time to play in his home country at the famous Goa Club. He has recently got back from a tour in America, and we are happy to learn more about the Italian « Enfant Prodigue ». We caught up with this talent in an interview, so let’s get into this and check his exclusive MEOKO mix.
Hi Giammarco, we are really happy to have you for the new edition of Under the MEOKO Microscope, thank you for taking the time for us.
Hi Guys, I'm happy to be on board and thank you for inviting me for this special feature.
1. How old were you when you started playing music and which influences made you want to be the DJ you are today ?
I started around 14, I was buying all different kinds of music and in the beginning my focus was just improve my technique.
I was mixing from Hip Hop to House and Techno and I was trying to understand the differences between genres and how to mix them. Slowly i started to look more for some specific subgenres that sounded more interesting to my ears like progressive house mixed with breakbeat to get into minimal techno or house lately but basically I was just surfing between genres.
During this process I started to realize what I really liked in the music so I started to produce my own music which helped me to understand which elements in one track are more interesting to me and in general what I feel more in the tracks I play.
2. Did the fact growing up in Italy have any impact on the music you play now, on your inspirations from when you started? Italy have a good history of house music and your selection has always been eclectic, are the 90s Influences still something you explore and re-discover for your sets or even your productions ?
Growing up in Italy has of course had big impact as it’s in my roots and it’s where I found the inspiration of to play and make music. Even now my sets are full of those records that were released in the late 90s. I think it's amazing to discover old records that still sound relevant now but to bring them back under a new light and to a new audience.
3. Your productions range from the groovier sounds on Heko Records to a more minimalistic style on Partisan. How would you describe the differences in your approach when producing on different labels?
I always do different styles of music, blending my influences all together to evolve my sound. I think the Partisan EP for example it's a crossover between my Italian roots and the influences I got here in Berlin.
For example when we chose the tracks, we started from the A2 Divenire and it was just a spontaneous decision to build an EP that reflected my style paired with my evolution and the same time that also fit well on the label.
Same thing happened with the EP on Elephant Moon. You always start from one or two tracks that take the attention of the A&R and then you build an EP trying to find the right balance between your sound and the sound of the label.
4.How did your moving from Italy to Berlin affect you ? Is it an incisive moment in your music career ?
It was a key moment not only in my career but in my life in general. I realized how much I wanted to dedicate myself to the music and Berlin is the place where many artist live and work so being here gave me the opportunity to meet other producers or go to hear DJ’s that I usually wouldn’t have an opportunity to hear play very often. It’s also amazing for record shopping and there are many chances to collaborate with other artists as this city really encourages that community feeling.
In general you get inspired from this whole thing, parties are happening every day of the week and all of this inspire me and make me more productive but still I needed time to establish myself in the city and get into my new life rhythm.
Obviously you have to be focused on your objective otherwise one of the common side effects that I see around is you can lose easily yourself in a black hole of permanent partying.
5. You play often alongside John Dimas, you also just made an EP on his Label Elephant Moon, how did you met and how is his music important to you? Do you plan to work together on any other upcoming releases ?
I met John Dimas a few years ago in Italy during one night in San Benedetto del Tronto and he played 80% of records that I used to play! I was so impressed because I was already a big fan of his music but I never saw him DJing before that night.
Since that day we've always been in contact and especially when I moved to Berlin we became closer. Actually we're also working on some music together but we don’t have a release date scheduled yet.
6. You play often at the famous Goa club in Rome together with Fabrizio Sala ,how can you describe the music scene in Italy compared to Berlin ?
Goa Club is a legendary club which has shaped electronic music in Italy over the last 20 years and I'm really grateful to get the chance to play there regularly along with Fabrizio for the party Nozoo.
In Italy there is always something going on, club culture is still alive and well and especially in the last few years a lot of new promoters started to support underground events and this gave the opportunity to small artists to get booked.
I don't think it's really possible to compare the two scenes. There are too many cultural differences that generate a totally different approach. For instance, the amount of events that are going on in Berlin every weekend don't exist in any city of Italy or in general in any other city in Europe. I think the club culture here has another weight compared to Italy and the other countries in Europe.
People come to Berlin from all over the world specifically to go to parties and listen to electronic music. They call it Techno Tourism actually! This doesn't mean that Berlin is better but it's just a place where the culture is more developed and accepted into the social system.
7. Do you feel the club experience is shaped by cultural differences? When travelling, do you take cultural differences into consideration? How far is your approach as a DJ benefited in different countries and in different crowds?
I think the club culture is definitely shaped on the cultural system. It's a process that is evolving in every country in it’s own way and it changes with the generations.
From my experience as DJ I have observed that in countries like Italy or Spain you always have to bring a certain amount of energy to the dancefloor. Parties are shorter and in general you have to do your best in a smaller time frame as opposed to countries like Germany, Russia or Belgium where the parties are longer, the music is more hypnotic and you have more time to play something special that you cannot do in just a 2 hour set.
I have recently been, for the first time, to Panama and I was so impressed with how the crowd reacted to the music, they were dancing and enjoying every minute till the lights came on. Everything seemed new for them and they were really open to hear records that would be a bit more challenging to play everywhere. The same happened in Austin, Texas as well which was a nice surprise!
8.How do you prepare your set from venue to venue and country to country?
Obviously I try to collect as much music as possible to be ready to play for different crowds. I check my set time and what kind of party it is and if I’ve never been there I like to do a little research so I can be as prepared as possible.
I pack my bags with the thought of always trying to bring a bit of everything because in the end you never know what is going to happen there and sometimes you have to be ready to adapt to some lineups changes or just to play in front of less people. However, in general if I play an afterhour or a warm up I'll always bring something deep and if I play peak time, something more energetic.
For me it's just really important to be aware of what's happening in the club around you and try to play the right records while staying true to your style. It’s nice to be able to express yourself and educate the crowd a little but also people want to have fun so you have to always keep that in mind.
Thank you again for your time and the very energetic podcast you recorded for us, we look forward to hearing more exciting news from you !
Thank you guys for this nice interview, I hope to see you soon in London or somewhere else!
Words by: Natascha Kramer
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As December is here, the colder weather is beginning to settle in, and festive celebrations begin. We are under the impression Goa Club are celebrating the whole month, compiling stellar parties each every weekend. The 700 capacity club residing in the Ostiense neighbourhood in Rome, have a reputation for casting in high quality artists, putting themselves firmly at the forefront of the Italian scene since 1996.
