It’s officially Movember! The annual, month-long event that calls upon the men of the world (Mo-Bro’s) to grow a moustache is in full force! Invented to raise awareness for men’s health issues – namely prostate cancer - the Movember Foundation has been growing, and growing (‘scuse the pun), and has spread world-wide with many of our dance music hero’s joining in the cause. Us Mo-Bro’s and Mo-Sisters at UGroove decided to find out which DJs have put their top lips up for rent and put them in the moustache hot-seat to ask about, erm, moustaches. Next up in the Movember series is….
Mick Wilson(DJ Mag & Sioux City Boys Club)
Mick Wilson is the original man about town, record label owner, DJ/Producer, as well as being Tech Editor for DJ Mag and one of the haloed DJmag Allstars. DJing since records began he still bears the youthful looks of a man that hasn’t aged, making fantastic tunes for many a year for all those dance hungry feet, now giving back to the scene with his fabulous label Tigre Fair releasing uber cool tunes from the next bastion of superstar DJs and Producers.
Are you sexier with or without a moustache? Does it make you feel hot, hot, hot!? Or more Merv the perv?
With, it gives me an air of sophistication albeit in a rather 70s kind of way.
Freddy Mercury, Hulk Hogan or Charlie Chaplin’s tash?
It has to be Freddy Mercury for he wore his moustache with pride and honour!
What is your chosen shape?
Well, contrary to popular belief I sport the Horseshoe. Many who are not versed in the stylings of a well groomed moustache would call it a handlebar, but knowledgeable wearers will point out the Handlebar is the style that rides on top of the lip and has upward curved, extremities.
Which girl could get away with a moustache for you?
Oh, uh Claudia Shiffer. Actually Rhianna, she would wear it well.
Which continent/country grow the best moustaches?
Germany and Greece its a tie break on that one
Where do you think the moustache comes from?
From the land of plenty where Macho and Homo can cohabit without the course for discontent, where boys will be boys and men will be men where a hug is all good and the back slap is in keeping, where both can listen to YMCA and feel a certain satisfaction of being ‘In The Navy’.
We got bored of the usual nicknames for tash’s like ‘grass grin’, ‘lip foliage’, ‘nose neighbor’ – can you come up with a new one for us?
‘Flavour Savour’, or for the slightly sexed up wearer ‘Fanny Tickler’.
Who would you like to see grow a moustache?
President Obhama, I think it would give him more of a face, a look that means he could sort out the business!
One of our friends once found a pea in his moustache. What is the best thing you could get caught in your moustache?
Don’t do things like that, I keep it clean that’s the only way to be seen!
Why is Movember important to you?
Because it raises awareness for an issue that is often overlooked, but in a way where humour helps to spread the message.
HAPPY BIRTHDAY LOUCHE! This weekend the London and Leeds based party celebrates its 4th birthday by throwing a double celebration, across two cities and two nights of madness. Ahead of the weekend, they’ve also got mixes from their hot hot hot headliners!
OMAR-S
Tonight (Friday 18th November) they team up with Jaunt at a secret East London location. Keeping the party atmospheric, the venue is an intimate 400 capacity and all ticket holders will be sent information about the venue via email. Not to mention, Omar-S the headliner for the evening, who will be treating ravers to an extended 3 hour set.
Alex Omar Smith brings techno to the table after having become another addition to the great techno legacy of his hometown Detroit. His music is raw, unfiltered and anthemic. His recent album ‘It Can Be DoneBut Only I Can Do It’ received critical acclaim right across the board.
Saturday 19th November sees LOUCHE return to its long running home, The Mint Club, Leeds. Omar-S will be travelling up the M1 with them for his second appearance, and Shonky and Nicholas will be taking to the decks alongside him. Shonky joins LOUCHE after a year long absence from Leeds. Inspired by house legends such as Kerri Chandler and Gemini, Shonky has created his own innovative style of mixing and producing. His music is sexy, hypnotic and groovy and saw him DJ this summer at massive clubs Watergate and DC10!
Making his Leeds debut appearance is the Italian, Nicholas. Growing up in a small town in Tuscany but sounding like he has lived in Chicago all his life Nicholas’ sound is underground, raw and extremely soulful. His back catalogue consists of originally produced, beautifully synthesised house bombs and a huge array of edits, lending samples from old funk and soul records.
Grab some last minute tickets and join LOUCHE in celebrating with this trio of lads, set to give you an eargasm this weekend!
It’s officially Movember! The annual, month-long event that calls upon the men of the world (Mo-Bro’s) to grow a moustache is in full force! Invented to raise awareness for men’s health issues – namely prostate cancer - the Movember Foundation has been growing, and growing (‘scuse the pun), spreading world-wide with many of our dance music hero’s joining in the cause. Us Mo-Bro’s and Mo-Sisters at UGroove decided to find out which DJs have put their top lips up for rent and put them in the moustache hot-seat to ask about, erm, moustaches. Next up in the Movember series is….
