MEOKO caught up with Parisian producer, Janeret, to talk about his future plans, production and his recent outstanding work.
It has been a while since your first mix with us, and what a great time it has been for you. Full of huge releases on various high quality labels, any particular highlights for you?
It has been a really nice year for me, full of great projects and gigs around the world. I met so many nice people during my trips! If I had to choose some highlights, I would say my tour in South America (Ecuador, Peru, Argentina and Brazil) and more recently in Australia!
We have noticed on various social media platforms, and some releases such as ‘Solstice’ (an after party favourite of mine) your love for jungle. Would you like to tell us a bit more about this?
Glad to hear that!! :), Indeed, I have been enjoying jungle and drum and bass for a long time now. But I recently fell in love with it when a friend of mine introduced me to Good Looking Records, which is the kind of Jungle/d&b I was looking for!
Since then, I have started to produce my own jungle tracks.
In the beginning I produced them only for a few friends and myself. At some point we decided to release one of these tracks, to test people’s reaction.
I was really happily surprised that people liked it ! So I will be back with more Jungle stuff soon...
You are certainly known for your forward dub strong beats, and an incredible ability for atmospheric breaks, what can you say influences your sound?
I listen to all types of music, however my inspiration to produce comes mainly from Dub techno, deep house, Reggae/Dubs well as atmospheric Jungle (which i think influences the most the atmospheric side). I usually like strong beats, interspersed by some sort of ‘dreamy’ breaks, which is what I try to transpose in my music.
Yoyaku is clearly something very close to your heart, How does it feel to be a part of such a relevant, and integral imprint in todays scene? Surrounded by close friends and incredible artists.
I feel really grateful to have been a part of Yoyaku since the project started. It is so satisfying to see it grow everyday! It gives me a lot of energy to work with them as there are always so many exciting projects coming up; and the crew is awesome and so hard working! Now it has become kind of a second family for me!
Your work rate is up there with the best of them, with what seems like a constant flow of sounds. It must be great to be able to express these different visions, on various imprints under the Yoyaku Umbrella, such as Joule and AKU.
Yes it’s so nice to have many nice labels into Yoyaku, each of them having a specific vibe and enabling me to release my music easily and quickly.
You have played in all corners of the globe, is there anywhere in particular you love to perform? You are currently going through some dates in Australia, that must be pretty special?
Actually South America in general has been fantastic I have enjoyed it so much and have some awesome memories from parties there! Australia is awesome too, I made a really nice tour, with some nice parties and spend good times. The 6th Anniversary of S.A.S.H was big!!
You recently had a debut back to back with fellow Yoyaku artist, Varhat. Is it nice to change it up, playing solo a lot, and then playing along side someone?
Yes it’s really different and interesting to play B2B with Varhat. It’s a different process, as it’s really spontaneous. When I play alone, I come up with my own story during the night. When I play with him, it’s always surprising and very explorative! I really enjoy it! We have also become close friends, and we always have a blast when we play together. I think people can feel it.
Any upcoming gigs you can share with us?
System. & Set One Twenty:: The Terrace Party - 28th May - Leeds /UK
Junction 2 Festival 2017 - London / UK
A question we always like to ask, and a question many people like to answer. What is your ideal set up in the studio? Any certain processes?
The ideal set up would be a bunker under my flat, where I could push the sound as much as I want to experiment with all the best synthesizers. But I am not a hardware geek, so I am not really into looking for a new synth all the time.
About my process: my studio is in the space I live in, and I work on my music almost everyday. In order to make tracks, most of the time I start working with beats and then add pads and chords. When I am happy about the loop, I start to build the tracks and then work with automation, breaks etc.
Can you shed any light on future releases you have coming up?
The next EP coming up is my AKU JNRT888, a remix of Dj Honesty on Scenario with Sebo K and Dj Deep, a remix for Alessandro Crimi on Open and a remix of a classic Halo Varga Track on All in. After that, a new project under a different pseudo…
Last of all, can you name us three records that never leave your bag?
Difficult to name just three, but I would say :
S.A.M - Out of Touch
Sublee - Ideepsum Lp
CAPH 04 VA (Yamen & Eda, Lee Burton, Teluric, Alexandar Kyosev)
Thank you so much for your time and the special mix.
Alan D Miller is a guardian for British nightlife; chairman and founder of the NTIA, he has dedicated an extraordinary amount to persevering the night time communities not only in London, but across the country. Perhaps best recognised for being a central figure in the campaign to save Fabric and the We Love Hackney movement, Alan is now working with the Night Time Commission to promote the cultural significance of a strong night time community. We spoke to him ahead of Brighton Music Conference where he’ll be heading a panel with Carly Wilford, Mike Grieve, Jeremy Abbott and Jimmy Blake. He’ll also be speaking to Keith Reilly about Fabric and the significance of saving our independent venues.
What will you be doing at Brighton Music Conference and how important do you think it is that we have gatherings like this?
We’re going to be doing a panel called Save Nightlife with Mixmag it’s going to be talking a bit why it’s better to champion the benefits of nightlife with our hearts and minds, where we’ve come from in the last couple of years, projects that are now happening and where we’re going with key people who are relevant to that, then I’ll be doing a one-on-one with Keith Reilly from fabric about what happened.
I think it’s really important to get the industry together, to network and to share insights and to promote areas of interest. They can act as a mechanism to do more business.
So you’ll be there representing the NTIA, what projects are you currently working on?
So we’re working at the moment with a big drive towards encourage people to promote having a Night Czar in Manchester. We’ve got the first ever mayoral election in Manchester and Liverpool and we’ve been working with Sacha from the Warehouse Project and many others to do a big campaign for Save Nightlife. Lot’s of people have engaged, people like Sean Ryder, and Joe Hart the English goalkeeper, the DJs Skream and Artwork, also sending a message, not only to vote for the mayor but a Night Czar and a Night-time Commission. We want to help champion nightlife in Manchester and continue to drive the message that we bring lots of benefits culturally, in terms of tourism, employment and all of that. In Manchester and Liverpool we want an overall master plan so that as new developments happen, the bars and clubs are not closed down.
We’re doing stuff all over the country; we have something called Save the Rave, that’ll be on the panel as well. We’re working with universities. We’re also doing all these festivals to work with lots of artists and who encourage people and DJs to join the NTIA and sign our petition at savenightlife.com, which goes to all the councils and MPs in the country. When they get those emails and petitions, a bit like we did with fabric, it then makes them recognise how important nightlife is to young people and people in their wards. This means they’re much more likely to listen to them and realise how important it is, and that’s the push we’re trying to do around the country.
You’re very focused on grassroots campaigning and contacting councils, how important do you think it is for people to not just get involved on a national scale but on a local scale as well?
It is massively important; these councils have been voted in by anything between 800 people to 1500 people maybe 2000, and we saw when we did the We Love Hackney campaign, the council licencing wanted to inflict a curfew on all the bars and clubs. We had over 5,500 people writing in to challenge that consultation. They then did a U-turn and out it on hold for a year. They then got involved with the dialogue and changed their policy. That’s enormously important. Then with the Bussey Building in Peckham, we helped behind the scene to get developers, the council and the club involved in a dialogue, It’s all about ensuring that. We had 30,000 people signed that petition. Similarly, we all know the story about fabric. Absolutely, locally, getting local councillors lobbied makes an enormous difference because it’s in their wards and their boroughs that things play out. That’s where the big issues are. In London there are 33 boroughs, that’s why the mayor couldn’t do anything really when the Fabric situation occurred, because it’s not under a mayors remit, that’s under local councillors.
They suddenly realise there’s all these people, a lot of young people, that don’t vote, who may vote and are taking an active interest, and are all getting very concerned. That’s what it should be. It should be a reflection of everyone’s interest; it’s a good way to get them active and to participate. We do that with the public and to lobby further, and drive our narrative. We feel that we’ve managed to get it right front and centre on a national, local and regional profile. Everyone in Britain understands the problem, why it’s an issue, and what we can do to change it.
