Upcoming Events

Friday 31 Oct 14 Cutting Edge & Recipe Presents: HANNAHWEEN

-------------------------------------The Main Stage : Hosted by Cutting Edge & Our Headline Act & Friends ---------------------------------------------------Hannah Wants (Food Music / DirtyBird) DJ ZincPete Graham ( Food Music ) Luvstuff ( Get Twisted ) Toucán ( Cutting Edge Ldn)Jack Dee & Jake Walpole (OutOut)Deejay John Warren (HouseProud)-------------------------------------Mirror Arch Hosted By: OutOut Promotions / Recipe-------------------------------------The Mistaa (Entail Records)Jack Dee & Jake Walpole (OutOut)Kelvin MacKenzieJafebePaul Holmes & AlfonsoJohn MillsArea 8Tooalike-----------------------------------------Protocol Hosted by: Recipe-------------------------------------Deceptive (GetTwisted / Cutting Edge)Deeper Purpose DJ Cali & Don Major (CuttingEdge)Rob BurdenRoss RobertsAfter our Crazy 16hr Beach party we are back with another Huge Event!! - Halloween Special -Proud To Announce that we are Hosting a party for Hannah Wants & Friends so look no Further This Halloween!! '' HANNAHWEEN ''This time round we Have 2 Contrasting Main Rooms with Deep House / Bass / Garage in one & Dirty Ibiza Underground Tech in the other!! This Event caters for all Ravers!We are Teaming up with Recipe & OutOut to make this Halloween Party Special!!

Friday 31 Oct 14 Mad Dog Mcrea - The Longer Road Tour at Frog and Fiddle

Mad Dog Mcrea raise hands, lift feet and start parties wherever they play with their spellbinding recipe of folk, pop, rock, jazz, bluegrass and 'shake your ass' music. From self-penned songs of adventure, drinking, love and life, to traditional songs of gypsies, fairies, legless pirates and black flies.MAD DOG DEMAND YOU TO DANCE…whisking up whistles, fiddles and banjos to collide in a spectacular explosion of infectious mayhem.In constant demand and having played just about every festival and two-bit, jibe-arsed dive in Christendom, Mad Dog Mcrea return to tour the UK this autumn on their Longer Road Tour 2014.'It's always a joy to me when something jumps up and smacks you between the eyes - Mad Dog Mcrea did that to me' - MIKE HARDING'This is rowdy, heartfelt, room shaking, spirit-stirring musicthat only the dead can’t enjoy.' - LTDSTATE.COM'A sound mixed, mashed and finely honed throughyears of live gigs' - ROCK ‘N REEL MAGAZINEOn Friday October 31, 2014 at 8:00 pm (ends Friday October 31, 2014 at 11:45 pm)URL:Tickets: http://atnd.it/15550-0Artists: Mad Dog Mcrea

Friday 31 Oct 14 FREQ’SHOW feat 2MANYDJS, HOT CHIP, DOORLY, SANTĖ

BUY TICKETS: https://tickets.eventclique.com/whatthefreq/Online/default.asp FEATURING:  2MANYDJS (BE) [DJ SET]  HOT CHIP [DJ SET]  DOORLY (UK)  SANTE (DE)  SUPPORTED BY: ALDRIN (SG) INDIEGO (MY) LADYFLIC (NZ/BALI) ZIG ZACH (SG) vs OLIVER OSBORNE (SG/UK)  TICKETS: General Admission: S$108 General Admission 2-Days : S$188 General Admission at the door: S$128 Tickets on Sale Now:  www.whatthefreq.com VIP table reservations:  This email address is being protected from spambots. You need JavaScript enabled to view it. WHAT THE FREQ IS THIS? The freqs are coming to town… Come on in to Singapore’s first and only music festival freakshow getting your spirits pumping every Halloween!  Across two thrilling days, Freqshow on Day 1 and Asia’s premier launch of the audiovisual spectacular, Mekanika by Godskitchen on Day 2 will make it an apocalypse to remember.  Featuring global acts hot off the biggest international stages covering electro, trance, house, techno and everything in between. Plus over 20 live performers and dancers and many many more from Taiwan, Singapore and Malaysia!   More Info: Website Facebook Instagram

Saturday 01 Nov 14 secretsundaze Halloween Dead Famous: Rolando / Funkineven / Romare - Live / James Priestley & Giles Smith

Original East London party collective secretsundaze are proud to reveal details of their 2014 Halloween Party. After a good run, the Asylum theme of previous years is making way for an exciting new theme: Dead Famous. Think deceased artisocrats, artists, politicians and notorious movie stars from bygone eras. As with last year the party will take place at the fantastic Oval Space, a venue that the secretsundaze crew have grown close to over the last 2 years having teamed up for an ongoing collaboration with Oval Space Music, and one whose blank canvas provides the perfect backdrop for the Dead Famous production. Headlining the party is the mighty Rolando. This will be his third appearance at secretsundaze and anyone that saw him play at the opening party on the terrace at Studio 338 in May will know why they’ve booked him again. Originating from Detroit, Rolando was originally linked to the hallowed UR camp through his huge hit ‘Knights of The Jaguar’ and also his amazing output as one half of Los Hermanos. Rolando has continued to find new fans through his work with both Berghain as a regular guest and releasing on their label Ostgut Ton. This year he launched his new label simply entitled Roland Rocha Recordings or R3. His DJing is quite exceptional, high energy but always with plenty of funk and impeccable mixing skills. Joining him is none other than London based force of nature Funkineven. Funkineven has taken the world by storm with his raw, groovin and playful tracks. He of course collaborates with the equally talented Kyle Hall to form duo Funkinevil who both play and produce together. His new label Apron has turned heads releasing some dope ass shit from the likes of Seven Davis JR, Greg Beato and of Funkineven himself. The third and final guest for this occasion is Romare – Live. Off the back of a couple of very well received EPs, the young Romare has already earned himself a loyal following, regularly DJing with some of the leading left-of-centre artists both here and abroad. Inspired by the American collage artist Romare Bearden, his music draws influence from the traditional rhythms of Africa with the contemporary tempos of footwork and house. With his debut LP due to drop around the time of the party on Ninja Tune, this will be the London debut of his all new live show.

MEOKO Press

MEOKO winter internship 2014

MEOKO is a forward thinking and creative lifestyle brand, with a primary focus on the global underground electronic music and events scenes; passionate about promotion and high quality event services. MEOKO Ltd, the event and promo agency, offers event and physical/online promotional services to a strong network of London and the UK’s best promoters, artists, record labels, clubs/bars, PR agencies, artist agencies, management companies, festivals and charities. Beyond music, MEOKO opens up its interests to culture, art, fashion and food… Some of our clients have included fabric, We Are FSTVL, Sonus Festival, Lovebox, SW4, Sunwaves14, Street Feast, Kerb Food, LWE, Egg, Fire, WYS, Spilt Milk, Oval Space, Found, DJ Mag, Firefly International, Camden Lock Brewery and Westminster City Council to name just a few. As well as promotion, MEOKO is passionate about top-quality journalism and regularly hosts reviews, interviews and features on its website written by some of London’s finest journalists. We are currently looking for two hard-working, passionate individuals who have a strong knowledge of electronic music and are organised and reliable. We are willing to take on board a Graphic Design Intern and an Editorial Intern. Both positions represents a great opportunity for whoever is interested in pursuing a career in music or events industry. During this internship you will able to network with promoters, artists, agencies, labels, press agencies, festivals, designers and so on. You will get a very close look inside the industry across many different sectors. Moreover, you will be able to build a professional  portfolio, by being actively involved with all MEOKO Projects and by producing features/designs on a daily basis. OVERLOOK You should share an interest in electronic music and promotion as well as holding either a PR/Journalism degree or a Design/Creative background. Any extra skill will be a bonus. He or she must have excellent people skills, be creative, be able to communicate well as an individual or part of a team. This is a hands -on roll so please only apply if you feel you have what it takes to work as part of an extremely busy, sometimes stressful yet very exciting environment. The successful candidates will be supporting the team and be an effective and trusted interface for MEOKO, providing a point of contact for external collaborations and enquiries. EDITORIAL INTERN – press & social media  Main Duties will include but not be limited to:          writing features and news pieces          writing events and albums previews/reviews          writing mix descriptions          contributing to the daily running of the magazine          managing and maintaining websites contents          contacting Dj's, producers and record labels (client liaisons)          managing social media (Facebook, Twitter, Instagram)          managing MEOKO Soundcloud page          copy editing texts          contributing to MEOKO series (e.g. Music Through Pictures, Sound of the City, Not so Serious)          organizing and writing interviews          listing hottest London's event by week          admin duties Requirements:          applicants must be educated to degree level in a relevant subject or have equivalent professional experience          must be able to work efficiently in a fast pace environment          being a great team player as well as being able to work on own initiative          excellent English skills, both verbal and written          must be computer literate (word, photoshop or gimp)          good presentation skills, in writing and person          must have enhanced multi-tasking skills, be able to work in fast-paced, sometimes stressful environment          have an eye for details          excellent organizational skills and the ability to cope with a demanding workload          self-motivated, friendly and positive          social media literate          enhanced research skills          be able to work on close deadlines GRAPHIC DESIGN INTERN Main Duties will include but not be limited to:          creating banners and designs of different natures for MEOKO          contributing to the daily running of the magazine          managing and maintaining websites contents          uploading contents on the website          occasionally help with social media (Facebook, Twitter, Instagram)          looking for interesting pictures/videos to publish on social media or to work with          helping with MEOKO series (e.g. Music Through Pictures, Sound of the City, Not so Serious)          admin duties Requirements:          applicants must be educated to degree level in a relevant subject or have equivalent professional experience          proficiency in Photoshop (or Gimp)          being IT literate          must be able to work efficiently in a fast pace environment          being a great team player as well as being able to work on own initiative          excellent English skills, both verbal and written          good presentation skills, in writing and person          must have enhanced multi-tasking skills, be able to work in fast-paced, sometimes stressful environment and respect deadlines          have an eye for details          excellent organizational skills and the ability to cope with a demanding workload          self-motivated, friendly and positive          social media literate MEOKO is looking for creative individuals to come up with always new and interesting ideas. If you have a good idea, we are more then happy to have you realizing it! Successful candidates must own their own laptop and be able to work at least 4 days a week, from 10 to 6 over 4 months. Travel expenses will be covered. To apply for the internships, please send to  \n This email address is being protected from spambots. You need JavaScript enabled to view it.  CV and covering letter, explaining why you would like to work for MEOKO, what you will bring to the position and listing  your three favourite artists and three favourite labels. Please write 'MEOKO Winter Internship 2014 – editorial' or 'MEOKO Winter Internship 2014 – graphic design' in the subject case.