Ben Gomori
Ben Gomori, former resident of the legendary Turnmills, The Cross and The Key, Pacha and Egg is a master of house music. Having released on the acclaimed Baker Street Recordings and other established labels, he’s received huge support from a vast array of DJs, bloggers and the general groove-loving public alike. You might best know him for his Data Transmission’s weekly Round-Up radio show & podcast. A busy boy to say the least, but he’s still found the time to grow a moustache…
Are you sexier with or without a moustache? Does it make you feel hot, hot hot!? Or more merv the perv?
You tell me, Lauren? Mixed reaction to be honest. Generally negative. Some say I look like I should be on a register, some say it looks good ‘in a temporary way’.
Freddy Mercury, Hulk Hogan or Charlie Chaplin’s tash?
Chaplin. See Richard Herring’s ‘reclaim the Chaplin tache from Hitler’ diatribe(s)
What is your chosen shape?
Ian Rush meets Bruce Grobbelar meets David Seaman.
Which girl could get away with a moustache for you?
My housemate thinks girls with fake taches are hot. I think he has some issues from when he was at boarding school. Um…how about that ginger bird off of that Mad Men?
Which continent/country grow the best moustaches?
Hungary, obviously (where my parents are from).
Where do you think the moustache comes from?
The soul!
We got bored of the usual nicknames for tash’s like grass grin, lip foliage, nose neighbor – can you come up with a new one for us?
Clit-tickler.
Who would you like to see grow a moustache?
YOU!
One of our friends once found a pea in his moustache. What is the best thing you could get caught in your moustache?
Not much yet, although considering leaving the moustache comb in there like an afropick.
Why is Movember important to you?
I’ve never made any charity efforts before and I thought it’s about time. I like the idea of sacrificing something for sponsorship – in this case attractiveness and facial comfort. And more to the point I think Movember has been instrumental in heightening awareness of prostate and other male cancers – and they’ve done it in such a smart, fun way.
How much are you aiming to raise?
It was £500 but I’ve just passed that, so let’s say £750.
Will the tash be staying after Movember is over?
Fuck no! It’s coming straight off on December 1st. Although my brother did say he’d double his sizable donation if I kept it ’til 2012…argh.
It’s officially Movember! The annual, month-long event that calls upon the men of the world (Mo-Bro’s) to grow a moustache is in full force. Invented to raise awareness for men’s health issues – namely prostate cancer - the Movember Foundation has been growing, and growing (‘scuse the pun), and has spread world-wide with many of our dance music hero’s joining in the cause. Us Mo-Bro’s and Mo-Sisters at UGroove decided to find out which DJs have put their top lips up for rent and put them in the moustache hot-seat to ask about, erm, moustaches. First up in the Movember series is….
Spencer Parker
Berlin based DJ and producer, Spencer Parker is best known for his underground sounds that have found themselves released on labels such as Rekids, Ovum, Tsuba, Remote Area and more. As well as jet-setting the globe to play here, there, and everywhere you will usually find him soundtracking the events in his home town at world favourites Watergate, Panorama Bar and Cookies. Not one to miss out on all the hair-growing fun, Spencer has joined the Movember force to help the cause, we’re just wondering what he thinks about pea’s getting caught in tash’s;
Are you sexier with or without a moustache? Does it make you feel hot, hot hot!? Or more Merv the perv?
I’m fortunate that I’m equally unattractive with both…
Freddy Mercury, Hulk Hogan or Charlie Chaplin’s tash?
I knew that most people would go for the Hulk Hogan/Blue Oyster Bar handlebar, so I went for the classic Tom Selleck/Freddie Mercury myself. I live in Berlin so the Charlie Chaplin wasn’t really an option, if you know what I mean…?
Which girl could get away with a moustache for you?
I think if Paz Vega came calling, even with a mighty handlebar, I’d be able to look past it…
Which continent/country grow the best moustaches?
Italy and Spain know how to do it properly!!! Along with the many bears of Berlin.
Where do you think the moustache comes from?
Hair growing out of the top lip area I assume. I’ll be honest, I have no formal training in genetics or biology, but that’s my guess…
We got bored of the usual nicknames for tash’s like ‘grass grin’, ‘lip foliage’, ‘nose neighbor’ – can you come up with a new one for us?
Lip lingerer.
Who would you like to see grow a moustache?
Daft Punk ( I guess it would be digital, but still…)
One of our friends once found a pea in his moustache. What is the best thing you could get caught in your moustache?
Merely a myriad of compliments for my hot new look!