Regular displays of electronic music on different club nights has led to the success of the club, a true variance. This December will see Touch the Wood, Nozoo, Goa Ultrabeat, Rebel Rebel and She Made all representing their own sounds and visions.
Slick groove master Fumiya Tanaka will be making an appearance on December 2nd, the Perlon star will play an extended set for Nozoo. On the 7th Planetary Assault Systems’ will be bringing his set up to Rome for Goa Ultrabeat. As far as live sets go we have not quite seen any as intense, a true representation of his legendary sound. Something that needs to be experienced. He will be joined by DJ Red (Electric Deluxe / BPitch Control) and Adiel (Ultrabeat / Danza Tribale).
A certain highlight taking place the following day is Praslesh and Giammarco Orsini. Raresh and Praslea are known for bringing the heat worldwide under their duo alias, it will be somewhat of a beautiful combination once amongst the exquisite decor of Goa. Orsini’s recent productions on Partisan and Heko are a stamp of the outstanding sounds that will be served up on the night.
Thursday 14th sees Chicago house pioneer Boo Williams make an appearance in Italy. An impressive discography with releases on Peacefrog, Cajual and Rush Hour (to name only a few) sum up how this night will be nothing short of amazing. A master class in the game. The day after this heavy night; Nina Kraviz will take control of the club alongside ZERØ at Rebel Rebel night, on 15th of December.
Vlada and She Made resident Ameliee join Partisan chief Anthea just days away from Christmas, Dec 23th. Let the Christmas dinner settle, get the gifts out of the way and get ready for Nozoo Christmas AfterTea. Heading up proceedings is Discobar’s very own Lamache, crate digger and true selector. Laurine (Slowlife) joins him for the festive extravaganza on 25th of December with Marcolino Ultrasuoni, Christopher Ledger, Alberto Gerardi, and Fabrizio Sala.
Rounding off the busy month at Goa; Ultrabeat & Rebel Rebel night will take place on Friday, 29th of December with Hunee (Rush Hour) alongside ZERØ (Rebel Rebel).
Plus many more special names on the bill, throughout December.
You do not need to let the frost get to you, call it an early Christmas treat and get flights booked up. It makes sense.
Words by Zac Bidwell
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London promoter LWE has just announced the end of their association with Printworks, Canada Water’s recently opened venue, where they acted in the position of events producer.
LWE and Printworks seemed to be a match made in heaven; the former is renowned for hosting dance music’s top tier at bigger-than-life events, while the latter, a gigantic repurposed newspaper printing facility, offers the necessary infrastructure to suit such events’ scale.
Indeed, the venue’s opening run was certainly a resounding success and one of the capital’s most important dance music news this year — a success to which the London promoter, which brought the likes of Nina Kraviz, Ben Klock or Luciano among others, was integral, since they have effectively curated the entire Printworks' programmation as well as production and operation.
The parties booked at Printworks till the end of the year, including the Chemical Brothers, Paul Kalkbrenner or Richie Hawtin, will therefore be the last ones curated by LWE. This run will come to an end with the venue’s NYE/NYD double-batch.
It will be interesting to see how other promoters will manage to take over, and which direction they bring Printworks into. Meanwhile, LWE is headed for a busy 2018. It will start off with their New Year’s Day party and will include another Junction 2 festival. Their ongoing collaboration with Elrow will also return, and we’re told to expect “a new outdoor event on the South Coast, Arcadia's arrival in London, some amazing shows at Tobacco Dock and a plethora of other exciting projects.”
Words by: PierreAlexis
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Everyone knows that after the chaotic mess that is NYE, an unforgettable NYD is mandatory to conclude a year of excess by starting a new one right away. After all, no one wants to begin the year in bed with a hangover to boot. Out of all the alternatives for this 1st of January, LWE’s sounds particularly hot. As per the line-up, there’s something for everyone, from the casual clubbers to the seasoned heads.
Two very special guests top up their bill this year. Maceo Plex is the first one, under his Maetrik guise. Maetrik used to be the Spain-based Detroit son main outlet in the 00’s, and he returned it with new productions earlier this year. This is a grittier sound than what the man’s become famous for, but whatever alias he’s using, rest assured that years of touring the scene’s biggest venues mean he’ll know how to move the crowd — and more importantly perhaps, this is his first time playing live as Maetrik, so don’t miss it. The other is none other than Marcel Dettmann. The beloved Berghain resident will come straight from the club’s infamous Silvester party, bringing London some of that licentious Berlin techno flavour. There’s your New Year’s Day brunch!
But that’s just the icing on the cake as LWE has come up with a varied line-up that’s sure to appeal to anyone. On the one hand there’s the big room techno of Alan Fitzpatrick. An LWE regular, you know what to expect from the Drumcode stalwart. Nastia might pummel you with the bouncy techno she’s famous for, or she might opt to show off her lighter side like on this year’s CD mix she did for Cocoon — surprise. If that’s what you’re into, this balance of bumping house and tougher techno should also be reflected in Lauren Lo Sung’s set. And if you’re one of those techno freaks for whom the year needs to start with twisted transmissions, Ø [Phase] will provide the headier, trippier alternative.
The crowdpleasers are out in force as well: Robert Hood dons his Floorplan alias for this one. Now a family affair as his daughter is integral to the act, it promises booming kicks along gospel anthems. The maverick KiNK is of the party too with his playful live act — get close enough and who knows, maybe you’ll get to have a go at his keyboard too. And Italians Agents of Time provide the day’s other live act with their melodic brand of techno.
On the mellower side of things, Axel Boman will deliver the sort of Scandinavian free-spirited and playful weirdness his label Studio Barnhus specializes in, while Lord of the Isles will no doubt drench you with his soothing, synth-heavy excursions. We’re also more than excited to see LWE booked Frankfurt legend Roman Flügel. Few people can claim to have had such an impact on current house and techno as he had — put simply, half of this line-up would probably not exist without him — and you can always expect the unexpected with this veteran iconoclast.
Like last year, LWE invests Tobacco Dock in Wapping for the event, a gigantic awe-inducing, laser-filled venue with a sound-system worthy of its scale. So come along and book your ticket — you’ve got all the rest of the year to get some well-earned sleep.
Words by: PierreAlexis
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London in December is a far cry from the warm and inviting climate we tend to associate with our beloved Romanian grooves, but you can count on Oscuro to bend over backwards and rectify this. Hot on the heels of their 3rd birthday celebration, which saw them invite French duo Zendid and Romanian legends/master hypnotisers/all-around dance floor smashers SIT, the crew is throwing their last party of the year at the Hackney Wick haunt Bloc, on December 15th.