Fabric to have so much publicity, and so much attention was drawn to then issue, how important do you think it is to carry on that legacy and apply it to venues like Passing Clouds, Mode etc?
I think there are some positive things that we’ve already begun to develop and that they’ve already put in place. Ideas like the agent of change partly came into the white paper that the government put in because of lots of lobbying. It’s the idea that cultural and economic benefits are a direct consequence of nightlife, not just antisocial behaviour and crime.
These instances are often very different; Passing Clouds is different to fabric, that’s different to RaRa, that’s different to Mode, different to all these things that have happened in recent years. There’s a central viewpoint that there are benefits that are accrued, that you might have from a shopping centre or a transport link, when those problems occur at these places, they’re not shut down, they’re not suffocated because they’re considered as an important part of the urban tapestry. They’re part of everyday living. That’s not fair, when issues do occur; they [bars and clubs] get treated in a different way.
How would you say is the best way for people to get involved?
People should definitely get online and sign the petition on savenightlife.com, that’s the first thing they should do. The second thing they should do, they should send a tweet or go on Facebook, with the link saying ‘I’ve just signed the petition,’ post it, and share it with friends and people around them. They should post and share any of the videos that we’re doing about the campaign with artists, what we’re doing in Manchester with Sacha from the Warehouse Project. We need to get the message out there virally and keep the momentum going. We want as many people joining us as possible, we want over a million people on that petition.
Then in addition to that we want and need help so if anyone wanted to get involved with additional promotion and marketing, getting involved and getting people to sign up, then they can get in touch. They’re the main things that we need right now. Then of course people will put on nights themselves, they DJ they out on a night, all those things, and it’s all about promoting the narrative of how important nightlife is to our culture and our way of life.
Over your time working with the NTIA, what would you say has been your biggest achievement or a standout moment for you?
I think there’s been a couple. I think that the We Love Hackney campaign was enormously successful. We got people from all over the borough; restaurants, bars, hotels, ad agencies, housing companies, property developers, all sorts, the public, all involved in saying actually Hackney’s nightlife is so important. It’s a way of developing and creating that, and the fact that we got so much national press, a four-page spread in the Guardian, we got telegraph coverage, the lead in the Evening Standard. The fact we got TV, radio, all of that in our early days was really exciting and successful.
You can’t help but say the Fabric situation was brilliant and terrible at the same time. It was absolutely terrible, that situation that everyone had to go through, and have many months of psychological and emotional problems, of it all being closed. It was also an amazing moment that we got so many people internationally and across Britain all supporting and engaging. It was just at the time when the night tube was being launched, we were getting interviews about the 24-hour tube, but we were able to say look at the Fabric situation. The whole campaign showed how people in Britain really had their voices heard and particularly around the councils in Islington. Everyone’s voices were heard and they put their money where their mouths are with the crowd-sourced campaign. They supported and made the legal case happen and championed it. We brought in Philip Kolvin QC, and there’s a combination of things that were done that were all very key and important.
The standout moments come when you do your first BBC piece, your first Sky piece, and you end up getting people talking about it, national newspapers, you get it discussed in parliament. We’ve had the importance of night-time industries discussed in parliament. The other standout moment comes from the last administration we had with Boris Johnson to create a Night Czar and the Night Commission, we brought over the Night Mayor from Amsterdam, we did loads of hard work behind the scenes. In this current administration, Sadiq Khan is very positive around nightlife and having a Night Czar and a Night-time Commission with really fantastic people on it, with police, council, music people, and us having not only having a seat at the table, but a voice. We’ve come an enormous distance; we’ve faced some difficulties and some challenges and we continue and have been very vocal about them. We’ve had some remarkable achievements and come a long distance. You can see that we’ve come a long way in just two years, that’s not a long time, to be in that position.
Yes, having the Night-time Commission in London, how vital do you think that is?
It is massively important to get everyone around the table that disagreed all talking together. We needed the conversation and thrash it out. The future of the city is at stake, and the kind of city we want to have. We all say we want to have a thriving bus link, a dynamic, economically vibrant place, to different people, it all seems to mean different things, so how can we all get together and argue out the issues and come up with a solution that we can work in partnership with each other together? It was uncomfortable to begin with, and that’s what it should have been. You need to get through that process to get something to happen. It’s very good that it’s there and there’s a lot that we’ve got to do. There’s 33 boroughs across London, and we’ve got to make it work in all of them but having Philip Kolvin as chairman who we work with closely and some brilliant people on there means that it’s going to be good for the next year, we’re gong to make some really good impacts in London. That then sets the tone for other cities as we’re seeing now with Manchester, Liverpool, Glasgow and Bristol, we’re looking to have some similar things to accompany the mayors and others.
What do you think the future of British nightlife looks like?
It’s a bit like everything. It depends; it depends on what we do. We make this world every day. I don’t believe there’s anyone up there pulling the strings. We are conscious beings and we make the world. If we decide to go out there and make it with the vision that we’ve got then we will. If we don’t, we don’t. This is the key point that Fabric demonstrated. When people get involved, it makes the difference. So the future of nightlife is very bright and it also depends on how much we want to have our voices heard. That’s why we have to use the website and the hashtag, www.savenightlife.com, #savenightlife, everyone should sign the petition, send it round to people and encourage everyone to have their voices heard. The more councillors that hear, the more news gets out, the more people hear across the country, the more it gets championed and protected, the better off we’ll be.
Words by Georgia Evans
Unleash impressed at their last outing when tINI, Julian Perez, Arapu, and saxy act DeWalta & Mike Shannon all took control down at Studio Spaces. The party in this particular venue was a cute coupling - three clean rooms, good sound, great DJs and ravers that were there to really party.
Next month it is Zip (yes!) and Trelik boss Baby Ford that will headline at Pennington Street, in what is set to be a mouth watering back to back for the latters label showcase on May 27th. Both chaps are highly regarded in the scene for their contributions, with Zippy in particular, a favourite amongst the purists. There will no doubt be the usual heaviness from the outstanding German.
Pedro’s inclusion to the lineup will draw in the rest of the fleet, and makes this party an essential. The RPR boys (Rhadoo, Pedro, Raresh) do have a magnetism when they play, yet I somehow prefer watching them ride solo, when Pedro, I think, is at his best. His home made cuts are just.so.naughty.
That should be enough for a wicked night of music, yet Unleash have more muscle in the form of Cabanne, Daylomar, Memek, Resolute’s O.BEE, and Trelik’s own Alex Celler and OCH too.
I’m personally most excited for Cabanne... Back at Half Baked’s 7th birthday he nearly blew my head clean off in the third arch, playing some monstery, techno-y house that I have never heard anything like before. He is an excellent addition to the night and will maintain a gold standard of quality to those either side of him on the bill.
Mr. Celler is too, one to watch. The Grecian’s sweet take on minimal is juice for any dancefloor, and I’m already looking forward to hearing both sides of his wonderful Trelik release, on the night.
Admittedly as I creak into my late twenties, I do find myself choosing Sunday brunch in the park more often than munching on my own jaw. With so many forward thinking artists on one lineup though, this party would be silly to miss. We are in great hands, and I look forward to seeing you there.
As part of our regular competition series, MEOKO are giving away FIVE tickets to this Unleash x Trelik Showcase.
with "TRELIK" as the subject title. Good luck!
Words by Marlon.
For tickets click here
Archetype [ar-ki-typ] noun.
A prime example
An original model
A constantly recurring symbol or motif
An inherited idea of mode of thought
The Arkityp tidal wave is coming and now is your chosen time of discovery. Join us as we delve a little deeper behind the scenes of the fantastic new project from Archie Hamilton and Rossko. Not much introduction is needed for the two artists, both having bags of experience amongst the underground scene, not just in London but worldwide. After years of the two of them holding down serious residencies with Fuse, and hefty back-to-back sets with their infectious vibe, the time has come for them to do what only seems natural, produce their own imprint. What started as a party in Ibiza , 2015, now seems an impressive reality of the journey they have been on. The label’s debut release ‘M25 Ep’ has received an amazing response being driven through dancefloors all over, creating a certain buzz around the movements of Arkityp.