Why is Movember important to you?
Because it help raise money, awareness and, hopefully, save lives!
How much are you aiming to raise?
Over £250 would be great I think.
Will the tash be staying after Movember is over?
Not if my girlfriend has anything to say about it….
The intriguing duo Italoboyz (Marco Donato & Federico Marton) arrived in London at the beginning of the new millennium and have become an essential fixture in the capital’s passionate electronic house and techno scene. From their notorious back-to-back DJ sets at FESH (333, London) they have exceeded their local status and now play all over the world. They obsessively explore and create the hybrid sounds of house and techno inspired by their love of minimalism, acid-house, jazz, and hi-tech funk. BLA BLA BLA was their debut albumin 2009, while their first live set in front of one and a half million people at Loveparade in 2008. Italoboyz now release on some of today’s most influential minimal-house/techno labels such as Moon Harbour and Get Physical. UGroove’s Samara Moss talks to the boys about their working relationship and highlights such as, featuring on the Circo Loco compilation album…
Hey guys, thanks so much for taking the time to talk to us. You have a very strong relationship with Moon Harbour, how did that come about?
It began when we sent the track ‘Bekeke’ to Matthias Tanzmann and Davide Squillace and they decided to use it for the Circo Loco compilation. At the time the track was still unsigned so we decided to send a few other tracks over because we were very intrigued by the idea of releasing on such a great label like Moon Harbour.
What makes the two of you work so well together?
Probably the fact that we are so different, but at the same time quite complementary. The funny thing is that we never work together even though we’re in the studio at the same time. What we do is work separately on the same thing and then put things together. Let’s say that one of us is more the ‘inspiration’, and the other is more the ‘producer’. Sometimes the music is completely produced by one person only, but it still goes out as Italoboyz. But most of the time, especially with the best tracks that we have done, there’s contribution from both of us. No matter if it’s just at the beginning or at the end, or of what percentage.
What made you make the move from Italy to London?
For me personally (Marco) it was exactly 10 years ago! 7th November 2001 is the day when I decided to try to move to London and see if I could make something happen with electronic music…God bless the moment when I decided to book that one way ticket (laughs)!
Where is your favourite place to club in London and why?
It must be Fabric, for sure. It epitomizes ‘the club’ in every respect. But there is also a new flourishing underground/warehouse culture coming back these days, which is absolutely great!
How would you describe the Italoboyz sound? Where do you take your inspiration from?
We aim to be timeless, which is the best thing in my opinion yet the also the most difficult. Our sound is the result of our musical influences, we always start from an idea, from something that has an interesting edge and around that we build the track. Sometimes it’s quite quick, sometimes it takes ages (literally) but we have this approach in making music. It’s very unusual that we start something without something that turns a light in our mind.
How was it working with Giorgio Cadamuro?
It’s always great, he is a very nice guy and how Mexican people would say, “buena onda”, so it’s always great to be together, and in the studio too. He is a very cool producer and I must say that the two tracks we did together for Moon Harbour came out very quickly as a result of a few studio sessions where we had some serious fun. Especially while recording the voices (for Mamacita). We are going to make a lot more music together, especially in the future with our new upcoming label.
‘Bekeke’ was chosen by Davide Squillace and Matthias Tanzmann for the Circo Loco compilation album, is it nice to see your work featured on albums such as this?
Yes, as I said before I send lots of music to Davide Squillace when it’s still unfinished to get his opinion and he often picks it for compilations and plays it out in general. It’s good to have such feedback while you are still in the creative process.
What’s your favourite place to DJ and why?
There are way too many. The amazingness of a small underground club vibe is totally different to a daylight open-air party, but it’s hard to choose which one is the best. Different moments for different feelings, it’s like saying, “do you prefer an Argentinean tender fillet or an amazing, fresh seafood platter”.
Tell us about your career highlights so far, such as playing Loveparade – that must have been amazing?
Yes that was definitely the highlight and at the same time the scariest 30 minutes of our lives. We had to perform a live set for the first time ever in our lives without even trying it out before, and 10 minutes before being on stage the synchronization wasn’t working…then magically it worked 2 minutes before starting, so we were really lucky that all went nice and smooth. But still, when I see the video on YouTube of the performance I can feel the pressure and the tension of having hundreds of thousands of people in front of us and that something could go wrong…but, we made it, yippeee!!
Is there anyone else you would like to collaborate with?
We love collaborations and we will always make some with people whose music concept is nice, different, innovative.
Have you got any other projects coming up?
Oh yes, we are about to run our own label, Superfiction. It is something that will come out at the beginning of 2012. It’s going to be something really, really cool. I can say only this for now!