Come along to the vampire nightclub - Halloween Weekend Round Up

In the world of dance music it doesn’t take much to turn an innocent calendar event into a full on excuse to party, and although no bank holiday lies upon Halloween, the chance to dress up and really push the phrase ‘Vampire Nightclub’ to it’s limits is enough to result in a whole host of quality parties throughout the city. Here at MEOKO we take you through our top picks of where to sell your souls this October 31st and beyond. Friday Oval Space Music x Halloween Special @ Oval Space Octave One (live), Cosmin TRG, Answer Code Request, Vakula Expect a doomsday techno storm from this no frills event at Oval Space, with a live set from Octave One it is sure to satisfy even the most blood thirsty of hardware heads.   Butter Side Up London Launch Party @ Bar A Bar Eric Cloutier, Jane Fitz, Hamish Cole, Hugh Bailey, Jonny Sleight, Ciaran Hansen What a night to welcome the Leeds based party to London soil. You may enter a fresh faced punter, but after grooving to killer beats from some serious selectors, all sense of life will be left outside as the basement is sure to be filled with disco zombies, set on feeding off the best raw cuts. Saturday Found Horror Series @ Building Six Maya Jane Coles, Ellen Allien, Joyce Muniz, Alex Arnout, Rob Shields, Brendan Long, The Menendez Brothers, Anna Wall, Wax Wings, Etch A last minute move to new venue Building Six ensures that the party can keep on going until 6am this Saturday, and with a line up like this it would be a sin to cut short anyone’s set times to fit in with licencing laws. Art of Dark Haunted Halloween Special @ iCAN studios Praslesh (Raresh & Praslea), Colin Chiddle Art of Dark are welcoming in their first ever Halloween shindig in style at Ican studios, utilising both spaces one warehouse will be dancefloor, whilst the other will be transformed into a haunted house, for all your mid disco exploration needs. Solo Danza Halloween fancy dress party @ 13-16 Allhallows Lane Robert Dietz, Tobi Neumann, Dennis Christopher, Joseph Williams Solo Danza and Halloween have long become synonymous with each other and this year proves to be no different with tickets proving to be like gold dust.  As the name suggests, fancy dress is highly encouraged to provide the ghastly backdrop to the blend of sinister beats provided by the handpicked line up. Secretsundaze, Dead Famous Halloween party @ Oval Space DJ Rolando, FunkinEven, Romare (live), Giles Smith, James Priestley The doors on the ‘Asylum’ theme are closed, making way for a fresh new dress code for the 2014 Secretsundaze Halloween do. At ‘Dead Famous’ you can expect to see a disco bloodbath of celebrities who have passed, reunited to worship the sounds of electronic music. Join them if you dare… Hølic {¿Who ya Gonna call?}  @ The Yard Tomoki Tamura, DANNY b2b ALI MCDOLPHIN, TEMMA-Teje, Lookleft b2b SIMON PITT The Holic ghostbusters are here to drown out the sounds that go bump in the night with beats that go boom. A sure fire good time all in an appropriately freaky spirit. Sunday Fuse Halloween Rave @ Village Underground Nastia, Seb Zito, Rich NxT, Rossko, Luke Miskelly Maybe it’s to do with the fittingly dark and dubby sound always provided; Fuse Halloween parties are beginning to hold quite a reputation amongst the London fright pack. Natsia will be making her Fuse debut this Sunday, playing hypnotic rhythms to keep the dance floor zombies going throughout the night.   For more MEOKO Facebook Twitter Soundcloud

Cocoon lands in London

  Cocoon London  22/11/14 Building Six Line-up: Sven Vath, Steve Bug, Popof, Christian Burkhardt (live) It is testament to the quality of the brand and its longevity that Cocoon remains one of the most recognised names in techno. So much more than a name, Sven Vath has constantly pushed the Cocoon brand with the same innovation and determination since the beginning, to point where it has become a clubbing institution above all else. Synonymous with quality techno, people know what they are getting when they attend a Cocoon party be it Cocoon in the Park or their longstanding nights in Ibiza.     The recently turned 50 year-old Papa Sven and his cohort of heavyweights land in London on 22 November to play the large warehouse space of Building Six in Greenwich. At his current milestone age, it remains a wonder how he is still standing strong at the top of the game. Steve Bug is a respected label owner in his own right with his Poker Flat Recordings gaining acclaim from established DJs around the circuit. The electronic music ambassador’s label is celebrating 15 years of existence and did so in style this year at ADE. Popof made a name for himself in the Parisian rave scene, but today his sound leans towards minimal techno having joined Cocoon in 2011. Sven’s compatriot and Cocoon resident favourite Christian Burkhardt brings his genre-bending live show to the fray calling upon many years of music production experience. As mentioned before though, electronic music lovers sure know what to expect when it comes to a Cocoon party.     Tickets can be bought here.     By Geoffrey Chang     More MEOKO Find us on Facebook Find us on Twitter Find us on Soundcloud  

Ron Trent In-Store @ Phonica Records

In store gigs are always good fun, from the guest DJ who gets to play at an intimate space surrounded by some of his/her favourite records, and from fans who get to browse through these records while listening to one of their favourite DJs. Next friday we see Need2Soul's Ron Trent taking over Soho by playing in one of the capital’s most respected, if not best electronic music record stores. Yep that’s right, it’s good old Phonica!     Phonica has become an institution and holds a special place within the electronic music community in London and around the world. Holding an impressive catalogue of the latest and hottest wax, DJs and dance music fans can be seen flocking to the humble store as they race to get the latest copies of records they have been eagerly waiting to be released. Phonica from time to time, also houses in store gigs from the creme de la creme of all sub genres of electronic music, to the delight of dance music fans. In store gigs have included a wide spectrum of DJs from Four-Tet to Maceo Plex.    Ardent record collectors during their post work in store browse through will get a lovely treat as US House veteran Ron Trent will be spinning some records on Friday, 7th of November, starting at 7:30pm.    Ron Trent, as Phonica mentioned, is “a Need2Soul hero” . He was crowned a Chicago house legend when he first released 90s classic ‘Altered States’ (released in 1990). He showcases his own deep house sounds via his own label, Prescriptive Records.    Ron Trent’s in store will be just a taste of his all night long gig at Plan B, Brixton the next night, on Saturday 8th of November. 

ADE Review

  Amsterdam Dance Event  The annual Amsterdam Dance Event (ADE) is one of dance music's meeting points in Europe and its 19th edition lived up to its reputation. ADE is so much more than another electronic music festival, it's both a conference and a festival. ADE is also a melting pot of artists, managers, labels, journalists and all kinds of industry representatives, coming from the four corners of the world. It's an opportunity to learn from the business's A-list names, to network and to have fun. Unlike most festivals, which take place at a single venue, ADE turns the whole city of Amsterdam into a festival, as almost all of its clubs and bars are part of the festival programme. The festival, which by the way is widely promoted by the Amsterdam municipality, attracted a total of 350,000 visitors this year. ADE's conference programme was attended by 5,200 professionals, whereas the Playground's attendance numbers hit 15,000. Over 2000 artists played at 400 events dotted around the cities 80 venues, during the five days of ADE.     ADE Pro, comprising the professional part of the festival programme, was hosted at several locations throughout Amsterdam, with its epicentre at the monumental Felix Meritis building in downtown Amsterdam. The conference panels included Q&A sessions with DJs and producers, panels with important industry figures and discussions on a broad range of topics like events organisation, music management and music journalism.   The Conference The best part of Thursday's conference agenda was Seth Troxler's speech. The eccentric DJ has never hidden his thoughts on the state of dance music. Recently, he has expressed his opinion in a thorough feature on Thump, emphasising the abundance of parties and festivals weighs on the quality side of the scene. He wrote that EDM has bred a generation of festival-goers who lack any understanding of club culture. Cool as always, Troxler set foot in the Felix Meritis building sporting a noir et blanc suit. You might have expected him to talk some more about the war between the underground and the mainstream. On the contrary, the Detroit-born and raised artist was very positive, emphasising the strength and the future of underground music. In Seth's eyes, the underground is stronger than ever. It is some kids listening to music we have never heard of in their basement, forging dance music's future without even knowing it. The US DJ didn't miss the opportunity to talk about media's responsibility when writing about music, because of its influence over young kids. As candid as he is, Troxler found the time to talk about equality. We’re different, but we're all the same”, the DJ said. When asked about the polarised paradigm between the commercial and the underground, Troxler said that the two scenes could coexist, but that they are fundamentally different. He concluded that the underground has always been a means to differentiate yourself; it is more of a culture, than just a business.     On Friday it was hard to decide which panel to attend such was the strength of the programme. The speakers ranged from Live Nation's James Barton, to Trouw's Olaf Boswijk and Monsieur Laurent Garnier himself. The most interesting panel, in my opinion, was the talk entitled “Brave New World of Dance Music Journalism”. The distinguished speakers included Mixmag's editor in chief Nick DeCosemo, Reddit's Rafael Weiss, XLR8R's Shawn Reynaldo and Thump's Zel McCarthy. The discussion looked to explore the troubles of print media, freedom of speech struggles and the quality of music writing. As print media has been declared if not dead, than at least not the most successful business model in any media nowadays, the media gurus talked about the importance of offering other things to your readers, such as web features, events, video, live streaming, exclusive downloads and podcasts. Still, artists want to see their interview in the print edition, because it's a tangible thing, says Nick. The editors in chief agreed that electronic music media should report controversies, instead of provoking them, when referring to the so-called “Bathgate” – the enormous media attention to Nina Kraviz's bubble bath interview for Resident Advisor. Another opinion the media heads all confirmed is that the quality of music writing has definitely declined, due to the fact that music journalism does not always pay the bills and most media hire interns to do real journalism work for free or for very limited cash. The music journalism experts also shared their experience in dealing with management frustration over critical editorial they had done for certain artists and concluded that this was part of the job.   The Festival The clubbing experience at ADE kicked off on Thursday with DGTL presents: Life and Death - an event hosted at a warehouse club in the north part of Amsterdam dubbed Scheepsbouwloods. The line-up of this rave was amazing – Tale of Us, DJ Harvey and DJ Tennis. On the downside, Scheepsbouwloods is located in the northern part of the city, which makes it reachable only by car or by ferry. Nevertheless, the venue is so underground and industrial, it makes the entire experience even more enjoyable. Tale of Us were the main act on the line-up and they did not disappoint. On the contrary, they played just what you would expect to hear from them at such an event. Their trippy atmospheric techno was the perfect soundtrack to this obscure location. At the same time in the other room DJ Harvey was enchanting the ravers with his groovy disco set.     Friday was the most interesting night in terms of events. At festivals such as ADE or Sonar, you have to make tough choices as to what to see and what to miss. Maceo Plex and Danny Daze's gig at the marvellous Koncertgebouw concert was one of the best parties at the entire festival. It was not just about the killer line-up though. The eclectic location turned the entire event into an exciting amalgamation of classical music and techno, thus turning it into a completely different experience. What is more, the crowd were very cool underground people, no teens and definitely no EDM kids. The vibe was intoxicating, as the techno sounds mixed with the amazing interior of the hall. Can you imagine watching Maceo Plex play his sexy beats in the dark hall, right in front of a huge classical music organ? The view is indeed overwhelming. There was even a second room, where the music was more on the house side, thus allowing clubbers to take a breath of fresh air after having danced for hours to the raw techno in the main room. Another interesting event on Friday’s agenda was Defected in the House’s party at club AIR, with the live performance of Hercules and Love Affair being the highlight of the evening. In addition to the infamous band, the line-up featured also the likes of Noir, Sonny Fodera and Oliver $. Hercules and Love Affair played their new album Feast of the Broken Heart, along with songs from their previous two LPs. Their performance was so blissful, as the angelic voice of Gustav mixed with the husky voice of Rouge Mary. In AIR’s small room, Sonny Fodera was playing fine house music that could make anybody dance. This was a great chance to hear high quality house music at a festival so dominated by techno.     Seth Troxler's Big Tittie Surprise party on Saturday at Roest was probably the best event all together, not only because of the smashing line-up, but also because of the wonderful work the organisers had done to the place. Right at the entrance there was a huge inflatable vagina. You could actually get inside the inflatable body part. Moreover, a guy wearing a dolphin mask and fake boobs was hanging out in front of it, luring festival-goers to take pictures with him. As tacky as it may sound there was a karaoke booth, playing mostly cheesy pop songs, from Britney Spears to Robbie Williams. Next to it, there was a sauna cabin and surprisingly, another party was going on inside. The walls in the main room were decorated with sex dolls and planet models were hanging out of the ceiling. The DJ booth was located between a pair of female legs -that were wide spread and gigantic. The party started with Jackmaster's heart-stopping set, and that was one of the evening’s highlights. After Jackmaster, Seth Troxler himself stepped behind the decks sporting a blond wig and a crop top. Listening to his mixes is always a pleasure, as they are never alike. You never know what he will play and that is what makes it fun. After Troxler, the legend Kerri Chandler took over. It goes without saying that he delivered. ADE is one of the very few festivals in Europe that offer a clubbing experience to festival-goers. That is a big plus because it turns ADE into a completely different experience. It’s a mixture of club and festival culture. Nevertheless, ADE is also a festival that offers both mainstream acts and underground avant-garde, but located at different venues. ADE is the perfect hybrid between the intimacy of a dark nightclub and the abundance of a big outdoor festival.     By Mira Karadjova     More MEOKO Find us on Facebook Find us on Twitter Find us on Soundcloud    