This really is what it’s all about, two close friends in and outside of music coming together, sharing a vision and delivering their creativity in a form they see fit. It is clear the musical appreciation is mutual between the two, and we are sure we speak for many when we say we are extremely excited to see and hear what this project entails. This is how it went down when we caught up with the duo, discussing where it all started in Ibiza, and what they have in store for the future…
We are extremely keen to discover this. Will there be more Arkityp parties coming in the future? In Ibiza? or around the world?
At the moment, we are concentrating on the music. We did a season of Arkityp in Ibiza in Underground in 2015. The were a success but this was never going to be a long term plan. Just one off series of parties at one of our favourite sports on the island. still - never say never.
We love the definition and meaning behind the name Arkityp, how did the name come about?
We played around with many ideas. loads actually, we wanted something that represented the idea behind the party and the music. The word means 'the original model' OR 'example" and that is what we trying to say, nothing complicated just high quality output. It is also a play on our names, the A and R are next to each other also represent Archie and Rossko. There is actually three of us involved. (James Reynolds is behind the visual and design aspect) hence the triangle logo.
When was the moment you thought 'OK, it's time to take it to the next level and create a record label'?
The label came about because the two of us had been playing back to back for many years at Fuse. The season we spent in Ibiza on the event was the turning point, naturally we became very good friends in music and more importantly outside of music. When we play we have this innate connection, you cant force that, it just happen's. We're tuned into the same frequency so moving this connection to the studio was the next step. It just felt right.
If it wasnt for Enzo creating a Fuse Studio and encouraging not just us two but all the Fuse artists to use the space, projects like this would probably not be easily realised. We really respect Enzo's mindset of being a collective. He is the example of what many people with parties / brands should aspire to.
We made three tracks in three days, all the years playing b2b, talking and sharing music, it just came out of us. We know each others sound inside out and we respect others opinions so making music is pretty simple and straightforward. How it should be. After the sessions, Archie took them to his cave and sprinkled his magic on them, we spent the next couple of weeks road testing them and getting feedback from the rest of the fuse crew until we were happy they could be signed off for pressing.
Will the label strictly be a platform for the both of you? Or will we see features from fellow friends/artists?
At the moment we see this as a label just for ourselves, purely an artistic platform for the both of us to release whatever we feel like.. We wanted to explore other avenues of music that we like but also reflect our common ground. Rossko has a big garage, grime and jungle side whereas i have a trip hop and eclectic electronica background. As you can hear in A1, it is a big dub techno, tech house track, and we want to explore other avenues of music that we like, that maybe in our individual careers, we try to keep our sound and direction. So we can be a little bit more creative and touch on other areas. That is not to say the door is closed with other artists but we like things to flow naturally so whatever is meant to happen will happen.
There was quite a buzz amongst the underground scene, especially in the UK, when announcing your new venture. And the first release the 'M25 EP' has had so much huge support it must be such a rewarding feeling for you both. Any news/info you can give us on the second release?or any other releases for that matter? We did see a picture from the depths of the studio that made us quite excited.
We really happy with how its been received and feeling proud to know we can reach out to a lot of people around the world that support our music, rave to it and buy our records. For the record to sell so quickly and go to repress means we are doing something right. I's a good feeling. It just makes us want to get back into the studio even quicker and put more records out. We have already started work on the next three tracks. Same output, same process as before, 3 tracks in 3 days. We have been road testing them already and a few keen ears have even spotted them as Arkityp tracks - to us - this is a good sign - it shows we creating our own identity and sound as Arkityp. This was our aim in the first place.
The debut EP 'M25', really does cater for all dance floor situations, whether its peak time or an after party vibe. Is this a reflection of what you as a label are trying to capture?
There are three very different tracks but all connected to a sound and an idea that reflect our personalities. We are good at translating them into records. I guess it is an art form really. As DJS first, we love to play first especailly, peak time, intimate space, those day time open air parties as well as your dark and sweaty afterhours . We want to make music that is playable in any situation. We can only do this cause we have done a lot of research and developement on the dance floor :)
You have built quite a reputation with your b2b sets, at some amazing parties. It seems you have a great understanding and similar musical energy, does this shine through in the studio as well as in the booth?
When we first played, we knew. We were three deck mixing, looping, using tools, mixing for each other. When it works, it works. We really look forward to playing together. Thats the mad thing about synergy: Weird stuff happens.
A few weeks ago, i was playing at Fuse and Archie had given me this special track over a year ago, we were in Ibiza in his hotel room and I must have played it about ten times in a row. It is a typical Rossko track. The thing is i never got the chance to play it out till last Fuse. Jan Kreuger was about to come on and he has that sleazy vibe so I just knew that this was the moment to drop that track, as im just about to bring the track in the mix, Archie taps me on the shoulder to say hello as he had just arrived at Village Underground. I just put up the fader and we just laughed, did a shot of tequlia and had a little dance to the track. Its these little things like this that happen all the time with us. It is either Coincidence or someone up there winking down on us. Depends your point of view.
Is there a certain process or routine you follow in the studio, or does the magic just happen?
We have Rossko who is more of the co pilot, directing the ideas, standing up dancing and making strange noises. Archie is in the drivers seat translating the madness. I have to big up Archie to the last three days in the studio with me working this way is impressive. I have so many ideas and i want to put all of them into one track. He is teaching me a lot - infact we help each other break the rules. Archie thinks in production format whereas im like 'lets do it like this' OR 'lets do it like that' The most important thing is that Archie is able to get the ideas down and we do such a good time when making the music. We love what we do so this all comes easy for us.
Anything else Arkityp related you can enlighten us with, or anything we can expect in the near future?
More and More music. We have real busy summers ahead of us in Ibiza, tours, festivals and the rest of Europe. We both focused on our own individual careers but are also touring and playing some high quality gigs together, this is our plan for the summer, be able to share some special moments and experiences both together and individually. Plenty to look forward to.
Thank you for time.
By Zac Bidwell
There has been a certain buzz around the Romanian electronic music scene for some time now, and is something that just seems to continue to grow and blossom more and more. With so many incredible talents based in this country, it is vital to maintain originality, keeping ideas natural and raw, and we believe this is something Ruere Records founder Faster, captures perfectly. Proving himself to be an integral part of the puzzle.
In a short space of time, Ruere has built up huge support across the board, including a masterpiece remix from Rhadoo on the last release 'M.O.D Ep'. That speaks for itself. An imprint created to allow Faster to prepare his ideas and lay down his creations as a whole, bringing together the artwork, the sound, and final atmosphere created. Although taking care of business with his own label, we have had the pleasure of amazing records on other high quality outlets such as Drumma Records. 'Resolutions' is coming very soon, with S.A.M putting forward his reshape and interpretation.
Outside of the studio, Faster, is building a reputation for himself behind the turntables, playing a stand out set at Sunwaves last year we can not wait to witness the magic once again in just over a weeks time. Once you let yourself in to the world of Faster, there is no going back.
We managed to have a chat with the Ruere boss, and this is how it went down:
First of all, a bit of background info about yourself. With a passion for Hip Hop in your youth, Where did your journey in electronic music start?
Even though I started out by doing hip-hop beats, I wanted to explore more grounds. The electronic scene in Romania was growing more and more at that time so I had many influences around me. It was very easy to begin this process, the hard part is to keep up.
Who/what would you say your main influences have been over the years?
Even after more than 10 years I am still mesmerized by Ricardo Villallobos technique and his personal flavor. I was also very lucky to grow in this environment surrounded by the best local electronic masterminds such as Rhadoo, Raresh and Petre Inspirescu.