After another season of iconic parties in the Ibiza sun, DC10 closed its doors for 2011 on Monday 3rd October with one of the most fully loaded nights in the White Isle’s history. Having been the catalyst to the clubs success since 1999 – and more vitally, its reopening 2 years ago – CircoLoco Mondays have brought an array of talent to the farmhouse at the end of the infamous airport runway. Established circus residents including Seth Troxler, Jamie Jones, Tania Vulcano, Matthias Tanzmann and Davide Squillace were joined by an abundance of talent behind the decks throughout the summer – most of whom returned for one final mammoth night.
Expertly delivered by todays most desired artists the event was soundtracked using a monumental line-up that featured over 30 acts with both experienced Circo Loco legends and neoteric talent alike, ensuring every angle of dance music was covered: Kerri Chandler revisited the club for the fifth time this year since his headlining soul set kicked off the summer madness, Dyed Soundorom and Dan Ghenacia also made a welcome return after stealing the show in the outside area at this years opening party. Davide Squillace and Matthias Tanzmann held their infamous post with a fiery back to back set essential to every Circo Loco experience. For the techno enthusiast Circo Loco favourite Damian Lazarus supplied his unique sound, whilst the ever present French minimal influence was well represented by DJ Wild. Dubfire confirmed his spot as a world favourite, and System of Survival residents expertly provided the daytime harmony. More interestingly are the Circo Loco debutants who joined the final nights festivities. Since becoming a reputable Ibizan brand very few international DJs have managed to get behind the clown faced decks, but with gates opening at 4.30pm, a host of fresh names made the cut. Richy Ahmed slotted with ease into the nights already well established funk groove, and rounding off a truly global line-up were the Americans; Ryan Crosson returned for the fourth time this summer whilst Soul Clap made their first appearance at the event. Circo Loco wanted to create headlines with their move to ‘the next level’ – this line-up certainly validated that claim.
As the planes departed overhead a selection of the worlds finest electronic musicians gathered for one of the largest parties of the summer making Circo Loco a must. UGroove were there to encapsulate the epic hours in dance music history, compiling the moments you love, sharing the memories we don’t want you to forget and showcasing dance music’s mighty groove! So friends, indulge your senses, watch, hear and feel the vibe that engulfed the vicinity of the most cutting edge and forward thinking party of 2011.
zleep is quickly becoming the face of Nottingham’s growing house & techno scene. With previous guests including Magda and Seth Troxler, and Maya Jane Coles gracing the decks at their next event (Friday 18thNovember), it can be recognised as a driving force in Nottinghams underground scene. zleep resident, Nick Cobby is also carving his path as a DJ and producer on the London circuit most recently found at London promotion, Coconut Ritz v zleep v Difficult People. UGroove’s Samara Moss caught up with Nick to find out what we can expect from himself and zleep, which we could see making the move to London in the near future!
So, tell us a bit about yourself…when and how did you start getting in to DJ’ing?
When I started university in Nottingham during 2005, I had absolutely no knowledge of the dance music world. My background in music stems from performing Brass Band music and tinkering with a guitar or two. It wasn’t until I began to immerse myself in Nottingham’s underground dance scene that I began to gain an interest mixing and the technical side of electronic music. Nottingham’s club scene at the time was doing well with nights like Spectrum, Demo, Firefly and Product all featuring regularly. These nights have all disbanded or moved to newer pastures in London since then, which is sad but they all had a part to play in shaping my musical taste today.
I was interested in how creativity can stem from something very rigid and rule based. Since then I’ve realised that ‘creativity born out of restriction’ is a common feature present in every creative outlet. But it wasn’t until a friend of mine picked up some second hand Technic 1210′s that I really started to get the musical itch. On a trip to Brighton I managed to borrow some old decks and I was away, mixing Italodisco, Breakbeat and old Prodigy tunes together and getting a feel for vinyl – this later turns into an addiction that forces me to eat beans on chips for two years of my student life.
How would you describe your sound?
I play any kind of House or Tech-House music that I feel fits in with my own style. Basically anything that I hear that has something interesting, original or infectious about it, whilst still maintaining a constant groove and rhythm that would get me up and dancing. I’m also increasingly enjoying music that is just on the right side of the cheese line! I like to look through back catalogues and play older tracks. It amazes me how well produced something from the late 90′s can be and how it can easily hold up today and sound fresh. In preparation for a gig I make a lot of re-edits and a cappella edits, usually combining unusual and rare vocals with tracks from the other side of the musical spectrum. I’m also a real fan of those tracks that at home sound pretty chilled out, but once you get them on a big system they take on a new lease of life and become a hit on the floor.
Are there any DJs you take inspiration from?