With the party season incoming, no one knows for sure if the team behind Oscuro can prepare a decent Christmas feast, but they can sure cook up a mouth-watering party. This time again, it’s a familiar figure of the Romanian pantheon gracing the decks: Praslea returns to London after his and Raresh’s spooky and sweaty performance for Art of Dark’s Halloween party. The [a:rpia:r] affiliate will show he can shine just as bright without his illustrious partner, and make London that little bit warmer for four hours. If you wanna check beforehand who’s coming to town, have a go at his own productions: those are few and far between, but it’s one of those cases of quality priming over quantity. Or treat your ears to his label Understand’s stellar discography — they just released Arapu’s latest roller — but hey, trust us: steady rolling basslines and a hell of a good time, that’s what you’re in for.
Praslea will be supported by London’s very own Christian AB. It’s not the first time the two share the bill — in fact, Christian has played with most of minimal’s royalty (including a rare back-to-back with Praslesh at Art of Dark Halloween Theatre), and may well end up being considered part of it if he keeps churning out the sort of tunes he released on new label London In Transmission’s first two EPs. He’s been touring Europe lately, even spinning at minimal mecca Club Der Visionaere, but be sure to catch him on his home turf for full effect.
To round this up, who else than Oscuro’s trusted residents? There’s no great party without a great warm-up, but this task will doubtless be easily fulfilled by Jayar and Kadow. The two have made a strong impression at the third birthday, and they’ll definitely outdo themselves one more time. So remember, do come early.
And there you go, another night of mind-bending loops to warm your hearts and move your feet lovingly assembled by the Oscuro team. Be sure to grab your ticket now.
Words by: PierreAlexis
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We are just weeks away from celebrating Forever And A Day's second anniversary. Time and time again the London based brand have provided unique and wild parties always selecting handfuls of high quality artists to represent there sound. The day time party on Saturday the 25th of November will be no exception, preparing a magical experience for everyone involved before taking on another trip around the sun. Where is the party taking place you ask? STYX, London, kicking off at Midday.
Amphia, Understand, and Ourown are just a few of the eclectic outlets we can relate to Romanian headliner, Cezar. The journey man. Holds the ability to control the atmosphere and the crowd as if they are on strings. Slick minimal cuts, sometimes bordering on house, extracted from a variety of years. Witnessing him in action is one of those times you will never forget, embedded with the moment.
Dreamy landscapes, laced with dub grooves will be the flavour of the day when Frenchman Varhat tells his anniversary story. The last few years has seen the Yoyaku artist constantly build on his personal reputation, and the labels. His productions are widely appreciated across the board, played at parties all over the world. It will be interesting to absorb the up close and personal experience, and what he will have in the bag for the Forever And A Day family.
Another Romanian artist on board is, Gri (Mulen/Tzinah Records). Someone who has obviously made a lasting impression with the brand as he is called back to play for them again. Kofi Tyson & Oana Leca (Auroom) will be playing a special b2b set. As they welcome new faces for the party, some familiar faces will also be making an appearance Azire, Syreeta, and Shane B b2b WD Wallace.
Ahead of the anniversary bash we have teamed up with Forever and a Day to conjure up something special for our readers. You have the chance to win:
1- 1 Vinyl – YoYo.01 - Varhat – Suguri
2- 4x Ticket Entry
3- Branded longline Forever And A Day T-shirt
2 Runners up: 2x Ticket Entry
with 'Foreverandaday' as the subject heading. Good luck!. Tickets are on 2nd release on RA.
Words by Zac
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A bright and shining artist - Lamache! French fella, from Toulouse, is now a part of the Berlin scene. His name is not new to the scene and you can find him performing alongside biggest names all around the world. His label discobar is still young, but already hosting showcases in Europe and beyond representing a talented group of artists such as Odd Soul, The Mole, Toba, Ark, Zendid, Alex & Digby, Robin Ordell. His influences from French house, minimal and techno can be felt through out his dj sets and productions. By travelling, he has gained an enormous amount of experience which helped him become a versatile dj who will make sure you will have the night to remember.
1.Pleasure to have you on board with us today! You have been on our radar for a while now. How are you doing?
Hello there, I am very well thank you. Listening to some music and chilling with the cats at home before the weekend starts.
2.House scene and dance music in general is a big deal in France. You don’t have to really dig to find good parties around, but as originally coming from Toulouse how do you think its scene shaped your sound?
When I started getting into this type music , the south played a big part in its influence in France, with some serious clubs popping up in Toulouse, Montpellier, Aix to name a few… I remember traveling all the way to Montpellier for a night to see some of my favorite artists, which inspired me a lot to carry on doing what I am doing today.
Nowadays the south isn't like that anymore, some clubs closed, the others took a different music direction that doesn’t interest me anymore. Paris on the other hand is on fire clubbing wise - every weekend, the clubs are full and the line ups competitive.
3.What was the situation or a party that made you think – “alright, I love this and I want to be part of it?”
Playing records in my bedroom was already something magic for me, but the day I started playing in bars and clubs, it was so natural to feel the people, and vibe with them; I loved it instantly. I remember the day when I saw Ricardo Villalobos playing at Razzmatazz in Barcelona, everything made sense. This journey he took us on was really special to me, it was just what my ears and body wanted to feel. That day, the whole room was connected, I will remember that forever. For me, this is what music is all about.
4.What were your favourite parties and places to go in Tolouse and France in general? Any secret record shops you would recommend?
Ufff, this is not an easy question… To start with Toulouse, my favorite places were “Beaucoup” (now closed), which was my first residency. It was this small bar/club where some underground magic was happening in the basement every weekend. This is where I taught myself to play on decks. Then later on, the go-to place was “La Couleur de la Culotte” where I played regularly with one of my best friends - we had some amazing nights there. I remember playing with Nina Kraviz there at the beginning of her career. Then onto Paris and my student life (ahah), I can’t really say one or two places because I had so much fun everywhere, but definitely REX CLUB, CONCRETE and BADABOOM are my favorite places nowadays…not forgetting crews like Crazyjack who invited me many times in different places all over the city.
Record Shops wise, I spent a lot of time at Techno Import back in the days… I used to find some amazing stuff that I still play. The owner was super nice and he was always helping you out not like some of those music snobs you can bump into these days. Synchrophone was also a big thing when I was living in Bastille.