Simple Things Festival 2014 - Tip Out West

  Wandering down the cobbled Christmas Steps to collect our wristbands from Crack Magazine's recent property investment the Christmas Steps Pub, recognisable faces from the local scene swarmed and it became apparent that everyone was buzzing with excitement after last year's mighty success. Creating an event that runs across a city can be problematic when trying to create continuity and maintain the atmosphere over distanced areas, but the organisers at Simple Things are an impressive bunch when it comes to artist placement and spreading crowds efficiently.   Shapes Courtyard If you have not had the pleasure of visiting Bristol's Island Complex, which holds some of the cities most intriguing yet anonymous party spaces, from an abandoned jury court, an underground passage filled with old prison cells, to an old fire station and an open courtyard area, then a visit must be placed as top priority for future.     This year it was only the courtyard and fire station in operation, but the two areas were used fantastically as expected. Between the two open spaces stood the local food vendor and renowned popular establishment of Stokes Croft, Biblos, with their delicious wraps for that much needed energy resurgence between acts on what was another rainy day in Bristol. You can find them opposite Turbo Island just down from Idle Hands, Bristol's flagship record store also home to local experimental and stripped back house label Brstl, and the recently created Elevator Sound ran by Marco Bernardi as the town's first second hand store for hardware, drum machines, synthesizers and more synthesizers. DJ October provided the afternoon's slammers for those who had made it down before the evening to get some hands in the air under the smoke-filled canopy of the Shapes area. This year things kicked of a little later as the festival organisers managed to gain a late license for more of the venues, which was a necessary change after last year seemed short-lived as people were left wanting more at midnight.     DVS1 followed this set with a few hours of nostalgic acid house and techno that brought back many memories from way back when. In keeping with Shapes ethos, the courtyard was packed out with ears who were there for nothing but a dance. Despite the fantastic party driven music prepping the mood for the night ahead, the atmosphere must also be credited to the Shapes guy's flawless venue curation and attention to detail, backed by the creative bunch James, Femi, Simon, Tom and the two Ollies - a real squad. Again the open roof courtyard space left its impression on the crowd, dazzlingly filled with décor, greenery, smoke machines, bubbles and upside down swinging mannequin heads used as plant pots. Big love to Shapes for their consistently well constructed parties – watch out for their annual Haunted Halloween Event - The Chapel of Lost Souls, next weekend in what will surely be a hidden gem of a venue and another unmissable party - Serious guys who continue to impress.   Colston Hall Colston Hall, based in the centre of town, is a truly special venue when it comes to hosting mammoth acts, special live performances and all things entertaining all the way from food festivals to TED lectures. An ampitheatere designed for high calibre acts like Nightmares On Wax with a perfectly positioned weighty sound system hanging from the ceiling of the magnificently grand venue.   N.O.W took to stage and proceeded to roll through a selection of their sounds dated back to 1991 in a gripping live performance that sat close to the hearts of those who had found inspiration from the musically diverse group over the past decade or so. Led by the UK legend DJ EZ, the group can be appreciated by heads in all spectrums of music as they demonstrated how sounds and styles in music have progressed from their stripped back originality across genres all the way to today's prominent trends in House and Techno.     RBMA Firestation Hosted by Red Bulls Music Academy, the abandoned Fire Station held most of the festivals House music with the schedule hosting the likes of DJ Nature and the legend that is DJ Harvey for the closing of the event in the early hours. Before that Seven Davis Jnr. took to stage in a much anticipated appearance that had the room packed out as listeners prepared for a combination of live vocal elegance over 120 sounds that have deservedly gained momentum in appreciation with such a refreshing style.  One of Futureboogie's most interesting additions to their label roster – Seven has created a completely different approach to music, utilizing his vocal talent and passion in cosmic sounds. A sophisticated style, used in a more leisurely manor by the likes of Galcher Lustwerk, but now turned to dance floor orientation. In a sentence – fresh, sexy house music, with disjointed breaks and claps playing on the off beat, partnered with those off beat kicks in which Bristol has grown its signature sound. A truly refreshing talent raised in California that has turned heads since his first independent release just two years ago.     Following in style, Futureboogie label owners and DJs took to the 1s and 2s for an impressive set of carefully selected Bristol sounds. The label who played a huge role in paving the way for the local dance scene, and inspired the likes of many smaller labels to pursue their dreams in creating a succesful musical venture, set the tone for the night ahead. The well experienced duo pulled the crowd into a party mood with some galactic 120 grooves.    Coroners Court with STUDIO89  Walking down through Nelson Street, home to annual street art festival See No Evil, we strolled towards Stokes Croft where the festival continued. Down through the Bear Pit - what is often labelled the hub of Bristol and its creativity - we appapproached the mega club that is Lakota, which holds 6 rooms of music along with a large garden, more often than not host to various events in any genre from Dub, DnB, Side Trance to Techno. The main room held L.I.E.S. records for an array of industrialised techno with an appearance from the legendary Ron Morelli known for his vast knowledge in both Jazz and Soul, but when it comes to a party he shows no mercy. Room 3 held Stamp The Wax, the local blog and party collective who have grown a loyal crowd in Bristol with their fun natured events, laid back crowd, and party set bookings - their next event will see Glenn Astro take to the Wilder Studios another hidden gem of a venue. On this evening they were blessed by an appearance from Damiano Von Erckert for a lovely set, soon to be joined by his pal Max Graef for a B2B session. Delightful house music.   Tucked behind the super venue is one of Bristol's gems, The Coroners Court. The guys from Studio 89, Cardiff, hosted the main room - a stripped back space with a European feel, partnered with a fantastic line up perfect to close the festival. If you hadn’t heard of this party collective, who are known to have more Disco Balls than sense when it comes to décor – they are a team that know exactly how to get things moving in style.      Owain K – The Cardiff based dj, born and bred in Bristol, with releases on the likes of Tsuba and Dessous recordings to name a few opened things up. The UK maestro knows how to kick things off when it comes to crowd pleasing groovy D-floor numbers and truly defined dance music. With a fantastic appreciation for 90’s House and Disco, these influences shined through in his personality when compiling a hip-shaking set to his local crowd. Owain opened the Studio89 room fantastically with some appropriately salacious house music before the entrance of much anticipated and sought after German producer and all round music head Max Graef.     Box Aus Holz label owner and member had suitably packed a considerable selection of records for the Coroner's audience who were expecting big things from House crossed Jazz - Hip Hop eclectically influenced Dj. Since his dramatic career explosion just a few years ago, he has since gained some of the the most credible feedback as a producer from artists and crowds across the globe. With his latest LP "Rivers Of The Red Planet" showcasing both his interest and ability to compile plastic hip hop with jazz and 120 rhythyms, a diverse set was to be expected. A varied approach ending on a down tempo Jazz Bar feeling pulled into silence was perfect as we all prepared for the pick of the evening, DJ Sprinkles, who would soon set the bar for quality at the festival.   DJ Sprinkles enters. Without a doubt our MEOKO TIP performance of the entire event. One of the most mesmerising sets from the whole festival from the U.S.A. based Dj and producer whose appreciation in percussive grooves runs deeper than most. Keys that grab the crowd into motion with subtle tweaks slowly adjusting the mood. An absolute honour to be present for such a transfixing and well created set that left a real autumnal feeling in the lofty room of Coroners Court -  A stripped back warehouse space that isn’t used enough for what it deserves received exactly what we and the organisers would have hoped for.     Sprinkles, or Terre, was left running through a number of her album tracks with a selection of tools and tips gently brushed in and out of 8-12 minute interludes of building harmonies layered seamlessly. An inspiration to those with appreciation for the incredible technical precision necessary when it comes to holding a crowd over long periods of time effortlessly, using an effects pad and filters continuously throughout. Hands down magic and a lesson to all as the definition of deep house. No words, simply technical brilliance. Studio 89 DJs – closed things down in style as dancers were left somewhat bemused by their watches as the clocks jumped back to Winter mode and we gained an extra hour to sway about. Confused faces of security members spread around as the music did not stop. Hats off to the guys from across the bridge who have created a serious reputation for their impeccable line up selections and commitment to well organised personable parties for the crowds they desire.      Another fantastically organized festival from the Simple Things Team, who so carefully position artists across venues in various styles to create a well spread audience throughout the town with no real clash of interest. For those who have not attended, 2015 BRISTOL TIP.    The next Simple Things Festival will take place in Glasgow - Scotland 1/11/14 - Check it out HERE. Bristol people, until next year.   MEOKO REVIEW: 4/5 Good Crowd Great Venues Good Staff and Security Well Organised & Great Music     By Ell Weston   More MEOKO Facebook Soundcloud Twitter  