The biggest draw for me is a DJ who can carve a progression or journey through a DJ set, so you can almost split it up into chapters if you wanted. People like The Revenge, Dixon, Sven Weisemann, Matthew Burton and Max Cooper are all great at doing this. Even though they are quite different artists, I really appreciate the way they consider their sets and take you on that journey with them. Also, I’m a big fan of a DJ who can step in and out of genres and produce something totally unexpected and completely listenable. Robag Wruhme’s RA podcast is a perfect example of this, as is Mayan Nidam’s eclectic set. Martyn is also king of the genre hoppers.
What is the main equipment you use for your mixing and remixing?
At home I have Technics and an old pair of CDJ800′s to practice for the club. I am still yet to translate to computer DJing, and still don’t feel ready quite yet, though I understand the need and why so many DJs use them. I’ve taken over from a laptop in a club many times and every time I put in that CD or put that first vinyl on, I feel the increase in quality – the bass just kicks in better and you can feel it more. The same goes for recording mixes. As much as I love Ableton and how it works, it lacks that feeling of human interaction you get from a live mix.
You’re best known as a DJ for your residency at zleep, Nottingham. Tell us a bit about zleep, how it got started and working with DHP group (who own Stealth and other venues like Rock City, Rescue Rooms & Bodega) to create the night…
I started working at Stealth and The Rescue Rooms on the bar straight after uni. In fact it was fellow zleep runner Sam (Chamboché) who was manager at the time and interviewed me for the job! Luckily I got it and spent the next few months slogging it on the bar and picking empty cups out of the urinal at 6am. After a few months I started doing posters and flyer designs for the club, and shortly after started DJing on the odd Saturday night.
zleep came about after Alex (d’lex who is one half of dollop) and Sam (Chamboché) at Stealth decided that Stealth needed a decent underground house and techno night again. It had been a long time coming and there was definitely a gap in the market for it, as Dubstep and DnB was well and truly dominating. I became part of the team at the very beginning, and produced our first podcast and created the brand’s visual identity. I followed that by supporting Andrew Weatherall in the first ever DJ set at zleep 001 in March 2010. The night was a massive success and we realised we were on to something special that people were eager to be a part of.
You’ve had some massive talent join you, such as Seth Troxler and Maya Jane Coles, who is playing at the next zleep (Friday 18th November). How do you go about getting such big names involved?
That is really down to the rest of the zleep team. The night works so well because we all bring something to the table in terms of our skills, experience and contacts. Getting big names like we have had would never have been possible without DHP who have been amazing and supportive of what we are doing. Sam (Chamboché) and Ally Howie (Avant Booking) really have their fingers on the button and we all discuss who we want and go for it. We really try to book a range of people that will capture imaginations and keep the line-ups fresh and unexpected. We have some really exciting headliners in our crosshair for next year also.
What has been your favourite gig to date?
My favourite set so far was taking over from Seth Troxler at zleep 007. It just went off and I was really happy with the response I got. I get a real buzz off playing in front of a crowd and from taking over from someone so experienced – something that as a musician growing up I was always petrified of. Also my set before Marc Houle was amazing as he was a real gent. My favourite DJ sets at zleep were Shonky and Magda who were both terrific and very pleasant people to boot. We have a secret stash of recordings from many of the nights that make for a great nostalgia session, and I hope one day we can share them.
What are the plans going forward with zleep? I understand you might be looking to move the night down from Nottingham to London?
This is something we have been thinking about, and now Sam, Ally and I live in London, we are very keen on it, as are the lads up in Notts. I can’t say much more at this point but watch this space! We definitely want to continue what we have going in Nottingham too as people have been very appreciative. Also there are a few other great nights and events that have taken off too and the underground scene is starting to thrive again. It’s an exciting place to go back to. We feel that zleep as a brand is very strong. We have that whole spacey, tripped out vibe going on that translates well to live visuals at the nights. We’ve even brought out a range of limited t-shirts and want to continue this with some new designs in 2012.
What about yourself as DJ and producer?
For me, I’m looking forward to getting some time to produce, although it’s hard to find the time I need. As a freelancer, I’m constantly working on various animation and graphic projects as well as promoting and I am sometimes a victim of doing too much! For now I want to concentrate on the zleep brand and continuing to DJ at nights in London. I’m also looking to start a smaller scale, more regular night in East London with Ryan Winters (Parallel/Coconut Ritz).
Who is your dream DJ to book at zleep/ work with?
We have a few names up out sleeve which I don’t want to divulge just yet! I’m really keen to get a DJ to play live, as that is yet to happen. If I could do the near impossible, then I’d love to bring someone like Moodymann or Tiger & Woods to Nottingham, just because they are quite a rare act to see, even in London.
Promoters in London have the monopoly on so many artists, that operating in Nottingham gives us much more freedom and room to breathe. It will be interesting to see who we decide to book in London, as there is such a saturation of nights and DJs playing every week – we’re just going to have to be more creative and think outside the box!