5.As far as we know you love adventure and you been travelling a fair amount. What made you to decide to have London as your first stop? Were you scared before moving in?
I’ve always listened to my feelings and this instinct that I have inside me. When I moved from Toulouse to Paris, it’s because I was done with the city as it wasn’t inspiring me anymore. I wanted to learn more and discover everything that we didn’t have or couldn’t have there. I went on to study in Paris and that was 5 amazing years.
But then again, the feeling of ‘the grass is always greener’ came back to me. I went to play in London for Toi Toi Musik, those guys that I met once in an after party in Paris. It was amazing, and again something new, something more underground, in a city where the boundaries were beyond what I knew in Paris. It was a natural move for me to go there music wise, it was like a calling from London and I just embraced it.
I had 4 crazy years with Toi Toi Musik. London taught me a lot: meeting new people, discovering a new culture, the basements, the rain, the hard life because of the lifestyle in the city, the love, the break up, the anxiety and finally, the creation of my label “ Discobar”… many things happened there.. for better and for worse. Nowadays I’m based in Berlin and who knows where I’ll be tomorrow…
6. You did not take long to settle well in London. You became a part of amazing Toi Toi Musik collective, how did that happen? What’s the biggest memory you have with them? Any crazy moments?
Toi Toi Musik was always natural from the first day we met and we became close really fast. Basically Claus and Isis were in Paris for a weekend and they saw me playing for an after party. I was the only person playing records in that boat that morning. The records were jumping a lot due to the moving water below but I didn’t care, the vibe was great and I think that they liked that moment a lot. They invited me to play in their party in London, I will always remember this first gig alongside Delano Smith, Le loup and Voigtmann. Everything felt good again, we had so much fun so they invited me again a few weeks later and this was even better, I even remember my set… So when I decided to move to London, they asked me to get more involved into their project and invited me to be a resident with Jan Krueger, Daze Maxim and Voigtmann. The next event I did the warm up for was the party for ZIP with Claus - I couldn’t believe it. I have so many good memories from this period that I can’t tell you which one was the best.
But if you want to know a funny one, it was that day when we invited Marc Schneider to play in one of those dodgy basements in Hackney. That day the party was so good and hot that a part of the ceiling fell apart right behind the DJ booth near Marc’s record bag. He was a bit shocked but I assured him that in London we say that when the party is good, even the walls sweat!
7.Your last venture is Berlin. How do you find it’s scene? Did you had the idea moving in before, or something happened that you made such a decision?
Berlin was a new page, a new chapter and time to learn a new culture and history. I’d never thought about moving to Berlin before this, I was never attracted by it to be honest, but this city is different than others, the life style is very different, noticeably slower than what I’m used to.
When you’ve lived in cities like Paris or London, Berlin teaches you how to breathe, and this was the best thing that could happen for my health.
It made so much sense for me to move here because all my friends I work with are based here. Also, my career took a step forward so I really wanted to spend all my time working with music, which I couldn’t afford to do in London. Berlin gave me this ability to focus 110% on my things, my label, my music and the studio.
8.Talking about Discobar, how is your imprint doing? Loving this name! What made you come up with a label? What were the ideas behind it?
Discobar is doing very well, I am very happy about it and what we have been accomplishing with it. The name came from a joke that we had with a friend and basically Discobar in Belgium is a DJ booth. So very simply this became the name of the label. I always wanted to create something were I could grow my own family and friends. I really believe that music needs to be shared (in the good way) and I am also a person that believes in team work. Getting together is a beginning, staying together is very good but working together is a success.
The only concept for the label was music that we like from people that we respect and inspire us.
9.Thank you! Amazing stuff. Do you have some exciting new releases or dates to announce?
This year many things are coming actually, I want to release a lot of interesting new stuff on Discobar.
The Part 2 of Darren Allen debut on Discobar is coming out in January and I am very happy about it, I love it. Then a new EP of Zendid is coming with a great remixer that I am a big fan of.
And more to come for the 3rd birthday of the label…
10.What would be your number one tip for upcoming artists or people who want to start a label?
I would say, don’t try too hard, take your time, listen to a lot of different music, don’t follow the trends, do what you like and stick to it. If you believe in what you do, it will pay off at some point. And if you start a new label vinyl only like everybody wants to do, support the movement and buy vinyls! & Thank you for having me! It was a nice talk.
Thank you again, Lamache, for having us. Can’t wait to see you spin the records again at Half Baked 8th Birthday!
More Lamache; Facebook
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‘Join us as we delve inside the world of Adrian Niculae, known by many as, Priku. Last week we saw the landing of his latest concoction 'Consensual', the fifth release on his own outlet of quality over quantity sounds, MOTIF. Perfect timing for an exclusive feature paired with an outstanding mix; extracted from his recent set for the Duo family at Casa Quien, Dominican Republic.
A humble genius , and a true craftsmen amongst the scene. Ensuring himself as a staple name for around ten years now. The Romanian artist is known for his ability to seamlessly weave together hypnotic loops and rhythms creating a unique flavour of grooves only he can capture. Repeatedly his productions are nothing short of masterpieces. You can count on that.
After joining Sunrise in 2007 grabbing the attention of the right people soon followed, after a steady amount of releases, and high profile gigs this gave him the recognition he deserved. Early years saw releases on [a:rpia:r], Only 300 Family and Concrete Music. In 2011 came a record that will always have a place in the heart of the MEOKO record bag, this being the 'Bercelona EP' on All Inn Black.
Naturally, with a work rate and raw talent such as this the years to come became filled with many more genius productions. Atmospheric journeys with a real attention to detail. Pressure Traxx, Eastenderz, and Liniar are just a handful of standout names Priku has assigned his music too. Whilst delivering stellar records, and extended sets all over the world, the Bucharest based artist still managed to engage with two labels of his own MOTIF (2013) and last year Atipic. MOTIF is an open landscape for his deepest thoughts and desires, signed sincerely with passion, expressing his personal tastes and agendas. This is where you will find him releasing under his own name, and inviting special friends such as Arapu, as they team up under the alias of Super Moon. With a fantastic reception in such a short space of time, his latest fine article is ‘Concensual’. A two track release. The A side ‘Seesaw’ sways back and forth, driven continuously shifting through the gears, as enlightening percussions aim to enforce a balance. ’24.00’ is a stripped back affair, waiting for the right listener to maximise its full potential. An open mind, in an amazing setting and this track will create something particularly memorable.