The music scene in Romania seems to become more and more popular amongst the electronic music world, how does it feel knowing you are part of this?
I am super grateful, always.
What inspired you to begin your own imprint Ruere Records? How did it all form?
Being a vinyl fan, it was my dream from the beginning to be able to start a record label and to print music that I personally love. I had really good guidance from my closest friends and I decided it was time to do it.
We love the artwork that represents Ruere, is this something important to you? What is your process for finding artwork for your records?
Actually yes, all the artwork from Ruere has personal meaning. I love that everything is connected and I will pursue this idea in the future. The making process involves a lot of time and effort and the main man responsible is Howl Otta which I thank.
With three extremely popular releases on the label, can you reveal what the next step is? Any future info you can give us about Ruere?
I never know the next step, sorry.
Is the label a platform, to showcase your personal talent and ideas? or will we see other artists releasing on the label? Obviously, you had Rhadoo create a remix on the 'M.O.D Ep', how did it feel to have such a relevant and important artist amongst todays scene, release on your label, remixing your own track?
You will definitely see other artists and strong collabs. For M.O.D. EP, Rhadoo's personal touch on one of my tracks kept me very focused. I always admired his work and I am very thankful.
Do you have any upcoming releases on other labels you would like to discuss with us?
Yes, the next EP will be released on Drumma Records with a great remix from my good friend S.A.M. The next vinyls will soon to be revealed!
We caught your extended set last April at Sunwaves, it must be such a fantastic feeling representing your country to people from all over the world. Do you feel there is more freedom with what you can play in Romania? It must be nice knowing you can play for several hours compared to some countries you play in.
Time has no limits neither does music.
Do you have any festivals lined up this year? or any particular club nights you are looking forward too?
Lastly, thank you for the wonderful mix you created for us. Hope you enjoyed making it. What can the readers be expecting when they take a listen?
One small journey.
Thank you so much for your time.
Faster Exclusive MEOKO Podcast
Interview by Zac Bidwell
One Records co-founder Subb-an has been churning out quality house music alongside Adam Shelton on their label since its inception in 2009, whilst making friends along the way through their label parties such as Cab Drivers, John Dimas, Jack Wickham and more. His recent releases on Julian Sandre’s Blind Box, which includes a classy remix from Dana Ruh, andhis debut release on Cabinet Records ‘Island Fever’ are both examples of his fine producing talent, whilst his split EP with Adam Shelton featuring ISIS SALAM on vocals, One Records’ 41ST release, is due to his stores this April. With this being said, and with festival season fast approaching, now was the perfect time to catch up with him ahead of his Australian tour.
In this interview, Michael Dowding chats to Subb-an about everything from what he is expecting in Australia, his first ever set at Sunwaves, to what he thinks about the British festival scene and who he thinks are the up-and-coming producers of tomorrow; Enjoy.
So you’re currently touring Australia. How’s the weather, how’s it been so far andwhere’s the next party?
I’m still in Berlin at the minute, I’m about to catch my flight! The first stop is Perth, then Sydney and Melbourne. But yeah, expecting it to be hot as usual,but I won’treally be able to enjoy it as most of the time I’m in, then out and then I’m off to San Francisco. Before the first time I went to Australia I actually had preconceptions of how it would be, but every time I’ve been it’s been pretty wild! The Reconstructed party on Saturday in Sydney with Cezar and the Romanians looks good, so I’m really looking forward to that and then on Monday I’m playing the afterhours at Breakfast Club.
You’ve got a big summer ahead and we’re well on the way to festival season! You’ve got Sunwavescoming up and it’s your first time playing, have you been before? And how do you think it’ll compare to playing at other festivals you’ve played at?
It’s going to be my first time at Sunwaves as I’m always busy in Europe, so it’s not always a wise move to take time out of touring really. But yeah, this is the first time at Sunwaves. Me and the Mrs and a big group of us are going to go. Seth [Troxler] asked me to play his stage, so yeah, I’m really looking forward to going away and taking some time out with a good squad and getting a bit of inspiration. From what I’ve heard about Sunwaves from friends and people going there in their twenties, you always hear stories about it when people get back, so I’m sure it’ll be amazing and I can’t wait!
Onto Sonar, you’ve got Thomas Melchior, John Dimas, Point G and more on the One Records showcase and you’re playing at Unleash x Bass Culture showwhich is also shaping up to be a great party– over the years, do you have any really standout moments of the festival?
Yeah, I mean the first OneRecords party was a real success! I only went to the festival for the firsttime a few years ago. I caught the ChemicalBrothers and loads of others that year, it’s a great city! I always come away inspired by the art and music that Sonar provides, you know, whether it’s the Off Sonar parties or Barcelona in general.
You’re playing at Gottwood too, how do the European settings of Barcelona compare to the likes of the English countryside? Does the setting of the place bring out a different vibe?
Yeah totally, I do find that Gottwood has a very British crowd, whereas Sonar has people coming from all over, so it’s an instantly different vibe, but both good in that respect. For me you can’t beat British festivals, it’s something we are born into, and Gottwood is the epitome of that. It’s one of thosemore niche boutique festivals, and the line ups are always good, the crowd is always good, there’s no nonsense, and the setting is amazing. . . yeah it’s brilliant you know! (laughs) and it always brings out a laryness, so you know it’s going get a bit naughty. It’s always a good time, always a good crew, and you know what you’re going get. I always look forward to Gottwood.
A little closer to home, you have just announced your free courtyard party with yourself, Adam Shelton and Bobby O’Donnell. With the calibre of this free party, do you feel it’s important to throw free parties for your followers?
Yeah totally, I think it’s a nice gesture. The majority of people work hard and spend a lot of money going to see DJs and going to parties, and not everyone has bucket loads of cash. But I think its a nice thing to throw a free party as it can be expensive. It’s a nice thing to do and it always creates a nice vibe.
You recently had Cab Drivers as party of a One Records takeover at fabric after its closure which was a huge knock for the nightlife in England. With the reopening of fabric, what do you make of the opening of Sc:ru Club in Birmingham?
From the early stages all I have seen is the line ups. Think they have a good one with Cabanne this weekend, but it’s hard to say as I’ve been living in Berlin for a few years now. In Birmingham I used to be always partying and pretty deep in what was going on, but its hard for me to say now. It’s like any city though, and Birmingham can be a tough one to crack. You need to educate people, so as long as you’re putting good artists on and taking risks, fair play!
You’ve had some nice releases of late on Cabinet Records, JulianSandre’s BlindBox series, and also the new one One Records with Adam Shelton getting plays from Jack Wickham at INFUSE last weekend. With such great music coming out of the One Records corner at the moment, do you have your eye on any up and coming artist at the moment that deserves some recognition for their productions skills?
Yeah, I mean, in terms of what we are talking music wise; Jack, Yamen and EDA, and Gabriels are all putting music out on One. . . They are friends but the reason they’re on the label is because they’re producing really good music and supporting. So yeah, they’re the ones to watch!
It’s going to be pretty busy for you then! Are you planning on catching some rest after the summer? What are your plans for winter, if you have any?
None as of yet, I’ve not thought that far ahead, just trying to get April out of the way!
Interview by Michael Dowding
More One Records
These bits do the business, all out in the past fortnight unless stated otherwise:
Suolo - Chionophile EP / Aforisme AFRV001
Suolo needs no introduction and, with this EP, his statement is that the Moldavian scene has something very smooth to offer. Working with dedication on his 'character' records and being a leader in the zone these two tracks reconfirms his dedication to the after-hours rhythms and clarity of sound. A sense of dreaming while awake is triggered.
Crihan - Grosso Mondo EP / truelovesounds TLSV003
https://www.decks.de/t/crihan-grosso_modo_ep/c93-fvNasty snares, sharp hats and round bass, this might be something of what Crihan does best. He knows best what to use and how to deliver, inspired by the Romanian underground scene where he recently is very active, this EP is great for putting you in the mood to get dressed and to not miss anything. These two beauties stand erect and surely put a smile on your face. On mine does.