In terms of DJs you’ve got your eye on, what are your top 5 tracks at the moment?
Keep an eye on Ejeca and Youandewan, they are making waves.
Top 5 tracks of the moment:
Johnwaynes – Brotha (Tusk Wax Two)
Benjamin Brunn – I Took Her Out For A 707 (Ashes)
Tucillo, Tato – Mutis (Isgud)
The Believers – Who Dares To Believe In Me (Strictly Rhythm)
Matt Chiavaroli – War Outside (Kinda Soul Italy)
Catch Nick Cobby, Maya Jane Coles, Kassem Mosse, Youandewan and the rest of the zleep residents on Friday 18th November, at zleep, The Rescue Rooms, Nottingham:
Where do you find new music? Where do you fall in love with it? Long journeys listening to the radio? Live gigs? Or maybe you let other media introduce you to fresh sounds? Video games have long been associated with dance infused soundtracks but EA have gone one step further ahead of the launch of Syndicate, a reboot of the first person ‘classic’ from 1993, by commissioning a number of remixes from the original score.
Skrillex may be the fastest rising star in dance music today, but there are few that come across so gracious with success. His gritty remix of the original soundtrack would sit perfectly in any OSWLA set biting from the speakers. Any fan of raw unleashed electronica would find a home for the track in their music collection.
A Skrillex remix maybe isn’t too surprising; the majority of Electro producers around at the moment grew up with the bleeping synths of early Nintendo games ever present in the background. A Digitalism remix on the other hand is a little bit of a shock. Currently riding high in the Beatport charts with an Eric Prydz rework of their track ‘Circles’, the German techno duo have reached a new high in their careers.
Syndicate Trailer
It certainly packs a punch. Pulsating and unrelenting, the pair draw upon the best of the Berlin techno scene to produce an explosive four and a bit minutes for the soundtrack. After an incredible summer of worldwide tours, including a summer headline slot at Hard Festival, and a fresh 10 date trek across America planned for this month, Digitalism are sure to find a host of new fans before the New Year. The boys themselves admit to being fans of the original game:
“Syndicate is a game classic which is now being brought back to life. For us as electronic music lovers who grew up with games and love soundtracks, there was no way around re-interpreting the Syndicate theme!”
It seems only fitting that they should deliver such a powerful mix on the back of this: “(we) imagined being in the game, creating a fast-paced atmosphere, turning all the compressors up and mixing classic soundtrack elements with techno. We wanted to make sure it sounds dangerous – et voila, here we go.”
Both remixes are available as free downloads on the Syndicate Facebook page, with the game itself coming early next year.
With the evolution of the internet, the options available to market and promote music are broadening on an almost daily basis. The tools to market with a trendy guerrilla approach are more readily available for everyone, and best of all a budget is not always required. Nevertheless creativity and forward thinking are still crucial to standing out in this perpetually growing saturated market, specifically when using platforms like Twitter and Facebook which now play a massive part in how consumers are delivered music. More technical assets like FMBL apps and simpler ideas like the ability to embed players on almost every published media platform available online are in demand from musicians across the board. With the technology of the iPad, smart phones and the like, when you think about what ‘they’ say about everyone being a publisher these days – well, how can you argue? But, what about a media that has been used to promote music for the last 30 odd years? A media that now has hundreds of channels like MTV and VH1 dedicated to it across the globe? One that see’s super labels spending sometimes millions of pounds on it, and relying on the pay-out to build hype and sell records? One that underground music quite simply forgot – the video.
To have a music video was a luxury and something that up until a few years ago was impossible for artists to do unless they had one of the worlds leading labels like Universal, Island Records, EMI or the a comparable backing them with a multi-million pound contract. Although to have video success on such as scale is still the case, with the invention of the internet and video sharing it is easier for the undiscovered to have one too. The larger labels now also have the added bonus through the ability to offer consumers the choice to view their video’s virally as and when they want to. Uploaing video’s online has been a commercial favourite marketing activity for a long time, and it is no kept secret with some hitting over 600 million views (Justin Bieber’s ‘Baby’ featuring Ludacris currently stands as the most viewed online music video in the world). But considering the aforementioned points, is there a new dawn on the horizon for promoting underground music in the same way? We caught up with Underbelly Records head honcho and music production mastermind, Amy Underbelly who has recently produced and distributed a video to promote the latest track on the label.