With Atipic there are simply no rules to break, expect the unexpected, and experience a truly magical platform for the trained ears out there. This special imprint has included Jorge Savoretti, Vincentlulian and Andu Simion. After working behind the scenes for a long time, this year has seen the birth of Atipic (Live). The live performance from Adrian first see light at Sunwaves 21 (setting the stage perfectly for Villalobos), The Block (Tel Aviv) and just a few weeks ago in the forest at Mioritmic festival, Cluj-Napoca, Romania. The up close and personal construction of sound does not venture too far from your typical expectations from Priku, but leaves you in admiration of how talented this artist really is. He has stepped up to the next level with ease, but was there really ever any doubts? We cannot advise you enough to let loose, and discover amongst the sounds of Atipic Live. In the not so far future the performance will be making its awaited London debut. January 13th 2018 you will have this opportunity, as Atipic meets fabriclondon.
In the coming months Priku’s forthcoming single release on Savor Music will become available to the world. His track ‘In White’ features on part one of a series of various artists compilations from the Argentinian born label. Joined by high caliber artists all round including Franco Cinelli, Le Loup, Martinez, Ernesto Ferreyra and fellow Romanians Livio & Roby.
Words by Zac Bidwell
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We are back with The Under The MEOKO Microscope feature alongside a very exciting name – Clovis. Born in Los Angeles, now venturing Berlin and Europe’s scene won our hearts with his deep and hypnotizing grooves. His wide sound variety expands into deep explorations of the tones, forms with soulful elements and complex patterns making sure to move the peak-time dancefloor to the max. His hardwork and tirelessly spent hours in studio bagged him a lovely catalogue of labels such as Lessizmore and Body Parts. Being a resident at Berlin’s Club der Visionaire as well as Los Angeles’s Standard Rooftop gives you an image that his sound is going to places. Clovis can be seen playing alongside big names as Rhadoo, Petre Inspirescu, Magda to name a few and debuted in one of the biggest festivals in Europe – Sunwaves. We caught up with this talent in an interview, so let’s get into this and check his exclusive MEOKO mix.
1.Hey Clovis, thanks for taking time for us. Was really looking forward to this. How did you get into this music and what influenced you most throughout your musical journey so far?
By far the main musical influence in my life was my father. He was a music aficionado his whole life, and when I was growing up there was music playing at home during almost all waking hours. He liked a huge range of music, though he was most knowledgable and deep into jazz. He would always be playing something to fit the mood or the time of day, which taught me very early on that music can accompany you through almost any situation in life and enhance the mood or experience. There is appropriate music for the full spectrum of human emotions and something for almost any moment. So, in the mornings with breakfast, usually classical works or even church choir. Afternoons were freestyle...rock, alternative, jazz, peruvian or andean music,...anything. A rainy day could be married to some solo piano or Philip Glass. When I first moved out to live with different family for a year I was surprised and confused that music was something they only occasionally listened to on weekends, or only in the car. Though I do love quiet at times, it still feels to me that a day spent without listening to music for most of it is somewhat of a waste.
As far as dance music is concerned, I slowly began to gravitate towards more electronic sounds in the early teenage years, via Massive Attack, The Prodigy, Moby, the usual late 90s suspects, and then began to discover DJing and club music, progressive trance, house, and the journey of exploration has continued for more than 15 years to where I am now. I started to DJ when I was 20, in my bedroom in Los Angeles, while going out to see Sasha & Digweed or Danny Howells with a fake ID. (you have to be 21 to go to nightclubs in the USA). I don't remember exactly when I decided I wanted to try and earn a living from it, I keep doing it because it's fun and the exploration of music never ends.
2.As being a Los Angelian, how it’s scene shaped your music? Tell as more about it’s underground scene, clubs, records shops, parties.
The scene in Los Angeles was rather exciting when I became a part of it in the late 2000's. It seemed like it had continuous potential to grow and flourish. Some good friends launched a label, Culprit, and we had some great intimate rooftop parties at the famous Standard hotel in LA where we invited a lot of great international guests, and had wild after parties which allowed me to DJ long sets in more intimate settings, often b2b with the guests we would invite. But with the economic crash of 2008 things changed somewhat, and this seemed to coincide with my own evolution towards music I was hearing in Europe and less in the USA. Around 2008 I heard a Rhadoo record for the first time and became interested in the Romanian scene, little by little. They still did not play in the US so much except a few small appearances on the east coast. I travelled all the way to New York once in 2011 to hear Petre Inspirescu do an open to close set in a loft in Brooklyn, which I still remember clearly. I knew this was the style and approach to dance music I loved the most. I began to order records from Europe to Los Angeles because a lot of the music I wanted to play was vinyl only and not carried by the few local record stores in LA. Everything I wanted had to be ordered from european shops or discogs. I never had the usual record store experience where the shop owner understands your taste and can suggest things, I'm super happy that I now have this in Berlin with black.round.twelve!
I think the best impact that coming up through the dance music scene in Los Angeles had on me was to give me a broader appreciation of dance music. We have quite good disco house and techno scenes, and I used to go see DJ Harvey's famed Sarcastic Disco nights in which he played open to close by himself which were extremely educating and also probably the most fun nights I had in a warehouse in LA. With Culprit we invited a range of artists for smaller, more intimate parties. Losoul, Craig Richards, Shaun Reeves, Dyed Soundorom, all played an important part in informing my taste and DJing in the earlier years.
3.You were travelling in Europe for a while. How was the experience in comparison with Los Angeles? What was the most exciting/craziest moment, people you met?
I have been traveling and living in Europe on and off since 2012. I spent 7 months in Berlin one year, did 3 months of summer in Ibiza two years ago, and now finally after so many long back and forth trips to Los Angeles I decided in February of this year to move permanently to Berlin. Most of my best friends live here, most of my musical connections are here, and I cherish the strong feeling of community I have with all the people I love here, mostly based around Club Der Visionaere, which is definitely my musical home in Berlin.
The parties you can experience here in Europe are unlike anything possible in Los Angeles, simply because of the restrictions we have to deal with in the US. I have had many special nights in Los Angeles, and some of my favorite party characters and friends live there, but there is simply a much higher degree of freedom in the night life in Europe and the party culture is much more advanced because of it.
4.You have shaped a really original sound, do you have any plans on making your own imprint as a label?