Cristi Cons - Perceptual EP / Meander Meander021
https://www.decks.de/t/cristi_cons-perceptual_ep/c93-lzCrsti Cons returns on Meander with a new solo EP, a release that, kind of, reminds us about Anatrack and his SIT sound. This time his music is spatial and terrestrial in the same time, keep us in the middle, exactly where we like to be. His 'perception' is 'mutual' about about 'aural' and 'celestial' states of being. Keeps your mind grounded with the right beats and percussions.
Nami - Hip Pocket EP / Nami NAMI006
https://www.decks.de/t/nami-hip_pocket/c9g-daNami, on his personal imprint, just releases the moods he is in day by day or just the important feelings that need to be shared. With a great funk powder, aggressive beats and alienated sounds, there is no chance... the party has surely started. It gets your shoes moving and you don't know why, your mind is hooked and your soul smiles. Nami is not afraid to play around and he does it well in 'Radio Delta'.
YYY - YYY606 EP / YYY Series YYY060
Purely underground and unknow, this is all about the rhythm and sound. Yoyaku studio delivers again, on the YYY series, two very tight tracks from the French scene. Fur sure these are great weapons to revive your sets and your house, so just lose yourself into the sound.
Symbol - Symbol 003 EP // Symbol SMB003
This might be something else. This might be on a different note, but we love and cherish this kind of tunes to get ourself out of everyday sound. Full of fractal sounds, natural recorded atmospheres and voices, Symbol releases are meant to shaken our perception about what's possible and come as an inspiration for many of us looking for the perfect sound.
By Dan Primaru
On Thursday 27 April, Unleash is honored and excited to announce the screening of RAVING IRAN at Village Underground, a documentary that lifts the lid on Tehran’s underground electronic music scene and follows the life of DJ’s Anoosh and Arash aka Blade & Beard.
Anoosh and Arash started organizing “Burning man” styled raves together in Iran back in 2008. These parties were located in the middle of the desert 1000km away from Tehran and were of course illegal and very risky to put together. Finding trustworthy people at the time to help, managing the parties, from location to equipment was near to impossible. The duo was always aware of the dangers these activities brought with them and they had to stay as far away as possible from the radical police forces. Watch the trailer here.
Organizing a party in Iran is a crime, and is punished by law. Both Anoosh and Arash have been arrested several times and almost beaten to death by the police, however even this did not stop them to follow their passion for music.
The parties eventually started attracting tourists and also the director of the “Raving Iran” documentary, Susanne Regina Meures, who followed the parties and the life of Blade & Beard closely and with extreme compassion.
In 2013 Anoosh and Arash were invited to travel to Switzerland and perform at the Street parade after which they decided to stay in Switzerland and seek asylum for the sake of a better life.
Fast forward to today, and the pair is on the merge of a long and fruitful career, starting their own label in April 2017 and showcasing some of the best young talents around.
To know more about this extraordinary story, we invite you to purchase a ticket via the resident advisor link here. All profits from this event will go to the charities listen below. You will have the possibility to donate different amounts via RA or you can donate directly supporting the cause via the Just Giving link also below. Moreover, you can follow to facebook event to keep up to date.
This is a CHARITY event and all proceeds will go to:
1. Amnesty International's #freeartists campaign
2. Crisis - the national charity for homeless people
19:00 - 21:00 Welcome Drinks
21:00 - 22:30 Screening of Raving Iran
22:30 - 23:00 Q&A with Blade&Beard
23:00 - 02:00 DJ set from Blade&Beard (UK Debut)
More Unleash London
Sound Healing 101
The esoteric art of healing through sonic vibrations and beyond
While all music holds the potential to heal, there is reserved a special category – often filed under the more esoteric fringes – that is specifically created for the intent. ‘Sound Healing’ as it is known, along with its own band of sound healers, is a broad sonic field that is as vast as it is deep, which also makes it hard to define. From the spiritually guided musical tuning system by Aleksi Perälä to meditative gong bath conducted by Stroboscopic Artefacts founder Lucy to the plethora of 432Hz-tuned songs on YouTube – is the genre identified by the instruments, effect or intent?
To go deeper into this rabbit hole that is coloured by an obsession with frequencies, binaural beats, vocal acrobatics and mystical instruments, we first take a trip back to where it all began: the ancient cultures.
Sound healing is not musical, it’s vibrational
The Egyptians regarded vowel sounds as sacred and were known to conduct sonic-based ceremonies while their patients visited healing temples to undergo ‘dream sleep’ incubation with music therapy in small reverberant cells. Elsewhere, archaeologists have found that ancient sound chambers such as the Hypogeum Hal Saflieni in Malta and Newgrange in Ireland demonstrate extraordinary acoustic properties. In particular, it was discovered that sound at these chambers resonates or echoes at the specific frequency of 110 Hz, which is also the pitch of an average male voice.
EEG tests that detect the brain’s electrical activity show that at 110 Hz, the human brain temporarily switches from left to right brain activity, the side of creativity. Other experiments are also showing that 110 Hz tends to stimulate certain brain rhythms associated with trance-like states. As one delves further into sound healing, one soon realises that frequencies are the foundation, and generally guided by the following formula:
Frequency + Intent = Healing
Fundamentally, we are all made up of atoms vibrating at different speeds. As sound healers believe, not only do specific organs vibrate at different frequencies, so do our thoughts, emotions and even scents. Because sound travels through the vibration of particles, having a sound source vibrating at a particular frequency and guided by a specific intent can help to move us into more beneficial states. Given that humans are also 65% water, we become great sound conductors for vibrational healing.
Take the tuning fork for example – an instrument that is used in sound healing treatments to help tune our bodies back into harmony. Therapeutic methods including tapping the tuning fork and placing it on strategic acupressure points on the body to release subconscious blockages or also for example, having a tuning fork in ‘C’ and another in ‘G’, (256 Hz and 384 Hz in scientific pitch), placed at either ear to create the special interval 3:2 or the Perfect Fifth, which is known to have a balancing and harmonising effect. Songs such as ‘Amazing Grace’ and ‘Twinkle Twinkle Little Star’ feature this interval. Tuning forks further come in a variety of exotic tones that can serve to activate your pineal gland or cleanse your chakras.
Other instruments that frequently come into play in a sound healer’s arsenal might be Tibetan or crystal singing bowls, didgeridoos, shaman drums, rain sticks, gongs and also their own voice in the form of chants or overtone singing. The gong has a special place in sound healing because it covers the broadest spectrum of tones among all the instruments. More poignantly, it is said that all ego shatters at the sound of the gong.
It is important to differentiate that sound healing is really less about Classical ideas of melody or harmony, but more about creating beneficial vibrations or energy states for a room or person. According to ‘What is Sound Healing’ by Lyz Cooper, discordant sounds are no less healing as they can serve to challenge and ‘break up’ tension in the body. An effective sound healing session would be one that clears away competing energies, rebalances and retunes, strengthens your inner resonance, and imparts calm to the mind.
Binaural beats and brainwave entrainment
Taking us more up-to-date in the field are binaural beats, monaural beats and isochronic tones, which belong to the class of brainwave entrainment. The proposition is that the neurons in our brain communicate via electrical impulses, which form the bedrock of our thoughts and even how we behave. These electrical impulses or brainwaves pulse at different frequencies during different states. Beta for example (12 Hz – 27 Hz) is the state of mental focus and concentration. Alpha (8 Hz – 12 Hz) is the state of relaxed alertness or ‘flow’ while theta (3 Hz – 8 Hz) is associated with deep meditation or heavy relaxation and so on.
Binaural beats is a way in which we can entrain our brainwaves to our desired states through sound. By playing different tones in each ear through headphones – for example 100 Hz in the left ear and 110 Hz in the right – our brainwaves become synced to the difference of 10 Hz, or alpha after an estimated 6 minutes.