Maya Jane Coles’ remix of Joe Joyce’s ‘Amygdala’ is the first on the Underbelly roster to receive the digital video treatment from them. With a background in video production and a new focus of bringing it into the underground, UGroove TV’s, Lauren Fenner caught up with Amy to see how she see’s the future of video’s and video sharing, and if there is in fact a new commodity for underground musicians, labels and the like…
Official Video - Joe Joyce – Amygdala (Maya Jane Coles Remix)
Hey Amy, first off tell us a bit about Joe Joyce…
Joe began with drum ‘n bass on the pirate radio scene and started producing in 2001. He worked as a technology consultant for an audio software company and went on to study sound design, which helped him establish his production and engineering skills. He now focuses on deep tech house grooves, inspired by early progressive house and minimalism. His music is also supported by his live sets, which he has been performing all over the big clubs, including our Underbelly parties of course!
Why did Maya Jane Coles seem like the right person to remix the track?
My DJ/brother, Tim Underbelly and I run Underbelly Records, along with a club night called Underbelly, which started in London in 2002. Maya first worked with us in July 2008, when she played a great, deep melodical live set, at one of our Underbelly parties, which was just the sound we were looking for. It seemed a natural progression to then collaborate for the label.
Talk us through the idea for the Amygdala new music video…
Scientists proclaim the Amygdala is the part of the brain which produces the seven emotions; fear, grief, anger, love, surprise, trust and joy. It seemed apt, therefore, to explore this concept and produce something that is engaging and might also invite deeper contemplation.
Over the years I have been inspired by the directorial styles of the likes of Michel Gondry and Chris Cunningham. I feel their expression is entertaining and a lateral way of thinking.
Being filmed in Ibiza, I wanted to capture the beauty of the island and involve some of the characters residing there too!
Is it a long process that you have to go through from start to finish, with pre to post production?
It varies, depending on the type of video and the resources available. Amygdala was shot in a similar way to a short film. We had to cast, recce for locations, build our set, and gain permissions to shoot, which takes time and coordination. Guerilla style shooting on a simpler script would dramatically reduce the time required.
Shane Cairn did a great job directing and shooting the video, especially in the baking heat, whilst having a heavy steady cam strapped to him. Our editor Bruce Edgar worked really hard on the post production along with Shane, to add all the little extras, which gives it that wham, for example, syncing the footage into the TV and the lightening sparks.
Can it be done on a low budget?
The budget all depends on what the client wants and is trying to achieve. Using a simple concept, shooting digital, one location and one actor, will keep the budget to a minimum, but equipment and people’s time always need to be factored in. Costs could also be reduced by the client providing the concept, locations and actors. We focus on what the client is trying to achieve and their budget, and aim to develop something that satisfies both.
You used to produce music videos before going into Underbelly full time. What kind of stuff was you doing and how does it differ from what you’re aiming to achieve now?
In 2003, I co-started a production company, where I worked on music videos, short films and a feature film. I moved away from this as, at the time due to other commitments.
Tim and I have always wanted to see music videos for underground tech house music, hence we formed Underbelly Media, in 2011, in order to make creative, inspiring music videos, for underground music, which we feel so passionately about.
Our vision is to give the public the opportunity to be exposed to a positive underground frequency of music, by way of music videos.
Do you not think the days for music videos are over? And the need for people to come up with more strategic ways to promote, using perhaps more guerilla style techniques is taking over, or are they still as popular as before?
Absolutely not. With the arrival of YouTube, I think the market for music videos is totally thriving, but the way in which they are made may be more of a guerilla style, with good quality video cameras being more accessible to all.
A lot of labels and producers are finding music videos one of the best tools for promoting a track, whether it be a clip of a big DJ playing it, just audio with a picture/montage, or really standing out and making a full iconic video. MTV may not play underground dance music but I think times have changed and you are more likely to find people internationally watching videos on their computer, rather than the TV!
What do you predict the future for music videos will be?
I think there will always be a market for music videos, as they are such an effective tool to get the track out to the desired audience. Well established commercial artists are still producing big budget videos for the TV channels.
I feel underground labels and artists are generally finding it harder to profit, due to the digital age and file sharing etc, therefore, the budgets at the lower end may not be the same, but the need for visual expression is still strong.
Nowadays, social networking sites, such as, YouTube play an important role in promotion, so the need for a visual tool to make a track stand out is as essential as ever. Even if the track isn’t to someone’s taste, if they think the video is cool, then there’s a good chance that they will not only watch it, but share it too – hence a key marketing tool. I think we may find additional revenue will be generated from advertising – which may mean we will be seeing more adverts linked to videos online.
What do you think it is about a video that gets so much attention from audiences then say, a written piece or article?
Music videos allow people to be taken on a visual and audio journey, and get fully immersed into the track. With the prevalent progression in multimedia technology, it is now easily accessible for people to watch videos with smart phones and iPads, whereas in the past, they could only listen. When a video is funny, creative and inspiring, it makes people feel good, and this, for me, teamed with great music, is a winning combination.
Do you think the internet helps or kills the music video?