It has become kind of cliche now for everyone to have a label...there are so many new ones popping up in the shops every week, it's amazing. I would eventually like to start my own imprint, if nothing else for the freedom it brings to release whatever you really like, and those beautiful gems from certain friends that have not found a home. Right now I have no plans to do so and lack the financial means to start anyway. At the moment I'd like to concentrate more on making my own music and studio collaborations with friends.
5.Seen you play alongside some great names as Ryan Crosson, Rhadoo, Fuse guys. How did you guys meet?
After close to 10 years in this music with a bit of travel, an open mind, and (what I think is) a good sense of humor you can meet a lot of people and make some amazing friendships. I think it is actually one of the things I love most about DJing and music: the interesting and great people you meet along the way and lasting friendships that come from that. I have known the visionquest crew since around 2008 when they came to play in Los Angeles. Shaun Reeves, Ryan Crosson and I have now played a few times together at Club Der Visionaere and this always entails a few long b2b sessions, and since we've known each other for so long those are always welcome.
Meeting Rhadoo was a fluke occurrence while in Mexico for BPM festival in 2013. I was opening a very big stage around 10 in the morning for just the bar staff at a beach club, and he came with a few friends and asked if we could play some music together so we had our own little party for just us. I'm not sure why this happened but this moment changed the course of my life as I decided from then to follow more intensely the music I really love and push myself deeper into the craft. This also led to an invitation to play at Sunwaves which opened all kinds of new doors and opportunities for me in Europe.
6.You were playing during sunwaves festival this year. How was the experience? Was it the first time you performed there? Would you come back again?
The first time I performed at Sunwaves in 2013 I had no idea what it was really, apart from seeing a few short video clips on youtube and listening to a few sets. I was completely unprepared for what I stepped into, the party is intense and does not stop! It requires serious stamina and a bit of planning and calculated decision making to enjoy fully. It was a very eye opening experience for me the first time and I witnessed some magic moments. It was also probably the most nervous I was to play anywhere in my life. Happily, since then I have gained much more experience and confidence in those situations, and coming back to play this year after enjoying last year's edition was so much fun. Of course, still a bit nervous before playing, but if you can relax and focus on just DJing and the decks you have in front of you everything is fine in the end, and I was able to do that and really enjoyed it. I am so grateful for the invitation, and to play on that beautiful beach front stage on the opening night was very special. I will definitely be back for each may edition, because it's one of the best places to hear many of my favorites.
7.You seem to be working really closely to lessizmore and body parts labels. What triggered this relationship?
As usual, a consequence of making good friends who like your taste. I have never released a full EP of my own, and so remixes and single tracks on compilations have been my main output over the years, and both lessizmore and bodyparts were always interested in some of my music. I met Jessica from lessizmore in Mexico in 2012 and we have had a long friendship since then with many fun party adventures, and playing quite a few showcases for the label. I met Denis from BodyParts at my first sunwaves in 2013, and after a great time in Moscow at the old Arma together, another great friendship was born. I have many friends running cool labels and asking me for music, so now I just need to make more!
8.You obviously spend a lot of time in studio crafting your sound. Talk us through your favorite gear. What is your opinion on never ending discussion between analog vs digital?
Actually, I have not had my own studio in years, I have always had to rely on using spaces of friends and whatever gear they would have at the time. I use ableton live for almost everything, and though I have some favorite plugins, namely Trillian for bass, and a variety of reverbs and effects, I strongly prefer to source sounds from analog gear. I don't really care about the analog vs. digital debate because I have always been of the opinion that ideas and creativity are more important. However, to me it's a lot more fun to use actual stand-alone electronic instruments in the studio than do everything on a computer, and analog machines can have very unique characters that simply can't be replicated. Two synths I used a lot when I was working in Los Angeles were the Moog Voyager and Roland's classic and simple Juno-106. I also spend a lot of time working with samples. I have an extensive library of jazz and classical music recordings that I got from going through my father's massive CD collection. Almost all my tracks contain samples from acoustic music, but mostly used in ways that would make them indistinguishable from their original form, and many tracks contain samples from 5-6 completely different sources, working together. In absence of having a full studio with acoustic instruments and musicians to play them, I find this is my favorite way to bring some of that color and texture to the music I make, and also makes for happy accidents as you go along.
9.Aside DJ things, give us few highlights of the year, your favorite clubs and artists you enjoyed the most.
I had some great adventures in Romania this year, Sunwaves, playing at Guesthouse in Bucharest, and the wonderful 3 Smoked Olives festival down on the Danube in the summer. Two other parties stood out most for me. In Los Angeles, my friends at Cyclone, almost out of nowhere, began bringing some of my favorite DJs to LA and pushing the sound that I enjoy. For the first time in years I found myself able to comfortably play exactly what I wanted when doing opening sets for some of my favorite DJs, and people more receptive to this style than ever before. Cyclone has curated a great list of artists that were strangers to LA before, last year we had Rhadoo, Pedro, Nu Zau & Sepp, and this year we've seen a bunch of diverse names, among them Stefan Goldmann, Lamache, DJ Masda, Leo Leal, and Akufen. In February Herodot & Gescu visited us in LA also for Cyclone, and it was one of my favorite parties I've played in the city so far. It was also really fun to host artists that I really respect and are good friends and show them around my home city.
The second party I felt an instant bond with is in Prague, for my friends at Wildt. After over a month touring in the US and dealing with all the issues and different rules we face in America to have parties, like the overzealous and constantly intrusive security in clubs, I was excited to go back to Europe and feel free to have fun, to dance and enjoy music as long as I wanted to, and most of all be silly, and laugh and have fun in unconventional ways. Wildt is a small bar with a beautiful green, tree covered backyard patio in the center of Prague, owned and operated by some of my best friends. It is also bringing a bit different music to a city that isn't quite used to it yet, but with a strong group of friends and local DJs to support it. These kinds of new scenes surfacing are always fun and exciting! In July I played there with my good friend Audio Werner and we had a great time. Recently they hosted TC80, and also Timur Basha from Closer in Kiev. I am fully supportive of this lovely place and I will be some kind of resident next year most likely. Already planning another visit in November, each time is too much fun!
10.Thank you very much for creating mix for us. Top notch. How do prepare for a mix series? What’s your inspiration and ideas behind it?