From Leeds to London: Butter Side Up land in the capital city on fright night

On October 31st this year we won’t only be hearing the cry of ‘trick or treat’ throughout the city, but we will also be hearing the rumbling bass lines and groovy melodies of a new party coming to town – Butter Side Up is coming to Stoke Newington’s Bar A Bar, marking the start of the Yorkshire based party’s venture into east London territory. Kicking off straight away with two heavyweight stalwarts of the scene, Eric Cloutier and Jane Fitz make sure that you’d be silly to miss out on a night that ensures quality over anything. Here at MEOKO, our Stoke Newington offices are only over the road from where proceedings will be happening, so we had a talk to our new neighbours to welcome them to the area and show you guys what they are all about.     Where did the name ‘Butter Side Up’ come from and how did the lucky landing parties begin? Hamish: Hugh takes the credit for this, so I will leave this to you mate… Hugh: I came up with name for a uni project initially, when we first started chatting about putting a night on I suggested the name and it just seemed right. It was all quite natural for finding a venue initially, as we never intended to make bookings we just both wanted to play a bit more, we were just looking for small quirky venues in Hyde Park area of Leeds.   Festival seasons past have seen you throwing shapes in various locations all over from Gottwood in Wales to Unknown in Croatia, but when you’re back on home ground we could often find you in Leeds…until now! How long have you been running nights for in Leeds and what made you decide to make the move in London? Hugh: We’ve been running nights in Leeds for just over 4 years now, seems crazy that it’s been that long looking back on it, still seems like yesterday haha! We’ve both talked about doing something in London for a while now, seems like the sort of choice we were making in Leeds 4 years ago, we both have a lot of friends down in London and really wanted to bring what we are doing in Leeds to a new crowd as well as our friends who have moved on to pastures new! Hamish: Yeah, we’ve had an amazing summer of gigs as well. We were very lucky to be able to have the opportunity to play at such great festivals. We have been at Gottwood & Unknown Festival for the past 2 years and they are both amazing in their own way. Look forward to returning to them both next year!     Will you keep on holding parties in Leeds or is this goodbye for now? Hamish: This is no way a goodbye in Leeds, we have no plans to finish up in Leeds for the time being. It took us a good couple of years to get to where we are now, so plan on cherishing this for as long as we can. Hugh: I don’t think I could ever say goodbye to Leeds really. We’ve been so lucky to find a home at Wire, anyone who hasn’t been before should take a trip there. It’s got an incredible sound system and the crowd are so supportive. It’s a phenomenal it really is.   Leeds is a city known for its home grown electronic music, and as a result of it the crowds are notoriously supportive. What differences do you think this change of location will bring (if any?) Hamish: We have a real loyal following in Leeds and you generally end up recognising a lot of faces at your parties. The difference in London will be that we are a new night in London and it will take us a while to build this following in London, however we are lucky to have a lot of mates that live in London that will give us a solid base of people to help kick start our parties in the capital!   Hugh: I really hope we find no difference in London. There will be a few missing faces of course but there will hopefully be lots of new ones as well. Both me and Hamish have always been about putting on a party and that won’t change just being in a new city     Tell us a bit about your residents; will they all still be present at the London event, have you got any new additions to the team? Hamish: The Butter Side Up team in Leeds consists of Myself, Hugh Bailey, Jonny Sleight & Ciaran Hansen. Myself and Hugh met through playing together at the Louche pre parties. We then decided to start our own party and the rest is history… Jonny came on board as a resident around a year later and has been a great help with the running of the night. We booked Ciaran for a Butter Side Up back in March 2012 and were so impressed with his set, that we made him a resident shortly after that. We have just made our good pal JD a London resident for us. He works at one of our favourite record stores Phonica Records and musically he is fits in perfectly with us. I will be playing with JD on Friday warming things up for Jane, which we are both really looking forward to! Hugh: Can’t really say better than that! It’s great doing what we do from a promotions point of view, but getting recognition for the residents we have as well as the bookings we make is amazing! We are just all mates who love both collecting and playing music. It works really well as we can all bring our own unique style to proceedings but we seem to play well together at the same time.     You’ve had some stellar guests at your past events and it is clear to see you are starting as you mean to go on with Eric Cloutier and Jane Fitz. Which BSU party so far has been your favourite? Hamish: Ooh that’s a tough one! After 4 years of doing events, I couldn’t possibly say which was my absolute favourite as they have all be special in their own way. Highlights for me were definitely Jus Ed & Jane Fitz, Patrice Scott, Theo Parrish, Hunee both times & Amir Alexander who we hope to get back this year! Hugh: There are too many to mention, I think personally for me two of the standout parties were the first time we booked Hunee, I mean the guy is incredible, he was recommended to us by Alex Barck from Jazzanova and is a prodigious talent. Music wise he selects from a huge and varied collection, you will be listening to an incredible 70’s boogie track one minute and then next minute you’ve got Robert Hood playing hahah. When we had Jane Fitz play for us in Leeds as well, it was just crazy! Thought the crowd were going to destroy the club it was just the best atmosphere I’ve ever experienced! But that is just a very short list from a lot of special moments.     A head over to your website shows the strong podcast series to go alongside the parties, will you be keeping up this online side of things too? Hamish: Yes for sure! We have plenty more coming your way. One from Eric Cloutier actually, that should be launched this week! Hugh: Absolutely, it’s something we’re both really proud of, we have some amazing mixes from some of our favourite DJ’s and there is plenty more to come on this front!     For those who don’t know, what can we expect to see from Butter Side Up at Bar A Bar on 31st October? Hamish:  A sweaty basement with top notch tunes and plenty of milkyness! Hugh: Hahahahahaha, yeah! Expect an absolutely raucous party!   Get inolved with the milky raving this friday and find out more here. Check out the podcast series and more here.     By Eileen Pegg   More MEOKO Find us on Facebook Find us on Twitter Find us on Soundcloud

Santé: A New Chapter

  Having already realised his EP ambitions on a slew of labels such as Cocoon, Desolat and 8bit taking in the whole spectrum of house and techno, Philipp Maier aka Santé, is hungry for more. Next stop is a full-length album, naturally, to develop his growth as an artist. It goes by the name of “Current” and just dropped on 28 October via his own label Avotre. He has never been one to limit himself to the confines of a singular style even though he is most well known for his straight-edged dancefloor bangers and he hopes to prove that with his new album. Born in the small German town of Ulm, Santé took quick steps to relocate to Berlin to widen his artistic opportunities and immerse himself the growing scene there. We were invited to head down to the plush Shoreditch House in London to meet him face to face and quiz him ahead of his album release which is streamed below.   Thanks for taking the time to chat to us Santé. First and foremost, how does it feel to release your first album? Absolutely great because it’s like an unborn child!   How long has it been in the making? When did eventually finish it? From the beginning of the first layout I think it took one and a half years because it was different since I worked with a lot of vocalists on it. So it took a little longer. All the tracks in the first half of the album were recorded in London as they were all UK-based singers and the latter half in Los Angeles as they were all Americans.   Did that geographical difference affect the production process? In the beginning I don’t think I realised it, but now in retrospect there is an obvious difference between the melancholic first half and its autumnal feel compared to the second half which is more house-y with a bit more sunshine like how Los Angeles is in January. Generally when making the song-based tracks, I believe that if the main theme, beat, bass and vocal are strong enough, there is not to much more to add. These components should be so solid that they can work alone. I wanted to focus on those fundamental elements rather than keep adding layer after layer. I mixed the album at a friend’s place in Berlin and I definitely removed like three layers that I felt were unnecessary.  If the theme is strong, you don’t need the extra decoration.   Ok, now tell us about yourself. How was it to grow up in Ulm, Germany? Quite good - there is a lot of opportunity for connecting with others who are interested in the same thing because it is a small city of let’s say 150,000 inhabitants, not the biggest town. All teenagers got into something and everyone knows each other. All these groups are connected so there are lots of overlapping influences from every other genre and culture. This was also how I got into electronic music. I was initially just into guitar playing and sampling with an AKAI MPC-2000, but my friend who was working in a record store brought me closer to house and techno.   Was electronic music popular in Germany at the time? It started becoming very popular, I think because there are so many opportunities in electronic music. You don’t have to stick to a certain length or tune, even if you did something by accident, it can sound absolutely amazing. There are no rules, no boundaries, really open.   Who would say influenced you in your music career? There’s only one. DJ Hell! (laughs)     Did you ever think you were going to make music for a living? Yes, because it was my biggest aim to be able to live off it and I decided early on that I didn’t want to do anything else. I wanted to study music at first, but I failed to get into the university. Then I got this job in a studio as an intern for 4 months. I eventually started playing a couple of jingles for them and got into the composition side of things making jingles for radio, TV and adverts. I ended up staying there 5 years and I was able to make enough money by this point through music which was my goal. At the same time, I was making house music for myself on the side.   In your biography it says a demo arrived on the desk of Radio Slave? How did you get introduced to Rekids? We had been playing together in Ulm for a while, I was warming up for him often. My good friend from the record store was in touch with Matt (Radio Slave) because he played several times with him. Then I gave him my first proper tune and about 8 or 9 months passed before he got back to me, but finally he decided to sign it!   When you moved to Tiefschwarz’s Souvenir imprint do you feel that represented a change in your sound? I never changed my sound; I just don’t want to be put in only one genre. I like to be able to do whatever you want to do, in whatever genre. It was never the plan to stick to one style. Maybe even one day I could start making downbeat or something totally different in the future, but I always wanted to float between house and techno.   What do you make of the current direction of the music industry? What impact do you think potential commercialisation is having on the creativity of the industry? Firstly, I think it is a good thing if something is getting more and more recognition. Actually, dance music was already big by the end of the 90s and then it totally went down. Now it’s coming back again – it’s like waves. It’s just a matter of what you want to do as an artist. If you want to go commercial, then I wouldn’t judge. If you want to stick to your certain genre and sound and be happy with it, that’s also good! It is just a matter of how you define yourself and the success you aspire to. And where you want to go. If you make a living out of it, then you should be happy when you have your first gig. But, if you want to be the next Calvin Harris or Swedish House Mafia, then you know what type of music you have to deliver. I think it’s good now that you have these opportunities to choose what path you want to do. The only thing is, it gets tougher to make it as a young artist without that first breakthrough hit. But it’s patience. You need patience, patience, patience!   Going back to the album - the mood as you mentioned before seems split in half, divided by “Interlude”, growing from the very personal beginnings of “Intimacy” to opening out into the more extroverted second half. Was this a specific vision you had in mind before? First of all, we have to go back! I never thought about doing an album, but at some point I realised I wanted to show a bigger picture and now was the time to start something that was more listenable compared to the peak time club tracks that I am known for. So, I decided if I were to make an album I definitely wanted to do something that showed a wider range of skills as a musician. In my opinion not every DJ is necessarily there to make an album and be an album artist, but for my longevity plan I definitely want to grow as an album artist. This is the next step in my career. As I said, in the future maybe something totally different can happen in 5 years. When I’m not touring so much, I could actually think about making a live show. It means the music has to be interesting enough to incorporate playing an instrument as part of the live show. It’s about that interaction with the crowd and me as a musician. For me, that is the main aspect of the live show.     It seems like the album is an opportunity for you to showcase your versatility and other song-writing skills emphasised by the fact the album utilises so many vocalists. What were the challenges of working with so many singers? It was less of a challenge and more a positive process. A couple of tracks I would lay out myself and send them over and see what they thought, but all the tracks with J.U.D.G.E we started from scratch. For example, “Intimacy” was done on a late Sunday afternoon in Chiswick. It was a really inspiring and pure music-making process instead of being alone sitting in the studio. The only feedback you get with the DJ tunes is when you play it out and test it on a crowd and they are responding. Working with singers was a new approach and different studio relationship. I wanted to have something which is more musical, more artistic and I am really happy with the result.   How did you choose your singers? They all share a very soulful sound. Well, with Richard J.U.D.G.E, I have to go back to when I played my very first UK show. It was in Brighton at Audio and he gave me a CD demo. I said that whenever I had the chance to work with a singer, he would be the first and now we have become really good friends ever since. Steve Smith is the singer from the band Dirty Vegas – they had this huge hit in the 90s, “Days Go By” which I loved. He is still living in Boston and when I played there he dropped by. I was really surprised as he was an idol of mine. When he offered to collaborate and I immediately accepted his offer! Russoul also happened in the States. I was a big fan of his from the Deetron tune and he lives in Los Angeles too.   Can you tell us a bit about the equipment you used to record the album? As a sequencer, I use Ableton 9. Most of the ideas happen when I have time and the moments I have time are when I’m alone in the hotel room or travelling on the road. I find it is the best way to relax. This laptop has been on the road with me for 2 years now and I have around 200 unreleased tracks on there...! I always have an Apogee Duet with me which has great digital-analogue converters. I also have my Neumann microphone with me. For travelling I have this little analogue synthesiser called the Arturia Microbrute which doubles up as a master keyboard as well as a synthesiser. Back in Berlin I have my 909 and 808 while I used the Roland SH-101 keyboard on all the tracks in the album.   Now to your brand Avotre - why did you decide to undertake this project? I wanted to be independent, to be able to create something on my own. For example I needed a platform and a solid label where I had the design ideas and everything else an artist wants from a label. Sometimes in the industry you get disappointed and let down a lot after sending out tracks and working with different labels. You have less of a say, but you also learn over the years. Also, I don’t want to just sign someone to the label and forget about them, not give them an opportunity. I want them to be part of the Avotre team in the long-term, give them the opportunity to play at our showcases. Many of my friends are in a position now where they own their own brands or freelance, so I want to collaborate with these other projects. For me, Avotre needs to be a creative platform, with a basis in music and parties because that is who we are, but there is more to that in urban lifestyle - the creative scene melds together into one.   Finally what are the label’s plans for the future? We are trying to grow the label slowly, get more recognition and feedback. The next big thing for us in London is a huge warehouse showcase like what we just did in ADE!   Santé's album "Current" was released on 28 October and can be bought here.   allvideos.ready(function(){ allvideos.embed({ 'url': 'http://soundcloud.com/oembed?format=js&iframe=true&callback=soundcloudAVPlayerID_dbff53bb_744240659&auto_play=false&maxwidth=480&url=https://soundcloud.com/sante/sets/current', 'callback': 'soundcloudAVPlayerID_dbff53bb_744240659', 'playerID': 'avID_AVPlayerID_dbff53bb_744240659' }); });       By Geoffrey Chang and Sam Kicq   More MEOKO Find us on Facebook Find us on Twitter Find us on Soundcloud    