I think the internet, with social networking sites, such as, YouTube, Facebook and of course, UGroove, where online music videos are playing a major role in giving good tracks a visual signature, helps to make them stand out and get noticed.
Do you release every track from underbelly on vinyl?
We have released every track on digital and vinyl so far. Going forward, we are keen to keep releasing on vinyl as well as digital.
Why was it important for you guys at Underbelly to release the track on vinyl too?
It all started for us at underground parties in the east end of London, where people were spinning vinyl and whist we totally appreciate the modern technology available for djing now, we are passionate about keeping the vinyl culture going.
At Underbelly, we are quite old skool in the way we operate, whilst keeping a contemporary outlook and vision.
How has the video helped you with promotion so far? Has gained more feedback then say, just pumping links out through social networking sites? Has it helped with press? Do you think it’s helped to catch peoples attention?
The video has really helped us with promotion. People are so used to getting links posted throughout their social networking sites, that something is needed to get their attention and actually make them feel it’s worth their time. For me, a promo video is a great way to do this and we have already had many hits on our YouTube site and have been approached to do other videos. The press have also been more keen to promote the release, with the increasing interest of online videos. Therefore, it has opened up more opportunities to get coverage.
Last but not least, will you be doing it again?
For sure. Music and video production is my passion. I’m looking forward to what the next one has in store…
Thanks for talking to us Amy!
The vinyl release of Amygdala by Joe Joyce with remixes by Maya Jane Coles and Nadja Lind’s Blue remix comes out on worldwide release today. It’s available on www.underbellyrecords.com as well as Juno, and many other portals too.
~ ‘Video Killed The Radio Star’ by The Buggles (released on 7th September 1979, on Island Records) was the first music video shown on MTV in the U.S. at 12:01am on 1 August 1981 ~
~ Musicals in the 1950′s led to short-form music video’s ~
~ Justin Biebers ‘Baby’ featuring Ludacris is not only the most viewed music video on YouTube, but as of February 16th, 2011 it stands as the most viewed video online of any kind. It also currently stands as the most disliked video on YouTube
Got another interesting music video fact? Add it as a comment below…
Not an obvious choice for some, Halloween can be one of the best nights of the year for indulging in great music and great party. The Mulletover crew impressed last year, so this Saturday 29th October, we were keen to check out what the Secretsundaze ‘Halloween Asylum Party’ at Village Underground had to offer. This was the first Halloween for Secretsundaze, who had joined forces with Electric Minds for the ghoulish occasion.
Located down the little street of Holywell Lane, the small entrance expanded into a huge stripped down warehouse. New arrivals stepped straight in to the heady atmosphere looking out across a pit of demented patients and nurses, while beds hung next to disco balls from the ceiling. The Asylum theme was embraced by most that came; even the DJ’s had donned straight jackets and face paints creating an almost dreamy world, where the line between reality and fantasy was sometimes hard to see. This feeling carried through to the music as well. The whole night had an eerie and ambient vibe, where the mixed up faces merged with the creepy tones and beats in the music. The party definitely had moments of heavier techno or captivating house; the difference in each artist and their set was noticeable by the audience on the dancefloor.
Stockholm based Skudge’s sound was without a doubt Techno, but had warmth, deepness and groove that also appealed to house heads. The duos music was almost hypnotizing and we actually enjoyed the sounds sitting at the back of the room just taking it all in, as much as stepping it out on the dancefloor. It was this euphoric nature of the music that seemed to affect the audience in such a successful way. I have never been to such a friendly and well-mannered rave as this one. There were friends to make around every corner, no one was pushy, it seemed everyone was there to have a good time and ensure those around them did too. I commend promoters that manage to create nights like this, often from not over crowding the event and simply appealing to the right audience.
The New Yorker Fred P, cut house as deep as the ocean and his captivating sound had me and my friend glued to the dancefloor. There we stayed until the final few were ushered out of the club at 6am, getting to grips and grooving to the Secretsundaze and Electric Minds residents on the decks too (James Priestley, Giles Smith, Dolan Bergin, Minkioni). The sound system was to be admired and the clarity of the music throughout is what gives Secretsundaze and Electric Minds their gold stars for the night. It being the night that the clocks go back, we were dubious as to whether we would get that extra hour. At Mulletover last year, I know me and my friends were disappointed when the 6am finish, turned to 5am due to the time change. But no, not at Secretsundaze, they kept the party going until 6am according to GMT – brilliant. This meant patients got a full 10 hours in the asylum if they so wanted. Although, I can’t imagine many were cured of their insanities during this time…
Halloween celebrations were indeed a highlight for us this year. We look forward to what else Secretsundaze and Electric Minds have in store for us, especially with NYE 2011 on the horizon!