The ancient Solfeggio scale
A special scale of frequencies, known as the ancient Solfeggio scale used in Gregorian chants is also revered for its healing properties. The Solfeggio scale comprises six original frequencies that feature pure intervals between every note that are also mathematically related and better aligned with the universe’s naturally occurring patterns. In this scale, the note A4 is tuned to 444 Hz as opposed to 440 Hz, which is the common western temperament tuning standard today. One of the frequencies, 528 Hz, is called the love frequency and purportedly even supports DNA repair. John Lennon’s ‘Imagine’ is written in 528 Hz, and is also the title of a controversial book by Dr. Leonard Horowitz.
528 Hz, is called the love528 Hz, is called the love
While music therapy is now widely recognised as an allied health profession and ultrasound commonly administered in physiotherapy, the far-out field of sound healing still remains lacking in rigorous research, peer reviews or institutional support. Which also means to say – to each their own. For what it’s worth, sound like any other modality is a powerful vehicle that can be used for positive aims. To the begging question – do they actually work? I would think twice about throwing down thousands of dollars in the hope of a miracle cure based on good vibes, but as a conscious inner tuning practice you can purposefully utilise to serve others, sound healing has helped to create shifts in my life that have certainly led to happy and harmonious outcomes.
by Debbie Chia
Cab Drivers' very own Jens Augustowsky, one formidable part of the legendary duo, better known as "Zky", is launching his own label. It is called Ground Service and its future output, subliminally effective cult tools, will not only serve as grounding devices for the dancefloor but also deliver some serious fodder for those in wanton for "classic and utilitarian" slabs – particularly neededat moments of highest demand: before or after touchdown.
Whilst Cabinet stands for "Curious Analog Bassline Intergalactic Non-Stop Energy Tanzfloor", Ground Service stands on its own. It is paramount to point out that itis not a Cab Driver label but lands on its own artistic feet. With its first release just about to drop, Meoko could not resist the call for action, and visited Jens Augustowsky in his Berlin studio in Prenzlauer Berg.
Raw Basic Workouts
"Zky' is intertwined with Cab Drivers," points out a highly focused Augustowsky, but Ground Service is not. After quite a few outings under his own moniker on Cabinet Records, "Zky" has become a synonym for stripped down, raw and acidic workouts that work around minimal yet effective structural shifts which function subliminally whilst celebrating strong palettes of vintage sounds.
Strong dedication to the floor thanks to uncompromising grooves and expert sonic trickery complete the picture of the first Ground Service release which will hit the record stores around now and is already gracing the pre sales lists. But, as Augustowsky is keen to explain, Ground Service has more to it than simply harboring his solo excursions.
Ground Service is a departure point into something new: "At the very moment an own release is coming, on a new label, it is not clear automatically what this stands for, and who this is," elaborates Jens.
"The new label is supposed to transmit something that says: 'Listen up, there is something new, and it is independent.' And yes, it is very likely that people will not encounter it straight away. We all know how these things happen – or rather not happen: The record will be released through a distributor, and it will appear on their order list for a few days only," rounds up Jens who is firmly seated in his marvellously organised studio, filled to the brim with exquisite machinery, with a classic Roland setup marking an energetic center point.
It is very astounding that Zky suspects that the new record label might go unnoticed by many: The news that one of the Cab Drivers is launching a new label is quite a sensation for their fans. Digger DJs, vinyl nerds and groove specialists will be on their heels pre-ordering the new release before the news makes its round.
Ground Servicing the Floor
Nevertheless Jens is eager to take things into a new direction. The label, aimed at a musically-versed spectrum of listeners on the floor, is ready to start off with a string of collaborators and productions that are specially crafted for its dedicated use in the club – something he hails a true "Ground Service style".
"The genetic code of the label can be encountered in my own musical background. In my participation in Cab Drivers, or in my other side projects, with or without Daniel. And you can surely hear this, now in this very first release, that there is some relationship, some connection. I cannot help it. Just because I make stuff on my own, I will not make folk all of a sudden.“
The question why Zky wants Ground Service to be heard and seen at the very moment it surfaces instead of being a slow burner or insider can maybe answered considering his history. Whilst his Cab Driver project, started off with partner Daniel Paul Behnemann aka Daniel Paul, the other half of the Cab Drivers, was launched in the early Nineties, with Cabinet Records being established in 1995, it took them almost twenty years to become a fully-blown, internationally touring live outfit.
They, with their immense body of work placing them in heavy-weight dimensions, have been at the forefront of things for some time. In true veteran vain, they crank out vanguard material that is setting the pace for generations to come, but in such an uncanny, unspoilt and unconsumed way that they seem the discovery of recent years.
Cabinet has grown into a label with highly sought-after material, and an artist family whose moment is now, Audio Werner, Subb-An and DJ Honesty being some prime examples. Horseshoe, Warten Borgmann, Compass, Abrax, Karo, Zwo Fremde, Princess, The Poor Knight, Feeding Cup are just other Cab Drivers project names, and their outings under all those monikers grace the label regularly.
But Zky does not want to delve into that background. Ground Service comes straight out of Augustowsky. Born and bred Berliner, he was raised in Prenzlauer Berg which is also where the studio is situated. In some ways, with Ground Service, Jens has returned to his roots – despite the fact that he never moved away from them.
Being both, a honed DJ and accomplished producer and live musician – anyone who has seen him set off into spontanious jacking live improvisation sessions with his 303 and 909 knows what we are talking about.
The Moment Is Now
To express something independent, something intrinsically Zky, is the reason why Ground Service is being launched. No time is to be wasted: Ground Service is not only a singular quest but a manifold mission. "Ground Service is a story: like the name suggests, it can be many things.“ The logo is a grounding symbol; it also stands for matter. "And when you are at the airport, the ground service is essential in making logistics work. They are the people who fill up the planes' tanks, they load the luggage,“ explains a candid Jens.
"The dancefloor is the ground as well, the solid foundation on which things happen. And the label wants to offer its service to the floor: The music is dedicated to the dancefloor," elaborates Zky animatedly. A true love affair: "A service to the DJ, to the dancers and to the floor."
Listening to the first release on the label, it becomes clear what Augustowsky is looking for when calling upon celebrating the Gound Service's services: a varied spectrum of tight tracks, ready for usage in their respective environments. A substancial four-tracker which combines some kind of all-round virtues with the unmistaken thumb prints of Augustowsky written all over.
"Tiny Moves", the opener of Ground 001, is the best proof. Zky's hommage to the basic foundation of club life is solid sonic trickery, consisting of burbling acid lines which deliver a straight upward movement spiralling around a sparse and spanking groove. "No Sleep" sneaks in quite subliminally; its sweet bassline and old school claps keep the track in motion until some dissonant chords create some cosmic imbalance.
"That Track" is more of a slow burning mover. Elegantly spaced stabs swirl around a reliable bassline which feels like an anchor in the ever-evolutionising universe of music: That moment when you lose yourself completely on the floor. "Don't Decelerate" is the message, the answer to any dancer's problems. Bleeping modulated synth lines work swiftly against themselves, moving one's mind, body and soul towards a higher state of consciousness.
"This is why", concludes Jens, "it is a connection of so many things. The dance, the earth, the environment, the service. Music should be accessible for all of us... it should not be exclusive, not only vinyl, not only digital. As an artist and as a label I am happy about anybody who likes to listen and to play my music. It can be anything: Ambient, straight to the floor. The first release is by myself, but the spectrum will not be too monothematic: Ground Service cannot and will not be another Cabinet Records."
Pre-Sale link on decks.de
Text and Interview: Katrin Richter/Kat Kat Tat @ Planetkat
More Ground Service Records
Ahead of the remarkable '10 year' milestone, MEOKO caught up with Cesare, the owner of Serialism Records, to talk about how the 10 years has been and what the future holds in store for the label.