For this mix, I was trying to record something for over a month in the summer during my tour in the USA. At each stop where someone had a nice DJ setup I would give it a try. I had only picked out the first two tracks, and from there each mix was kind of a different adventure, which is what I usually do. I don't like making studio DJ sets on the computer at all and I can't really plan beyond a couple tracks what I feel like playing, it's more interesting to just follow how you feel and your intuition. In the end I came home to Berlin and wasn't really happy with any of the recordings I made, but after further consideration, this mix, recorded at my lovely friend Paulo's place in San Diego on a cloudy afternoon, actually seems like a very good representation of my DJing right now. It goes from a bit more minimal, deeper sounds, to more house and breakbeats. A good encapsulation, in around an hour, of the music I'm playing these days. After testing it out in some chill afterparties with friends, I decided I could use it for Meoko. I'm glad you enjoyed it and hope others will too!
11.All in all, thank you for your time. Any last words for fans about exciting new releases, collaborations or dates you would like to share?
My Cyclone friends in LA are starting a vinyl label, (they already have one called KNIFE), it will be called Cyclone to go with the party series. The project has been in the works for a while but hopefully it will be up and running soon, and I believe I will be the 2nd release with my own EP. I also have some new podcasts to do, after a year with very few, one for Fasten Musique in Japan and one for my Bodyparts friends. It's difficult to find good places to record as I don't have my own setup and I'm still trying to find somewhere comfortable in Berlin. I have some nice dates coming up, Mioritmic Festival in Cluj October 5th-7th, Moscow at Rodnya on October 14th. Berlin with Round The Corner at Katerblau on Sunday the 15th. Then in early November, it will be lovely to return to Guesthouse in Bucharest! And as usual...I will continue my TrackOfTheDay routine on my facebook page where I share stuff I'm playing and enjoying, new and old. People seem to enjoy it a lot and I am always happy to share music I like in whatever way possible, that's what music is for!
Again thank you so much!
Thank you Meoko for documenting our dear little music scene!
Words by Matas Balta
Press shots by Marie Streikt & Karim Rosati
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We all love birthdays as it’s time for party and presents and we can’t ask for a better combo than our beloved 8th birthday of Half Baked. What a journey. This amazing brand has made its name across the world bringing unique vibe event after event making people smile for weeks afterwards. It is such a trustworthy name that not many has in a scene, when friends invite you to come to one of their events, you know it’s going to be a memorable one.
They are about to make a huge stamp in their journey by blowing away all their fan expectations. The line up speaks for itself to truly show what is this party is about since 2009 keeping it fresh at the same time. Action will take place on 25th November in yet mysterious 3 rooms east London venue, E1. Making you excited there?
Still keeping some names and special guests undercover, but what we know already is beyond exciting! You won’t see such names on the same bill around that’s for sure! Half Baked just making sure to have the party to top top level adding this guy – John Dimas. He does not need much of introduction as being one of the most wanted underground artists coming down to celebrate the birthday straight from having a massive blast this summer with Circoloco family in DC10 and all the best clubs around the globe.
Second name that got our attention is Francesco Del Garda. Absolute weapon from Italy that has everything under his belt to control the dancefloor to the fullest! His mixes which require a massive bag of skills and we are sure it will leave you impressed and wanting for more!
Coming next is Objekt. This guy does not put himself in sort of frame really. I think he describes himself best “adventures in machine music build to make subs rattle ad feet wiggle; a convoluted mess of elektrology and teknology, 3-step, bass-core, post windmill, proto-minimal wankstep, gondola, shithouse, acid wonk, ambient gabber, no more, no less.” That’s kinda it to know what to expect from this lad.
One name that always make an appearance is Perlon. Such a big love we have for it and in charge of that this time we have Sammy Dee rocking the decks. He made his name across the clubbing scene by having his own strong approach and eclectic taste in music and creating this magical experience that Half Baked is famous for. Then we have this French killer combo back - Hold Youth (Seuil b2b Le Loup) alongside exciting member of Toi Toi Musik collective – Lamache and as expected long term Half Baked soldier – Robin Ordell Aka Pap Inc getting your feet going for hours with those crazy French influenced house cuts.
What a birthday without an appearance of a long time Half Baked’s friend Mike Shannon? He is added to the bill too to make the night extra spicy. To add cherry on a cake we have b2b of Harry McCanna and Jake Hodkinson joining birthday again as well as OddMann to complete the event to the fullest. Lastly, recent hot name Lamache and a familiar face, Georgia Girl making her first Half Baked debut.
with Halfbak8d as the subject heading. Good luck!.
Treats for grabs:
1 - 2x Tickets for the the birthday
2 - 1x HB T-shirt (limited edition)
3 - HB Slipmats
4 - HB Earplugs
5 - HB010
6 - HB008
7 - 1x Original HB T-shirt
8 - 1x HB006
Happy birthday, Half Baked, thank you for all these memories and events you did so far and we can’t wait to see what the future brings.
Half Baked's 8 Years of Love Facebook Event
Half Baked's 8 Years of Love Tickets
Word by Matas Balta
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7 tracks listed below by Primărie will do all the talking;
1- [MLTV004] - Olivian Nour - Modul EP [Melotherapy Vinyl]
Olivian Nour comes forth with a great two track EP on his own imprint Melotheraphy Records, on vinyl only side of things, and with his own definition of groove, which was well adopted by DJs alike and people who are in for the bright side of vibes in order to have fun. Enjoy "modul" and "omaigod" this is one of the best material coming out from Olivian.
2- CTTV009 - Petar Milicevic - Cshi Tururuu - Complatt
One artist that is right there on getting himself out of the 'shadow' is Petar Milicevic, from Belgrade, Serbia. With many releases already, this is one of the vinyl only ones that represents him best and his abilities to make your mind blow and trip under dancing shoes and vibrating dancefloor.
3- PLZ026.1 - Sepp - Cantor Du Salon EP
Thank you dear brother Sepp for the love that you have for music and for releasing so much of it, basically at every good underground label there is out there. Cheers up for this guy who redifined house music in his own minimalistic way, whithout bounderis and always broadening our view about what house music really means! Enjoy the new Pleasure Zone release featuring Sepp.
4- PTX019 Vinyl Speed Adjust - "Technicolor" EP
Vinyl Speed Adjust trips back to Pressure Traxx Records with two cookies delivered from the romanian kicthen with their own detroit and housey feelings swinging in the back these release is all about smooth vibes and mindblowing minimal percusions to keep you in the jungle atmosphere for the groove.