Sounds of the City: Paris with Molly

Molly is an active member of Parisian nightlife and is synonymous with Rex Club, an institution that fuels the city’s underground dance music scene. As well as being the brains behind communications at Rex Club during the day, she DJs as a resident for one of their most respected parties at night; DOOWEE (now HEAD_ON), where she has played alongside a wide spectrum of respected world class DJs, such as Jus-Ed, Levon Vincent, Andres Zacco, Samuel André Madsen and Dewalta. Check out her deep and atmospheric warm up set for the Head_On party with Jus-Ed and Andres Zacco: allvideos.ready(function(){ allvideos.embed({ 'url': 'http://soundcloud.com/oembed?format=js&iframe=true&callback=soundcloudAVPlayerID_472b8901_1638205318&auto_play=false&maxwidth=480&url=https://soundcloud.com/molly_music/molly-mix-at-rexclub-22082014-for-head_on-residency', 'callback': 'soundcloudAVPlayerID_472b8901_1638205318', 'playerID': 'avID_AVPlayerID_472b8901_1638205318' }); });   She crosses borders to play in some of the world’s most well-renowned clubs: Berlin’s Panorama Bar, Frankfurt’s Robert-Johnson, Moscow’s Gipsy and Shanghai’s Lola Club. The year, she made her mark in two of the best dance events of the year: ADE and Kazantip. In terms of productions, she belongs to well-respected Rekids, the label run by Radioslave, along with Back & Forth, Rotary Cocktail or Street Knowledge. Most recently she has released a groovy remix of Mr Tophat and Art Alfie's "I Want You To See" on imprint, Karlovak Holland. Much respect goes out to Molly, whose talent, passion and energy clearly sets her out to be a leading figure in the Parisian clubbing scene, which from just a few years ago has grown into a leading underground dance music hub, comparable to other capitals such as Amsterdam, Berlin and London. This is why here at MEOKO we found it a great opportunity to ask Molly about the city she has fallen so in love with for our Sounds of The City series. Hey Molly! Thanks for taking the time to answer a few questions for MEOKO! How is everything going for you at the moment? More than fine, I’m very happy with how things are going for me at the moment :)     How was your summer? Have you been busy? Summer was great! I had the chance to play in some really nice locations, clubs and festivals (Portugal, Ibiza, Corsica, Holland, South of France, Berlin, China, etc..) and it was pretty busy so I did not even see the summer going.     So you are from Paris? How do you like it there? I’m originally from Toulouse (South of France ) but i moved to Paris 8 years ago. It takes time to find yourself well in Paris but once you get used to this city you fall in love with it. There is so much to discover everyday and this city has a rich culture and history.     Did anything influence you in particular for your music career? Not really, as strange as it is, I did not have any music education. My parents were only listening to the radio or some old French singers. I think it came from my older sister, when she was listening to some music I was always in her room, copying her cds . As a teenager I was a lot into Rock Music or bands like Beastie Boys. I discovered electronic music very late, when I was at College and i fell in love straight away with this music.     Have you ever thought of moving? Berlin, London, etc… Yes, quite often after a great weekend in a nice city but when I really think about it then my heart goes back to Paris.     Which would you say is the best place to go clubbing in Paris? REX of Course :)     Where is the best place to spend a Saturday night?  Concrete, Paris First, you must go to the restaurant, I would recommend the Vietnamese restaurant of my friend Emilie « Le numéro 5 ». She will welcome you very well before you go out… Then, there is plenty of choice, depends on who’s playing, where etc . REX, Badaboum, La Machine, Concrete, Le Batofar, etc … Depends on what you are looking for and the atmosphere you like .     What is the best place to spend a Sunday night/day? For the Sunday, I recommend to go to Marché d’Aligre its a market where they have a really nice place to eat oysters and drink white wine :) Then you can go out, during summer time to Concrete, Sunday, Cocobeach, BP., and recently the Katapult autumn boat.   And if you want to continue at night then you can also go to the REX which is open from time to time on the Sunday and I can say that Sundays party at the REX are one of the best. Its crazy how many events you can find in Paris now!      Which is the best bar to drink absinthe? I would recommend the place « La Fee Verte » (the green fairy), in Bastille, They have many varieties of Absinthe.     What makes REX a unique club? Rex Club is unique with his history, this place as something special when you get in it. The sound system is still very good, all the main artists in electronic music have played there, even Prince for an after show some many years ago! The architecture of REX also is unique, a long club, with a DJ booth like you could find in the 80’s with a window :) All Residents are great DJs, and this club has kind of family vibe. REX is my home and this club made me so for me it will always stay unique and the one in my heart.     One thing that makes Parisian nightlife unique to other cities is… Partying in the middle of the this beautiful city and the French crowd is pretty unique too.   The strangest venue you've ever played at in Paris? The last one was in a « Sephora shop » … It was for a Fashion event, playing in the middle of this perfume smell, it was a bit weird and it gave me a headache, but I could play the music I like: Deep house, house with no comprises, and the people enjoyed it!   A track that represents Parisian nightlife?   At the moment, I will say: Daft Punk: Burnin’ … Cause thats what everyone says now : Paris is « burning » !!   The most beautiful landmark in Paris?   Eiffel Tower of course     Parisians can be grumpy… true or false? What are your thoughts on this? Ahahaha, unfortunately, yes it’s true … But i think its the French people in general, but a bit more in Paris. I do a agree :) But I am not Parisian, so may be thats why i m not that grumpy (well I hope !!). Paris is a very big city and to live in Paris is not that easy. Life is very expensive here so you must work hard to get a proper standard of living. And it’s one of the reason why people are so stressed, everything has to go fast. It's maybe a question of history, the more you have, the less you are happy. We are all lucky that we live in a rich country, in a democracy, a country with a really nice social security cover but people always find a way to complain. I think the grumpy ones are the one who don’t have the chance to travel that much cause if you have the chance to travel and to see how people live in some other country then you realize many things and you become more open minded, and less grumpy for sure!     Your favourite district, and why? My district, the 11th! First it’s the district where you find the main record stores in Paris (Syncrophone, Techno Import, Betino, etc ).  There are many nice bars & restaurants in this district. You are close to the Seine, so It’s also nice to go there for a walk or picnic. And the atmosphere is quite relaxing compared to other areas in Paris.   What is the best park to relax on a sunny day? Parc de Vincennes, as it is very big and there is a really nice lake where you can rent some little boat .   What is a traditional Parisian dish, and where is the best place to eat it? There is not really a traditional parisian dish but i would say the steak tartare! You must go to a place called «Chez Paul», near Bastille, a typical French restaurant and the tartare is one of their specialities.     Paris is considered a romantic city for many. What does Paris mean to you? I do agree. We are lucky that all of our monuments were preserved after all those years and were not destroyed by the 1st and 2nd wars, the revolution etc. It's also a cultural city full of beautiful museums.When you walk by night and you see all those monuments it’s magic. That's also one of the reasons why I still live here.   What events in Paris are you looking forward to for the rest of the year? Unfortunately I'm not here so much on the weekend now so I can’t enjoy the nightlife as much as I used to do … I would recommend to check the Resident Advisor events section, and you’ll find your happiness!     Catch Molly play next in London for Junk presents Zoo Project at Junk on the 1st of November, or in Paris at beloved Rex for her Head_On party on the 22nd of November.   

Sophisticated House Music: Mix & Interview with Samuel André Madsen

  Samuel André Madsen AKA S.A.M. has made a name (or rather, many names) for himself. A master of not just music, but Theology too, this young underground dance music pioneer also specialises in Eschatology.    As he studies the end of time, he leads the future of dance music with his productions. Releasing stylistic yet emotion filled House and Techno tracks under many different aliases, his classic tracks are frequently used by DJs to excite dance floors across Europe as well as give podcasts that one track that stands out with a whole lot of track ID requests.    This flawless producer finishes each track with so much style and talent, it is hard not to get excited for each and every one of his upcoming releases (of those that we are aware of). As well as producing and DJing, he also runs his Delaphine record label, which was founded in 2013.    Releasing tracks under various monikers such as Sapriori, NWS and Rev-S, Sam most famously collaborates with two other stars in the underground dance music scene; Malin Genie and Lazare Hoche, producing and DJing under the name, Mandar and releasing tracks via their record label, Oscillat Music. This year, they released their impressive Marabouda EP, which has been tirelessly played again and again by international DJs across the globe, each time receiving the same positive reaction from the dancefloor. His Bahia track from the same EP, has been favourited by Romanian DJ God, Raresh, who also included his ’Third Track’ from Fathers & Sons Productions in his Fabric 78 mix. This winter Mandar is back to showcase a series, titled Shrim' and Antithetical Affirmation on Oscillat Music. Brace yourself for a juicy showcase of forthcoming EPs, which is sure to wow dance music heads yet again.   We have a little chat with Sam about his productions, gigs, current & future projects and his home country, Copenhagen, and he gives us one hell of an exclusive MEOKO mix...   You are originally from Copenhagen, am I right?Originally from a small town in the south of Jutland, but I lived in Copenhagen since I started my theology studies at the university there in 2005. You are releasing several great tracks, run two labels and play gigs around Europe. You are very active in the music scene! Can you describe your journey in terms of your musical career? How did you get to where you are now? To be honest it feels like it just happened somehow. My friends tell me that I've done alot of work to be where I am, but I really dont feel that. I just love music and playing records. With that said I owe a great deal to friends who supported me in the beginning as well as my friends and family who still supports what I am doing. You release music on Fathers & Sons Productions. Can you describe your relationship with this label? Julian Perez contacted me around 2011 because he liked my EP on Tzinah as Sapriori. I felt that he was a nice guy and I was happy to send him my track ”Playful Silence” for the FAS001. Since that record we've become friends, and i've sent him tracks for FAS002, FAS004, and FAS006.  You produce music under many different monikers and collaborate with artists such as Lazare Hoche and Malin Genie under the Mandar moniker. Is there a particular reason why you have chosen to release music in this way?  The use of monikers or pseudonyms as well as collaborations with other musicians are quite normal. I use different monikers for many reasons, some because of the musical contect of the EP or personal reasons, and some for fun or PR reasons. Rev-S was an idea Ed came up with during a breakfast in copenhagen with my buddies from 2400 Operator. He thought it fit since I'm a theologian. But yea... as for collaborations I rarely enjoy them, because they can easily make you feel that you lose connection to your music because it didn't just came from you. But with Mandar we have something special, we inspire each other.You also run your own label, Delaphine. How and why did you set up this label?  Since around 2008 I wanted to start a label for my productions, sending demos are such a drag basically. When you send your tracks out to labels, they can limit your artistic expression by demotivating you or criticizing your work. When you have your own label, you can do what you want, when you want. It's not cheap to set up a label. It takes time and money and as for money it's a struggle to live from your music on this level, especially when you live in an expensive city as Copenhagen. So Jimi from Subwax Bcn offered to help me after I released the Nangijala/Nangilima EP there. He was setting up a distribution and needed good labels, and I was setting up a label and needed distribution and funds.  Your track, “LFO” from your latest Delaphine 002 release has been remixed by your brother, S.I.M. Can you tell me a bit about your brother? Are you planning to do a collaboration any time soon?  My brother is almost 4 years older than me and is a major reason to who I am. He introduced me to Underworld, Ludovic Navarre among others in the mid 90's. And he was producing a lot of music between 2002 and 2009, though he never released any of that. As for a collaboration with him I can't exclude the posibility.   What can we expect from your next Delaphine 003 release?My most personal release.   You opened another label, Oscillat Music late last year with Lazare Hoche and Malin Genie. Can you describe what this label represents? It presents mainly the productions of the three of us. We simply needed an output for our stuff and we prefer doing things ourselves, to be in charge of artwork and the timing of the release schedule etc. Also it felt natural to make a special output for our Mandar productions, not that we want to restrict Mandar productions to Oscillat. In June you produced and released Oscillat's first EP, titled “Marabouda”. This EP has received full support from big name DJs such as Raresh and Jan Krueger. How did you come up with this EP?    I spoke to Nick and Charlie about it and we decided to form the EP like that. The marabouda track was the main reason for this EP.    You once said that "The title track 'Marabouda' previously existed strictly on 1 single sided pressing made as a birthday present, but one year later the birthday girl gave permission to put the track out for others to enjoy”. Could you explain this story in more detail? Is this girl called Marabouda? Yes I made this track as a birthday present. The single sided EP featured some quite amazing artwork done by two architects. So you have two different labels. What features differentiate one label from the other? Delaphine is my own, and I can do whatever I feel should be listened to. There are no specific guidelines for me there except of course making an interesting EP. Oscillat Music is, I guess, more club orientated with less emphasis on the drone and ambient aspect and more emphasis on force and quirkyness. Delaphine and Oscillat Music includes tracks only you produce, and you do not accept demos. Do you plan to include releases by other artists? For now I can't reveal anything about that. Current and future projects for Delaphine and Oscillat? Delaphine will have a sublabel soon. ;) And you will probably see Delaphine004 arrive pretty soon as well. And as for Oscillat there are two Mandar EP's hitting the streets late October/November.  Any other current and future projects? Indeed! We are working on a hardware only Mandar Live set, that will hopefully be ready around spring 2015.   Thank you for your answers, Sam! We look forward to all your future projects.    Listen to S.A.M.'s Exclusive Meoko Mix Here    More MEOKO? Find us on Facebook Find us on Twitter 