Good evening Cesare and thank you for having us! I appreciate that you made time out of your busy schedule for this interview. First of all I would like to congratulate you on this remarkable “10 year” milestone of yours with Serialism Records. It’s a brave thing to run a label. Before we go any further, what set you on the path to founding Serialism?
Hello and thank you for having me..yes my Serialism Records is 10..times flies!
I agree, it is a brave thing to run a label nowadays but we are still alive after 10 years, and We are here to stay! It all happened around 2006, I was living in London when a good friend and Italian dj Stefano Pellegrini and myself decided to join our forces and start Serialism Records. For a couple years we have been organizing small underground parties in East London (Shoreditch, Old st, Bricklane, Bethnal Green following the wave of underground parties happening all over the area at the time) we were doing our thing..we hanged out with a group of musicians and artists around fabric club (some of them now recognized forces in the worldwide scene), everyone with his own style and passion but ready to share the knowledge with the team..we thought: “why don’t we start a record label to showcase those artists?”..So we did.
It was already my second adventure in the industry as I’ve started a Record label almost 2 years before, my own imprint Mean Records, so I had already an idea of the whole process..
Were there any particular people, parties, labels or moments that significantly influenced you in the early days?
Yes, most definitely. Of course some artists and some people particularly, have been always inspiring my work and the direction of Serialism..but also moments and many experiences are effecting me & consequently the label..At that time we opened Serialism i was impressed and inspired by labels like Playhouse, Mathew Jonson’s Wagon Repair, Benjamin Fehr’s Catenaccio, Cadenza but also Spectral, Sushitech, Vakant, Circus Company, M_nus, Arpiar and of course above all Perlon..but I had that background of the 90’s that was also pushing my taste to different directions..I felt in love at first sight (a decade before) with Ninja Tune, Warp Records, Domino, !K7, GStone, Mowax..and Soma, Transmat, Underground Resistance..some of those labels had previously made a strong impact in my musical awareness so i guess i naturally followed that line to direct the taste and creative moves of my labels 10 years later (although the music style totally different some creative patterns are common)..most of those label still rock and keep inspiring me and the team..some of them less but I still feel that respect a child has for his parents no matter what..
Would you say it is difficult to set up a record label? What advice would you give to other aspiring label owners?
That all depends where you wanna be, what you want to achieve..nowadays opening a label is pretty easy;
make/collect a few tunes from friends, prepare a few eps (no matter how bad or good they are), send to couple digital distributions out there (and there is plenty) that will easily spread your product online at almost no cost and no risk for anyone and with almost no questions asked..this process sounds pretty straight forward and it is. But this is not our way..it is when you want to make something special and work the old school way, printing music on real support (vinyl) and creating a special unique concept, take care of the artists you are promoting, feel the whole process in your heart..that’s where the real pain (but also happiness) starts..you will need to invest cash, find a proper vinyl distribution who trust your sound and see a future in the sales and popularity of your product..you will have to go through a process of production, press and distribution where more people are involved..designers, pr agencies, printing & shipping companies, record shops, promoters and so on..it’s pretty rewarding emotionally wise but is a hell of a job..and financially..not worthy the time and energies for sure..
Serialism counts 38 releases up to date with signed artists of the highest calibre. If you were to pick the three most notable “for you” releases that you’ve put out, which would they be?
JIN CHOI - Full Range ep incl. Maceo Plex rmx
QUENUM - Face to Face Lp (incl. singles) with Cassy, Mathew Jonson, Tiefschwarz, Cesare vs Disorder & rmxs
FRANK HAAG - The Future is Absurd ep incl The Mole rmx
These 3 releases each represents an important step of the label in the industry and marks the start of a new era for the team (at different times) during the 10 years of life of the imprint, but I could mention many more that should be marked “notable”
What do you constantly strive for with Serialism?
I am constantly searching for a fresh special sound, a unique way to translate it visually with the entire image of the project and the best way to spread it as much as possible to the right people.
You are also an artist in your own right - which is more important? The label or your own music, or do they go hand in hand?
Yes, it is actually difficult sometimes to split myself in 2, the artist and the label. Fortunately I have a team of friends and collaborators sparse all over the world that work constantly behind the label and my moves, to make things happen... and of course the 2 go together, having the label and being able to listen and choose among so much music inspires me, teaches me and help my creativity to achieve my own musical targets.
We’re all aware of the massive increase on record sales in these past few years and so many record labels are popping up constantly. In your opinion, would you consider this as a trend or do you believe that vinyl is actually back to stay? How do you see things will be in the next 5 years for the vinyl record industry?
It is a great thing that vinyl came back in the market and sales are growing again although I feel it is a sort of trend at the moment. I want to see it as a good thing that will last but I cannot be 100% sure.
I guess the real vinyl lovers won’t stop buying vinyl, it is a drug for many of us and the digital era it’s not a fully working rehab. Needless to say: playing a tune on vinyl is much more rewarding that playing it from a computer or iphone but one don’t exclude the other one.. Music is music wherever it comes from.
There will be always music lovers, collectors, djs who support this magical feeling. I doubt it will ever stop. Then if we talk about quantities and numbers, that’s another pair of shoes.
Do you feel like there’s anything missing from the electronic music industry at the moment?
Difficult question..the music industry at the moment is over saturated, very dynamic, quick, in continuous evolution. Nobody is safe, nobody have too many 2nd chances, i would be almost comfortable to say it’s merciless. So i guess only the real will survive, the ones who have that plus that comes from experience and real passion, the ones who represent the music as lifestyle, not just as a trend.
I don’t feel anything is missing directly, I just see things in continuous development. Most of the time business prevails but there is still that variable of pure passion and love in the middle that keeps things real.
What does the future hold in store for you and Serialism?
The future of the label looks bright..we have an amazing sequence of releases in the next months synched with some special parties all over the world. Next on the label is an EP of Cristi Cons & Sublee, Frank Storm with Guido Schnider & Dana Ruh rmx, Azimute incl remixes by Livio & Roby, Alex Kid, Alex Smoke and Anushka, Jin Choi with rmx by Baby Ford, Cesare vs Disorder incl Konrad Black remix, Jichael Mackson, Salvo Castelli with San Proper & Rail (Ilario Alicante) remixes and more releases are planned already but I cannot disclose them yet.
On the event side we have started a series of off location parties in São Paulo (my home now) called Serialism São Paulo every 2 months (we already had Cristi Cons and Rhadoo with us at the first 2 parties and ready to welcome Losoul in May), then we have our 7 years residency at Watergate and a show at IPSE in Berlin, a show at Frieda Buxe in Zurich, a show at Pacha in Barcelona, one at Glow in Bangkok, another in Ibiza with the Unusual Suspects crew, in Italy few different cities..everyday more shows are popping out around the world ..in work cities are London, Paris, New York, Miami, Sydney, Moscow and many more cities..we will announce all step by step during the year. We are happy things are moving forward on a daily base.
Cesare that’s been great talking to you, thank you for your time! Last question for you. If you could go back in time and relive any given moment from these 10 years with Serialism, which one would it be and why?
Thank you for having me and congratulations for your 5 years in the exclusive podcast business!
There has been so many magical but also difficult moments during 10 years of our life..back of my head I could mention when Quenum & myself met for the first time in person..our good old friend and artist on the label Sierra Sam brought him to our studio (that was start of 2012) in Berlin after we have been talking for months via email and had released an EP from him already..but now it was a special feeling, one of my favourite artists coming to my studio to show me his debut album and propose it for the label..we spent hours listening, talking, laughing... who would have known that on this day a special friendship started and the friendship will never end! Until today Quenum is one of the most important persons in my life but also a key collaborator of the label for years to come..and of course we are Azimute together ;)
Azimute Exclusive MEOKO Podcase No:237
Written by Denny Kem.
EC1 is promising a night of minimal bliss courtesy of Sonja Moonear, SIT and Rhadoo. fabriclondon will be welcoming the subtly sublime artists on the 27th May, and Matteo Manzini in Room One. While techno super-power Blawan will join them in Room Two.