5- [FNV001] B2 Triptil - To The Moon And Back [ Esimene EP ]
Talking about groove, Triptil is decided on this EP... it should be more about that. He goes over seas and high hills and comes on his own record label Feno Volana. With such a great release we are looking forward for more from this label and Triptil sound and friends, let's hope he will take us 'To The Moon And Back'!
6- Unknown Artist: Rise / Tryck // 2017
Here is another Unkown release that it's about the dancefloor and house minimal grooves. Here is to a new label called Trulyyours which we know nothing about :). So there is not much to say but to listen on this one... pure and uplifting vibes, warming our hearts and our mornings.
7- Unknown Artist - A [INTERP01]
Here is to a nice way to end this playlist with the Bside, which is all about cooling off and chilling out, great tune for when you're alone and crazy but till then A side it's a nice danceable 'Interpretation' of an old edit we love. Good one when there are new labels every new months, i will always see, let them surprise us by the 10th release.
With care and appreciation from P. with Love
Words by Dan Primaru
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In a fashionably different way, we're starting to see some previously unseen faces at Amsterdam Dance Event this year. Some much needed Romanian sound is coming to A'dam Toren, otherwise known as the Music Tower which turns yellow throughout the duration of the ADE week every year. On the panorama deck, at the 20th floor, Sunday night, in the club / restaurant known as Madam, Priku together with Arapu and London based East Eand Dubs will grace the floor with some groovy minimal beats.
Bulgarian born, Rotate artist, Laylla Dane will be warming up things for a night destined to end in the morning light. The trio has played together before and attendees are potentially preparing for some interesting b2b2b action. Doors open 23:00 and the lineup is stellar like the view, a great way to end ADE '17.
MEOKO have teamed up with Rotate and Bipolar offering an amazing prize for a reader to win;
- 2 tickets to this amazing gathering
- Rotate 003 Vinyl - Anestie Gomez & Denis Kaznacheev / The Wieferich Pair
- Motif 004 Vinyl- Priku & Arapu / Supermoon
- Understand Romania Vinyl- Arapu / Wasted Ego
with 'ADE17 Closing' as the subject heading. Good luck!
More Bipolar / Rotate - FACEBOOK EVENT
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New York City is a city rich in electronic music culture. Clubs like The Palladium, Limelight and Studio54 are proof of the fact, and despite the fact that all three are now gone, the scene in the city is as healthy as ever. Clubs such as Output are very much indicative of the fact, while DJs such as The Martinez Brothers continue to represent the city with assurance. Aside from the superstars though, there’s a healthy underground too, and it’s here where Alix Alvarez comes into play. The Queens native has produced music for some of house music’s biggest labels, with Dessous, Ovum, Innervisions and Rebirth among those who’s hosted his music. Alix recently contributed to Okain’s Talman Records label, as part of the Frenchman’s well-received Retro Future Chapter One’ release. His track, “No Chaser” was arguably the highlight of the package too, and with all this in mind we decided to catch up with him for a quick chat. He also supplied a mix for us too, which you’re sure to love. Without further ado, Mr. Alix Alvarez…
Hi Alix, thanks for taking the time to talk to us. Lets start by going back a bit. You grew up in NYC. How influential was the city on your musical tastes?
Growing up in NYC had a huge impact on my tastes. I was exposed to so much music at an early age. When I first started DJing I was buying Hip Hop, House & Techno because all of this music was getting played on the radio in NY all at the same time. By the time I started clubbing I started seeing how diverse and open minded the crowds were. You could go to different venues and hear different styles in one night. I was fortunate to come up on some iconic Dj’s in NY and theres a style which has stayed with me to this day when Im either in the studio or Im in the dj booth.
I’ve read conflicting reports about the scene in NYC right now. On the one hand, it looks healthy – there are loads of nights on. On the other, I’m being told that the bigger clubs are swallowing up the smaller promoters. Where do you stand on this?
There was a time where the NY scene seemed like it hit a dead end. A lot of it had to do with stupid outdated laws and areas where clubs once were started to get turned into condos. But NY slowly started to make a resurgence. A lot of it was in Brooklyn where a lot of dope parties & venues started popping up. Some of the best nights are happening in NY now. I try and support my friends’ events when I can and there’s definitely always good crowds attending them.
And are you still based in NYC? Would you ever consider moving to Europe?
Yes I live in Queens NY. I considered moving to Paris a long time ago. Then it was Barcelona. More recently it was Berlin. I moved to LA for about 5 years, which was great. As far as living in Europe it hasn’t happened yet but who knows.
When did you first come to Europe to play music? How do you feel it differs from playing in the US?
I started coming to Europe to play around 2004. There’s always been more support for the music there. Europe has so many options. In the US you’re hard pressed to find good venues in most cities. The main places to play in the US are NY, Chicago, LA, SF & Miami and you have a handful of good venues at that. Europe has more cities with venues and festivals that support the music.
What do you see as the future of electronic music? And do you think EDM has affected the underground in the US at all?
The mainstream EDM stuff doesn’t affect what goes on in the underground. I think the majority of people in the underground don’t pay attention to what goes on in that world of music. Out of sight out of mind.
You’re part of a recent VA on Okain’s Talman Records. How do you know Sam and what is it about his sound and style that made you thought it’d be a good place for your music?
I met Sammy (Okain) about 6 years ago at an Ovum party I played at ADE. We kept in touch since then via social media so we’ve been cool for a while. He approached me with the idea to be apart of the VA last year and included other friends (Paolo Rocco & Steven aintleaven) so I was glad to be apart of it.
Thanks for the mix by the way! What were you trying to convey with this mix? Or was it more a case of picking tracks as you go?
I’m just representing my tastes, the records and recent finds that I’m digging; so it was pretty simple for me.
Do you plan your sets then? Do you sees parallels between how you DJ and produce?
I never plan my sets. I have an idea about what I’m going to play but I just feel it out as far as what direction to go. I could get into many different moods during my set depending on where I’m playing. There are definite parallels to producing & Djing. It really comes down to style & taste. I make choices selecting music during a set almost the same way I make choices about what sounds to use in the studio.
What’s next for you that’s keeping you excited?
Im always searching for music or sounds to inspire me. It never ends. Theres a lot of great music out there. I’ve been doing this a while now but I always feel like I’m still learning & growing as I continue and that’s exciting for me.
P.S.:Alix Alvarez’s “No Chaser” is out now as part of ;Retro Future Chapter One’ on Okain’s Talman Records label
Words by Zac
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