Sunglasses At Night: Japan's Response to its New Law?

Imagine walking into a club and being handed a piece of paper saying, ‘No dancing please’. This was the situation in Japan for years, which came from an age old law that banned dancing in Japan. The Huu-Ei-Hou law (commonly referred to as the fueiho law in international newspapers and magazines) was historically enforced in 1948, just after World War II, to discourage prostitution, as the only people that were dancing late at night were in fact just escorts. The law obviously did not keep up with changes in time, as the law persisted even after clubbing was introduced into Japanese culture. In 2012, under the Law on Control & Improvement of Amusement Business, certain clubs had to obtain a license and had to shut at midnight if they had a dance floor space of less than 66 square metres, and with the limited space in Japan, this meant that most clubs were not excluded from the law. A Footloose in real life, clubs, DJs and clubbers alike are feeling a negative blow from the law and as a result, Japan’s dance music scene has been unable to reach its peak. Japan’s ageing population does not help either.    Just recently, when hopes were raised as talks surfaced about possible changes to the law in order to attract tourists for the upcoming 2020 Tokyo Olympic Games, those exact hopes were quickly shut down again as the government introduced another, similar law in its place. Fortunately the ban on dancing has been lifted, but a new one regarding light restrictions had been put in place instead.    At Meoko we talked to DJs Ittetsu who was born in Japan but is now based in London, and continued our conversation with Junki Inoue, following from a recent interview with MEOKO. MEOKO also corresponded with Watusi, a Tokyo based lawyer who is a leading figure in the association for protecting Club & Club Culture (Club to Club Culture wo mamoru Kai) and runs his PLAYCOOL campaign. Following are their thoughts which give an overview of what is exactly happening in Japan’s dance music scene with regards to this law.    How does the Fueiho Law impact the clubbing scene?    When MEOKO first heard about the law, we were confused as to who exactly suffered from the law. Were people seriously stopped if they started dancing? Who stopped them? Bouncers? Police? Apparently it was police who regularly raided big clubs, and it was clubs that got shut down if they did not hold a special license, or if they had clubbers dancing past midnight.    Ittetsu explained that “If police finds a club or a bar breaking the law then they'll go in and close the event immediately. Jun Akimoto told me that happened to him when he played in Osaka”.    So it’s not just clubs and club owners, but clubbers and DJs too, that have been negatively impacted by the law.    Many individuals and organisations even outside of the dance music sphere have lamented about the law as outdated and which negatively impacts the dance music scene. Junki Inoue, shared his thoughts:    “Japanese have been quite positive in accepting and importing western culture in general but at the same time, Japanese are very slow and cautious in changing. Anyway, this Law has been definitely a big factor which hinders expansion of dancing culture and development of related business in Japan”.   Watusi expands on the impact of the law on the Japanese dance music scene:    “It is a really old and foolish law. For club owners and for society, there is not any merit to the current club law.  Neither the underground nor commercial scenes can flourish, and the club culture continues to decline.  Without doubt, these past few years of police raids on clubs have had a huge damaging impact on the Japan dance club culture.  Big sponsors and large companies have distanced themselves, and many clubs have had to close down.  The only places left are taverns and karaoke bars, and the younger generations have gradually stopped listening to dance music.  Big dance music festivals have been greatly reduced in Japan.   I wouldn’t say that dance music festivals were necessarily shut down because of this law, but many major sponsors have stopped participating in them. Moreover, not only have the clubs been affected, but many late-night weekend events held at famous, crowded tourist spots like Roppongi Hills have also stopped due to the intensity of police patrols. Dance festivals and parties backed by sponsors that invite DJs from overseas have also become scarce".   THE LAW TODAY   Ittetsu shares his thoughts about the public’s perception of the Japanese law:   “A lot of famous artists in Japan in different genres are getting together and taking action now. I saw some TV programmes talking about this law. Japanese people including people who are not involved in dance music scene know that this law is non-sense as this law was made just after the war and doesn't fit in the 21st century. So actually no one really appreciates this law now. The reason this law has been left behind is that the government have more important issues to tackle.”   Junki goes on to explain further efforts against the law:    “It seems the Japanese government is finally deciding to make a small change with an increasing movement of organized club owners and DJs against Huu-Ei-Hou and also an intention of some large companies to enter into the related business heading towards 2020 Tokyo Olympic Games. I hope this small change will bring us a big change and progress in Japanese dancing culture in next several years!”    Unfortunately though, recent news has informed us that although the ban has indeed been lifted, a new one has taken its place. According to Reuters, “The lighting must now be brighter than 10 lux, or about as much as in a movie theater before a show starts, to discourage crimes and bad behavior”.   Watusi states that "the widespread negative image of clubs in society has led to an unnecessarily heavy regulation. It sounds paradoxical, but now there are many problems because all of this falls under a grey area with the law".    He continues to describe the lighting law and other issues regarding the law:   "The lighting regulations has become more severe. There are still many problems that have not been resolved and the Cabinet will be discussing issues such as the problem of club space (currently if the club floor doesn't have 66 squared metres worth of space, they do not get a permit), and club location (they cannot be near a school or hospital). These things have not yet been decided by the Cabinet" who met last Saturday to discuss amendments to the law.    The fight against the law is back to square one. So what does this mean for the dance music community? Will the fight for less restrictions and more freedom escalate or will clubbers and individuals alike have to adapt to the law? Will sunglasses at night be the next new thing?    Watusi explains, “Now, we are still fighting with the lighting. Police don't want to release the dance club from the bottom of their management. It's a ridiculous dispute”. He goes on to explain that he will continue his efforts until the new law will be abolished and the dance community can be set free from any more “foolish” laws.    Despite the set back from the Cabinet, Watusi does express some hope:   "They say that next year will bring a big change in club laws, I think that for the Japanese dance club scene to become an international business, it will take at least 5 years, until around the time of the Tokyo Olympics.   FIGHT TO DANCE: PLAYCOOL’S EFFORTS     Watusi has done a great deal for the dance music community as part of his Playcool campaign, which falls under the Club and Club Culture umbrella. He explains what exactly is Playcool and the campaign's efforts to change public perception about club scenes as a positive aspect of Japanese culture:   "Playcool is a movement to create a new dance club scene.  In particular, it’s about encouraging better manners from club-goers. For example, it promotes cleaning up the streets around clubs early on Sunday mornings. At Playcool club events, posters and videos put out a simple reminder to "be considerate of the places important to us." Playcool sends out the message to the general public that clubs aren't a dangerous place of drug use, but are a safe place for adults to have fun.  It also shows the government that dance music and clubs are an important cultural asset and are a great contribution to the country’s economy.   Playcool is run by members of the Club and Club Culture Conference (CCCC). It will continue to be an important part of the CCCC even after the new law revision."    Watusi describes some of Playcool/CCC's efforts and milestones towards more freedom and protection for the dance music community:    "With the help of volunteer lawyers, DJs and MCs across different music genres got together and established CCCC, and first sought negotiations with the government and the police. With the support of both government members and the police, they gathered companies from the whole nation and held a briefing session in order to establish business connections for club companies. As a result, various groups were set up across the country to push for the new law revision to be more realistic and forward-thinking. Now, even business representatives are lobbying the government and holding detailed negotiations with the police. Furthermore, the dance clubs were joined with the support from the ballroom dance association, the Japan Salsa Association, the Japan Latin bar association, and many other dance associations, and it was a great achievement to pave the way for a revision of the law together.   JAPAN’S DANCE MUSIC SCENE, TODAY: IS THERE STILL HOPE?    In response to Watusi's claim that many clubs had to get shut down due to this law, we asked if there are still some great dance music clubs in Japan and where exactly do talented DJs play?    "Of course there are still many great dance music clubs in Japan. In Tokyo, there are the big clubs like ageHa, Vision and Womb; there’s GRAND Cafe and Live&Bar 11 (Onjem) in Osaka;  WORLD in Kyoto; and MILLS in Fukuoka, where many talented DJs from overseas also come to play and have amazing parties".     Ittetsu adds that “there are lots of good record labels in Japan such as Op.disc, Fasten Musique, Cabaret, Holic, Mule Musiq etc. The scene in Japan is smaller compare to Europe but there are numbers of good artists rising now and the scene is definitely growing”.    According to Junki, “EDM is very popular at the moment and many young people gather in EDM scenes. Most of them might be just trend seekers but not real music lovers.  However in a few years time, after this EDM movement is gone, where will they go? I hope they may move into real electronic music”.    Junki goes on to explain that there are some great parties that still go on. However, it is not the law that has significantly hampered the dance music scene, but Japan’s ageing population:   “There are quite a few parties going on in Japan and the quality of music is very high in there since all artists are veterans in general. In other words, there are only a few young people in those parties. Young DJs for next generation are rarely seen and if they appear, it is limited to the warm up of the party where no crowd is on the floor.  and also Japanese sense of age seniority seems to prevent it to happen”.    Junki explained that one of the reasons he left Japan was that he “felt a lack of young energy at club scenes in Tokyo”.   Even though Junki does lament on the ageing population, he does admit that there is a bright future for Japan’s dance music scene, in particular the artists that come from Japan.   When asked, “Do you think Japan will influence the global dance music scene, the way the country has made an impact on the global electronics, gaming industry or even game music?”    Junki replied; “Yes, I think so. As people rely on Japan-made electronic products, I hope Japanese DJs will be relied on by their high quality techniques and the precision”.    Junki Inoue and Ittetsu, did not leave Japan because of the ban on dancing, however both did touch on Japan’s ageing population, which is another issue that goes beyond the direct control of the government. In Japan, which is not so different to many other countries around the world, seemingly outrageous laws do exist. Fortunately for the country, there are talented individuals and groups that learn to adapt, to fight or to excel and make significant changes in the global dance music industry.    CREDITS:  Lori (Watusi's business partner and translator) & London based Japanese translator, Aya Monteverde   More MEOKO? Find us on Facebook Find us on Twitter 