Seasoned record collector, and queen of minimal style, Sonja Moonear will be taking over, imprinting her own signature style on the legendary club. Her refined soundscapes and cutting-edge techno vibes are sure to impress. The classically trained Swiss pioneer has carefully cultivated her style into something truly unique and innovative.
Bringing the Romanian underground sound, none other than [a:rpia:r], and Understand label figurehead, Rhadoo. A man who needs little introduction, and Meoko favourite, he’s sure to turn it up and throw in some experimental tunes. Often shrouded in mystery, this enigmatic force is going to be unmissable.
SIT’s Cristi Cons & Vlad Caia are going to be performing live, these longstanding and distinctive Romanian visionaries promise a rousing and provocative performance. There’s also Matteo Manzini to look forward to. The Damaged founder will be laying down a perfect selection for the attendees.
Room Two sees the raw-edged techno heavyweight Blawan take over proceedings. The percussion-driven avant-garde artist is sure to amaze with his unique sound.
He’s also going to be joined by Mote-Evolver’s Psyk who’ll be playing with the infamous Pro-rig system with Paula Temple making an appearance too.
To make sure you don’t miss out on an incredible bank-holiday weekend treat, get your tickets here.
Words by Georgia Evans
Over the weekend, techno fans experienced a night of uncompromisingly high-quality music, courtesy of Nightowl. Motion’s main room became an intimate space filled with galvanised lasers and futuristic rhythms.
Desolat label boss Loco Dice headlined the night, bringing his unique cinematic flair to his carefully cultivated distinct sound. Cloaking the audience in clouds of smoke and pulsating lights, he blasted his hip-hop influenced sensory tunes ahead of his eagerly anticipated performance at Sonus this summer.
The night was also monumental in the sense that it was Fuse figurehead Enzo Siragusa’s Bristol debut. A long-time coming, the legendary underground DJ showcased some supremely minimal, dynamic sound. Drawing in a new crowd of Fuse fanatics.
They were also joined by the ever-eclectic B.Traits. Stepping away from the Radio 1 booth, she surprised a sceptical audience by playing some highly skilled, authentic techno. Proving that she can seamlessly move between commercial and underground sounds.
There were also performances from one of then Netherland’s most exciting talents, William Djoko, ‘Simple’ resident Em Williams, Jake Hodgkinson, Ttandom and Iggs & Biles rounded everything off.
All in all, the night was an intimate gathering for Bristol’s die-hard techno fans to experience some cutting-edge music from a carefully chosen handful of artists.
Words by Georgia Evans
On the 27th-28th April the UK’s biggest electronic music conference and networking event will be taking place. Brighton Music Conference will be a gathering of the industry’s leading delegates for over 50 talks workshops and seminars. In addition to this, there will be some world-class artists performing at the city’s best venues.
Hot Creations frontman and Elrow resident Patrick Topping will be headlining TAKE at The Arch, performing alongside while The Terrace will have Heptone b2b Carl with A K and Matt Ortarix, and Dan Hayes b2b Regan Bowles are taking over The Hub, with a few other great new artists lined-up too.
On the 26th, things will be kicking off with welcoming drinks. The day after, Wunderground will be back with ‘DJ Blind-Date’ planned, there’s also the PRS Networking Party at BLOCK, The Toolroom Drinks and Native Instrument’s Traktor Cookery School on the 27th.
Constant Circles Label will be holding showcases on the Thursday and Friday, at the No Walls Gallery from 11am to 7pm. They will be seamlessly tying together both music and an exhibition, making it something really special.
On the 28th, Horus Music and Afrika Motion will be hosting their respective networking drinks, then there’s Wiggle’s 23rd birthday with On The House, Pioneer DJ and Kuvo. Al Duomo will see the likes of Magnus Asberg, Eddie Richards, Terry Francis and and many more take over for this unmissable event.
Then there’s Berlin Brighton at The Green Door Store, Brapp x BMC presents LEVELZ + more at Patterns, adding some more flavour to it all.
Expect to see some incredible talks from the Professional Theatre, including Save Nightlife with the NTIA, BPI Presents Piracy, and MMF Presents: What Will Management Look Like in 5 Years’ Time on Thursday 27th. Then on the Friday, Creative Law Presents-But it was only a “Cheeky” Re-edit?, there’s also Changing the Tide: How to Promote Diversity in Dance Music and many other insightful and interesting discussions.
For those who are just starting out, BMCs Academy theatre has over 15 panels and workshops lined up including DJ and producer Q&As, industry advice sessions and tech showcases from the best music schools in the UK. Toolroom Academy will also be running a series of workshops. As will Native Sessions with Native Instruments, while there is also a new dedicated networking area for Professional Ticket holders.
With less than a month to go, it is so important to make sure you can grab a ticket before they all sell-out! To make sure you don’t miss out on the coming-together of some of the greatest electronic minds around, buy your tickets here.
Words by Georgia Evans
On the 31st March, Club Reina will be taken over by some of the finest artists in the underground scene. Celebrating their first year in style, with Nu Zau, Suciu, Rawness, Razvan Stefan, Ma'man, Valentin and Slavi.
After their shows at Hoxton FM hosting DJs with the likes of Julia Govor, Faster, VincentIulian and LIZZ, numerous parties and cumulating a cult following, these underground innovators are celebrating a year of incredible memories. The crew has curated parties that celebrate the best of minimal techno and micro house, driven to create the atmosphere of a big house party with good music and diversity.
Bucharest’s pioneering producer Nu Zau will join the AFAR crew, inspired by Ricardo Villalobos and Rhadoo, his dark, percussive and experimental sound is unlike any other in the underground scene. In time a new label vinyl project is created by the name of Uvar, which he co-runs with fellow romanian Sepp.
Suciu stands out from the crowd with his charming groove-led productions and haunting atmospherics, a juxtaposition that only works in his favour. A lover of house, jazz, rap and rock- he blends together multiple styles with finesse. The end result is something dark, complex and compelling.
Rawness will be bringing his signature dark melodies and heavy grooves. The Dubgeneration star’s futuristic releases are sure to incite electric impulses in the crowd, expect to hear heavy basslines, warped vocals and pure underground vibes.
FriendsFromAfar have also called in Razvan Stefan, Ma'man, Valentin and Slavi, who will take over Club Reina at 10pm on the 31st March. This passionate get-together is sure to be a celebration of sound and the people who have made the movement such a success.
Facebook Event: Friends From Afar 1 YEAR Anniversary Party!
Following the monumental success of ‘Reconstructed’ with Barac and East End Dubs, Bare Essentials, and Mantra Collective are returning with the massive ‘Reconstructed II' featuring exclusive performances from Subb-an and Cezar. These heavyweights will be taking over a secret underground car park in Sydney on the 8th April for one night of incredible music.
Birmingham’s own Ashique Subhan aka Subb-an is legendary in the industry. Notorious for his collective and experimental sound, he’s been at the epicentre of the underground since his days at Rainbow, where he was picked up by founder Adam Shelton. After creating the long-running One Records with Shelton, he has continued to drive forward enticingly deep minimal house and techno sounds, most recently working with Cocoon, Cabinet Records and Beste Modus.
The second exclusive performer is Cezar, the innovative key figure in Bucharest’s underground scene. He’s sure to bring his cutting-edge energetic sound fresh from [a:rpia:r] records. The Understand label boss is sure to be inspired by the amazing underground setting around him, and the perfect blend of old and new minimal vibes.
Sydney’s finest DJs will be in attendance to support the event. Mantra Collective, Matt Weir & Jake Hough, Persian Rug, Marlie, CD. INC and Max Headroom will all be coming together to the secret location. This will all be powered by a mind-blowing FunktionOne sound system and world class lighting.
Tickets are available online, and to make sure you stay up-to-date, check out the Facebook event page.
Words by Georgia Evans
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