Ric O'Barry: Turning the Taiji Tide

  There’s an exciting energy felt when a widespread change in perception takes hold of the global population. We’re a static bunch usually, so comfortably entrenched in our ways and beliefs that it usually it takes tragedy, a lot of time and the significant efforts of a few passionate individuals to bring about that change in understanding - and then even more tragedy, time and individual effort before that understanding turns into action. MEOKO spoke with the world’s most prominent dolphin activist, Ric O’Barry, somewhere in the middle of this process - in the middle of the world waking up to the wrongfulness of keeping cetaceans in captivity, of the extreme intelligence - social and emotional - of dolphins in particular, and of the terrible tragedy occurring annually in Japan’s Taiji Cove. Willingly or not, Ric O’Barry has become the main protagonist in the uphill struggle towards dolphin protection and freedom, and his own journey of awareness is quite the story. Beginning as a capturer and trainer of dolphins at the Miami Seaquarium for the popular 60s TV show ‘Flipper’, O’Barry has always loved and respected dolphins. His close relationship with the animals allowed him to appreciate their personality, intellect and emotions more fully than most, and the more he understood of dolphins the more barbaric it seemed to hold them in captivity. “My relationship with dolphins went from one of great admiration to one of deep realisation,” Ric explains. “The more you get close to them, the more you realise what incredible creatures you're dealing with - and what a terrible plight has been inflicted upon them.” It took the death of dolphin Kathy in his arms, who played the role of Flipper most frequently, to turn Ric’s gradual change of heart into a passionate resolution to act. In his book ‘Behind A Dolphin’s Smile’, he famously says “A dolphin's smile is the greatest deception. It creates the illusion that they're always happy.” Ric maintains that Kathy didn’t just die, she committed suicide. Kathy’s death marked the start of Ric’s full 180-degree turn in his life’s work, and he instantly set about dismantling in any way possible the industry he had helped to create, landing himself in jail the very next day after anunsuccessful attempt to free a captive dolphin. On Earth Day, 1970, O’Barry launched The Dolphin Project, which has energetically worked to protect dolphins all over the world ever since.  Rebekah on the Taiji Dolphin and Whale Slaughter and Captivity On the other side of the Pacific Ocean, a tiny cove in Taiji, Japan, had become the scene of terrible crimes against dolphins. In 2003 the marine conservation society Sea Shepherd released images of the now infamous ‘bloody cove’, revealing the epicentre of the annual murder of 20,000 dolphins, porpoises and small whales which occurs in Japan every year between September and March. The footage was very, very upsetting. Large pods of dolphins were herded into nets set up in Taiji Cove. Then, by forceful and violent methods, the most attractive were selected, separated and transported off for a life in captivity – a life which we now know to be hardly a life at all. Of the many remaining dolphins, some were released, but the vast majority killed brutally and sold for their meat. It was a horrific scene of struggling, wailing and dying dolphins in a blood-red sea, which still replays itself every year. Not only is this a terrible way to treat these clever, social animals, but it is also damaging to the Japanese people. Dolphin meat contains toxic levels of mercury which, when it finds its way onto the Japanese food market, can cause widespread ill-health and deformity to Japanese victims largely ignorant of the cause. The situation was dire; Ric O’Barry got a call. So began the activist’s long-term relationship with Taiji Cove. As Ric says, “I have been going there for the last 12 years and will keep showing up until they stop.” In 2009 the documentary ‘The Cove’, featuring O’Barry, was released, raking in a very respectable collection of awards including an Oscar. ‘The Cove’ told the Taiji story simply and evocatively, opening up a widespread western audience to the problem and putting the groundwork for change truly in motion. It is important to note that at this time the truth about Taiji was not known to the vast majority of the Japanese population – ‘The Cove’ was not readily available in Japan and still isn’t. Ric estimates that there are 127 million people in Japan (that’s almost the entire population) who have never seen the documentary. In light of this, he explains an important distinction… “There are 3300 people in the town of Taiji, Japan. A very small minority of these 3300 people  - about 50 men - are killing dolphins. Most Japanese people don't kill dolphins; don't eat dolphins and don't eat whale meat. Our protests are directed towards the Japanese Government, not the people and not their nation. The Japanese people are not guilty.” “I have been lobbying the producers and directors of ‘The Cove’ for a couple of years to buy back the rights and make it available online for free. Fuck the money.” In the face of international condemnation, the Japanese government maintains that Taiji is part of a cultural tradition, but the evidence is clear this is a commercially driven endeavour, the annual ‘round-up’ directly linked to the captivity entertainment industry. And that’s not the only commercial interest… “I believe the Fisheries Agency is also very involved because they view dolphins as competition - and they want to kill the competition. The real problem is [human] overfishing, but they won't admit that, and so dolphins are a convenient scapegoat.” Blaming dolphins for eating too many fish… the mind boggles. Since the release of ‘The Cove’ progress has been on a slow but steady roll, which is now starting to gain serious global momentum. The role of social media and the Internet cannot be overstated in this process. “The Internet and social media have changed everything. They represent incredible tools to educate, motivate and help people get involved... social media is also extremely important in empowering people who cannot travel; armchair activists are crucial, too.” The Internet fast-tracks the educational process and, thanks to live updates and easily shared footage and images, brings an immediacy and sense of reality to viewers, resulting in more emotional responses. “When people become empowered and believe they can make a difference, they become more emotionally involved and more apt to take a stance. The Internet is able to bring a "multi-dimensional" experience to the masses and hence, is an incredible motivator.” Another incredible motivator is celebrity endorsement of a cause, and the impact is two-fold. Firstly, not everyone can be across every global issue all of the time, so for many, hearing about Taiji from the mouths of celebrities might be the only way they come across the information. Secondly, discovering that a creative and prominent figure of your generation that you both admire and relate to is taking action is a strong incentive for many to follow suit. Celebrity involvement turns issues like Taiji Cove from something that die-hard animal rights activists and Greenpeace ‘hippies’ care about, to something we should all care about. And that goes a long way. After ‘The Cove’ was released, the website TakePart put together a short film with an a-lister cast explaining and condemning the Taiji slaughter. Amongst those involved were Jennifer Aniston, Hayden Panettiere, Ben Stiller, Paul Rudd and the late Robin Williams.   “I have never, ever approached a celebrity.” Ric assures me. “You cannot chase people around and force them to care. Matt Sorum, American musician and Rock and Roll Hall of Fame inductee called me, bright and willing to help. Matt came to Taiji with us and is now on Ric O'Barry's Dolphin Project Board of Directors. Another example of this is Harry Styles, English pop singer - a very polite individual whom we met with and has expressed interest in further helping the cause. Leilani Munter, race car driver, environmental activist and now, dear friend, made several trips to Taiji and is now an ambassador.” Now, the focus has turned to social media, with celebrities posting photos and tweeting their reactions and fervent calls-to-arms. Huge support has been shown from our very own electronic music industry with DJs jumping onboard including Saytek, Rebekah, Geddes and Nastia, Chopstick and John John and MEOKO, World Champ surfer Jordy Smith, international model Lee-Ann Roberts and even music industry mogul Simon Cowell, Bryan Adams and English comedian Ricky Gervais. allvideos.ready(function(){ allvideos.embed({ 'url': 'http://soundcloud.com/oembed?format=js&iframe=true&callback=soundcloudAVPlayerID_565f08fb_1025028882&auto_play=false&maxwidth=480&url=https://soundcloud.com/suso-flores/love-for-taiji-dolphins', 'callback': 'soundcloudAVPlayerID_565f08fb_1025028882', 'playerID': 'avID_AVPlayerID_565f08fb_1025028882' }); });   Cruelty to animals almost always stirs up anger and emotion in all of us – mostly because we know animals to be innocent and largely helpless. But this cause is given further gravity and urgency by our increasing knowledge of the superior intelligence of dolphins compared to other animals. Some countries are further ahead in their thinking on this than others, for example India recently abolished the use of dolphins in aquatic theme parks, and in a statement from their government, mentioned that dolphins should be seen as "non-human persons" and should have their own specific rights. An important step, but one much belated… “In my view, we don't need any government formally proclaiming what is already obvious. I have always seen dolphins demonstrating self-awareness; personhood and whether society acknowledges this or not isn't important to me… Dolphins are to the sea as what humans are to land. It's "us" that has to catch up with them.” Let’s not mince words, we all know what our own attention spans are like these days, and the collective media is even more hyperactive. There’s always the danger that the ephemeral media attention dies down, and Taiji Cove recedes into a seldom accessed corner of our memories before the goals of O’Barry and The Dolphin Project have been achieved. So don’t let that happen. Fight the Gen Y urge to be cynical yet complacent and get actively involved in ending the bloody cove. The next protest will be held on the 7th November outside the Japanese Embassy. It will be the biggest demonstration in history for the dolphins and whales of Japan, and Ric O’Barry is flying to the UK for the event. As Ric says, “…the main thing is to SHOW UP! Bring your friends, colleagues, everyone! This is not just for animal welfare groups, this is for schools, rock and roll bands and ordinary people. People in the United Kingdom really love their gardens and animals. That's why there are so many gardening groups and animal welfare organisations who could inform their members and turn this demonstration into a huge success!” “Remember, people want to help. The very best thing we can do is empower people with the tools to get involved. For those who cannot show up, they can still be helpful in supporting this cause. A great place to start for more information is my website, www.dolphinproject.net.” Performer Maria Claudia Heidemann will be flying in from Ibiza to join the Demo  Ahead of the BIG demo on the 7th, there will be a private screening of The Cove on the 6th of November at super cool bar and all round creativity centre, Number 90. After the screening, attendees will get the chance to ask questions to Ric O’Barry, as he will fly in from the states together with four Taiji Cove monitors for a special press conference.  An event at Number 90, however, is not complete without music! Suso Flores will kick things off with an exclusive live set before the screening, then disco styling TBoy & Scott Dickie (Wildkats / You are we) will keep you dancing until closing time.   Reform is within our reach, and the key is to educate and mobilise the Japanese people themselves. As you would expect, there has been a great deal of animosity between O’Barry and the small group of Japanese fisherman at Taiji Cove over the years, and I asked Ric if any of these fisherman had reformed their understanding and career the way Ric had himself. “Back in 1969, one fisherman in particular from Futo, Japan, Izumi Ishii, actually taught Taiji fisherman how to conduct drive fisheries. Now, Mr. Ishii and I are best friends and working together to help stop the slaughter.” The Dolphin Project calls a day when no dolphins die in Taiji a Blue Cove Day. Let’s just make that a normal Tuesday. Jordan Smith   The Screening of the Cove and live Q&A Protest against the Taiji dolphin slaughter The Dolphin Project Sea Shepherd Conservation Society   What else can be done to help: - Boycott Seaworld, buying a ticket is supporting and funding this crime. - Call the Japanese Embassy - Tweet to Caroline Kennedy or the Japanese Ambassador from your country, write to the President, sign petitions, tweet to celebrities, contact the news outlets. - Host a Cove veiwing party - Donate to Ric O’Barry Dolphin Project.      

The Cove Screening at Number90

  The Cove screening & press conference with Ric 'O Barry and Cove Monitors + Music & Live Art   Most people have already heard about award-winning documentary, The Cove, which exposes brutal truths behind barbaric mistreatments of dolphins and America's multi-million dollar entertainment industry who profits from dolphins in captivity. In the documentary, animal rights activist Richard O’Barry along with director Louie Psihoyos, and actress Hayden Panettiere as part of their team, sneak into a high security area around the Taiji cove in Japan and catch the mass slaughter of dolphins on surveillance cameras. Ric’ O’ Barry provides even more insights regarding the utterly brutal mistreatment of dolphins in captivity such as the surprising connection between the cove and SeaWorld. Ric O’ Barry’s passion, Hayden Panettiere’s tears, the cold-hearted guards, the cinematography and logistics that make filming possible, the (true) story and lies all make this one documentary a deserving Oscar nominee and possibly one of the best documentaries of our time.      Released in 2009, this powerful expose’ on Japan's dolphin massacre is making its comeback in full force, thanks to the real efforts of activists and people from all over the world. Today, the cause to end the brutal killings has become very much of a reality. The man behind the Cove, Richard O’ Barry, has called for the largest ever gathering of people to peacefully demonstrate outside of the Japanese Embassy in Piccadilly, LONDON on the 7th of November.      Activists, including Ric’ O’ Barry himself, artists, performers and DJs will come together to educate, entertain and support the cause and the demonstration the day before the gathering for: The Cove screening & press conference with Ric 'O Barry and Cove Monitors + Music & Live Art   Learn more about the Taiji dolphin and small whale slaughter and captivity trade and join the build up to the demonstration by attending a private screening of The Cove on the 6th of November at super cool bar and all round creativity centre, Number 90. After the screening, attendees will get the chance to ask questions to Ric O’Barry, as he will fly in from the states together with four Taiji Cove monitors for a special press conference.    An event at Number 90 however, is not complete without music, of course! Suso Flores will kick things off with an exclusive live set before the screening, and disco styling TBoy & Scott Dickie (Wildkats / You are we) will keep you dancing until closing time.     The Cove is a must, not just for activists, but for the public too. Reserve your seat before it’s too late by sending an e-mail to  \n This email address is being protected from spambots. You need JavaScript enabled to view it. , addressing your e-mail to Olivia Casamatt.        FULL INFO:  6 November at 18.30 - 23.45 Screening: 19:30 - 21:00 Venue: Number 90: 90 Main Yard, Wallis Road, Hackney Wick, London E9 5LN Price: FREE!    For more MEOKO Facebook Twitter Soundcloud

KUVO - Smartphones At The Ready

  Announcement music fans and avid clubbers, introducing KUVO. It appears that times are changing. Pioneer have unveiled a new venture in digital development. The new app for IOS/Android provides real time information on what DJs are playing in clubs offering people the opportunity to turn off their Shazam and remain plugged in all the time to what’s being played. Users can now find track id’s in any club or venues that are linked to the Kuvo network across the country or further. With the “club map” available and option to follow these venues, the secret selections of djs playing on Pioneer hardware will be no more.   MEOKO ASKS WHY?   On a positive note – I understand the benefits of the software. Unknown artists now have now the opportunity, not only to be blessed with having a track played out by other well known or upcoming djs, but now have the crowd within the venue find out the name of their new release leading to an inevitable increase in support. Makes sense and of course supporting artists is what it’s all about. As 2015 approaches and January copyright laws come to play, this movement does provide further support to artists for their music and will be a good framework for making sure financial reward does not get tied up in the corporations of agencies and big labels…..so we hope. Or is Pioneer taking a big cut from these downloads and trying to monopolise the digital club market – time will tell. HOWEVER...     A few messages and questions for the KUVO team to consider when trying to gain popularity amongst heads and strategise their path of digital development:   Is this furthering the gentrification movement of music and clubbing. What kind of crowds does this attract? Do I need some more music – maybe I’ll go out and chill at the back while my smartphone fills to the brink with new sounds – it doesn’t matter who is playing anyway, or the way the set is constructed – just the track please? Hopefully the djs don’t mind that now I know their selection too.   What happened to the days of not knowing what was being played? The thrill of never finding out, or having to wait until you heard it again until you could try to place your finger on who produced it by thinking about the style. The days of scouring through podcasts on weekend listening’s trying to hunt that track that made you feel detached from it all in the early hours, are those days over?   How good is this software? Will it be able to ID records that are just on wax? Such potential for a removal of underground it could be enough to deter artists from playing at the venues which welcome this software…The poor djs looking down at a sea of swaying smart phone holders. Hey guys – don’t worry about the track, I found it somewhere deep in the digs and it holds its purpose right now, you may not like it as much at home – just try and dance people.   If this really is going ahead, then I suggest that information of which tracks have been played should only be released at the end of the night. Does it really need to be real time? So you can download the track you want right there and then? Maybe even pop outside to the smoking area for a second listen top make sure? And with that in mind we must be aware of health and safety issues of more crooked necks from gazing down at smart phones. With that brings more awkwardly hidden hands pretending they aren’t trying to id the track – don’t worry we can see your phone light against your chest still.   Are apple and their software team aware of this? What do we do when we leave the club and no one has any battery on their iphones which already struggle to cope with the volume of data they are fed. I can’t find my friends now – but all the tracks are there ready for DL at least so it’s fine.   Does there really need to be a photo app inclusive? (Just incase you want to take a selfie of how you were feeling at that time) Get your friends to gather round, they can all get in the shot. Oh wait, what track was that again? I stopped listening when I paused to drown the image in sepia ready for a facebook upload.   Is this venture simply targeting and aiding EDM to gain further dominance? You can guarantee (for example) that all of Aokis tracks will come up for download with a quick id before you can say Steve. Music is a commodity after all so why not force consumerism on people while they are just trying to have a dance and escape that world in itself. Soon the tracks might appear in a light box above the Dj booth. Who knows, with the Pioneer turntables that have just been released, I presume that it isn’t long until the needles scan music too. What more musical Sci-fi can we expect from 2015? The musical journey and the commercialism debate continues..        By Ell Weston   More MEOKO Facebook Soundcloud Twitter

'Digital shortcuts to sound' - Stefan Goldmann

Most producers, in a day when calling yourself as such is increasingly more common place, would never admit to using ready-made presets when creating a track. Now as handling production software and hardware is accessible to many, the sounds of the commonly used synths are instantly recognisable and avoided by most if to be taken at all seriously. Stefan Goldman turns all this on it’s head however in his new album ‘Industry’. Made entirely from three Japanese workstation synthesizers’ pre-recorded sequences, no engineering has been used to create the warbles we hear throughout, Goldmann stating that even the panning is down to chance of how those presets have been already manufactured. Unlike the preconceived idea when listening to tracks with presets, these sounds may not be as familiar as expected – those we are aware of are overused due to being placed within popularly used technology, the three Goldman chose were on those synthesisers that failed to take off in the electronic music world, creating ‘industrial assumptions of where culture will go, but where it chose not to’. ‘Industry’ then perhaps is an album exploring what could have been, letting those unused sounds display the possibilities that have yet to be explored. The album is only one part of Goldmanns latest project however, the practical piece to his dissertation if you will, as his first book entitled ‘Presets – digital shortcuts to sound’ is due to come out at the end of October. allvideos.ready(function(){ allvideos.embed({ 'url': 'http://soundcloud.com/oembed?format=js&iframe=true&callback=soundcloudAVPlayerID_ada1bcca_838294153&auto_play=false&maxwidth=480&url=https://soundcloud.com/stefangoldmann/industry/s-HFx1U', 'callback': 'soundcloudAVPlayerID_ada1bcca_838294153', 'playerID': 'avID_AVPlayerID_ada1bcca_838294153' }); });   As much as the question is posed of what makes a great DJ (beat matching or tune selection), this project you could say challenges what makes a great producer (Sound design or the arrangement?) as it digs deep into what can be done with that which others have discarded, and dares to delve deeper into the world of preset audio. Listen to the album and make up your mind for yourself, as we look forward to reading the much anticipated book from Stefan Goldmann. Find out more about the book 'Presets -Digital shortcuts to sound' here. More MEOKO? Find us on Facebook Find us on Twitter Find us on Soundcloud

No Bo Dy Likes DJ Chang: The meaning behind 1,000 illegitimate Facebook Likes

One day at Meoko, we received a surprising e-mail by a Mr. Sergey Sider, founder of a certain PromosoundGroup, who wrote in broken English that he was very interested in doing business with us. What he meant by "business" was for us to really just pay for his “services”. This particular service was a pay for “likes”, not just Facebook likes, but SoundCloud and Resident Advisor ones too.  Intrigued and sill quite shocked, we decided to do a bit of investigation. Searching through the PromosoundGroup site, we discovered that the company also offered promo likes for even more platforms: PROMOTION FOR: Beatport Traxsource Resident Advisor SoundCloud Spotify Twitter Youtube Instagram iTunes LastFm Vimeo Myspace Pinterest And the list goes on…   On the website, PromosoundGroup promised that they "have a program for virtually ANY budget" and explained their business model as; "Internet marketing professionals who understand how to: ·         Successfully promote any musical act's work and products (whether's it's music, video, or merchandise) ·         Build audience, fan loyalty, and of course, sales. ·         Implement proven social media marketing strategies! ·         Build likes and fan base with REAL HUMAN users – not fake likes or twitter bots!"    LEGIT SITE? Sergey’s e-mail, the site and its Facebook page all looked quite dodgy indeed. On PromosoundGroup’s Facebook, a Julien Ruiz commented, “How can we know that the services that you offer are real?” We were asking the same question…It seemed that the site looked more like a scam than an actual business.  We searched the net to see if anyone else posted something about the site’s legitimacy and came back with mixed reviews. According to scamvoid, a site that investigate how safe a page is, claimed that the website seemed safe based on their transparency report, which really just investigated if the site distributed viruses.    FACEBOOK ARTIST PROFILE: DJ CHANG We decided to make a Facebook page of a certain DJ Chang: And looked at what PromosoundGroup offered on Facebook: We decided to buy +1000 real likes. As soon as we made payment, in no more than half an hour, DJ Chang’s profile grew from only 3 likes to a staggering 1007!   The profiles that did like DJ Chang looked pretty real at first glance, until some more stalking did raise some (more) eyebrows. Furthermore, there was no option to write on the people’s pages or write them an e-mail. According to Facebook and a post by Screenpush, these profiles come from “click farms” located in developing countries.   NO BO DY   A Mr. No Bo Dy (no body) who apparently studied at Oxford, liked DJ Chang’s profile. We looked at what other profiles he liked and they seemed real but quite dodgy too (no surprise there): Profiles included DJs and singers of various backgrounds. DJs included DJ Cleancut and DJ LOONY, and artists such as Daisy Sanchez and Bryanna Trece. We recognized a particular Andrea Faustini, who apparently sang on X Factor.     The one thing they did have in common was that they all had more than 1000 likes.   GLITCHES There were some glitches in the “service” however. For example, the “real” likes that Sergey did promise were indeed real, but they weren’t interactive. Every time we posted a status update, we received no feedback from the 1011 people that liked our page. And when we searched for DJ Chang on Facebook, it just showed us 2 likes, not 1011. These are small glitches however, compared to the 1000 profiles that exist to actually like a profile page.   DON’T DO IT   A “war”, similar to piracy ones between labels and torrents, is going on between Facebook and these sites that offer fake/real likes. A press release from a Facebook site integrity engineer, Matt Jones explained that even though Facebook likes are great, if they don’t come from real profiles, they don’t do any good. Screenpush explains that “changes to Facebook’s algorithm have rendered these fake likes as more hindrance than help. Having an overabundance of fake followers on your page can form a barrier between the content your brand posts and the genuine Facebook fans you have out there, who are actually eager to view your content and engage with it.” So, a high number of followers does not mean that these followers will necessarily like or repost any updates. On a side note, even though Facebook officially bans buying fake likes, the social media site does offer users to pay for promotion, which Facebook calls as an “alternative” to these particular sites.  Buying Facebook likes from the social media site itself is a “legitimate” way to buy likes where Facebook promises “to connect with more of the people who matter to you”. Buying likes from sites such as Promosound Group is ‘illegitimate’ According to Facebook and Screenpush, more fake likes means a drop in overall engagement. It is not about the quantity anymore, but quality of those likes that make a successful Facebook page. They are right, but does the public know it? Aren’t people, musicians and artists still judged by the number of followers they have, not the amount of engagement they receive?   More MEOKO? Find us on Facebook Find us on Twitter Find us on Soundcloud
 
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