DxE Interview: Damn Kids Is One Of The Brightest Stars For 2014



Toronto based producer/DJ, Stephane Deschenes better known as Damn Kids broke onto the scene earlier this year with some massive releases on Provoke Records along with his 'My Last Mix Ever' series and notable remixes for Mark Knight and Pleasurekraft. Recently included in Red Bull Toronto's Music Styles Infographic List, Damn Kids' wide array of multi-faceted  productions do not look to be slowing down anytime soon. His latest remix of Notize's, 'Worth The Pain' is a mellower jam than the other ones.

We caught up with Stephane to get the dish on what's been happening in his life nowadays.

I’ve been following your releases since the last time we chatted. Real great stuff, but what’s intriguing are the titles of your tracks like, ‘Ussu’, ‘Otombo’ etc. what do these words mean? Is there any special significance behind them or are you just concocting your own language?

A lot of them are really vague references to my last name. Deschenes means “of the oaks” in  french so a lot of the names are references to oak trees. I play around with the words to get some really cool sounding names.

Tell us about the Toronto Music Styles Infographic that you were charted on? How does it feel to be included on this list?  What does that mean to you?

Its really rad to be recognized by Toronto and Red Bull. I was put on the list with so many artists I look up to, so to be grouped with them is a really big honor.

Who are some turntablists you look up to? I might be wrong but currently, the whole art doesn’t seem to have as much leverage and popularity as it once did, is it different in Toronto? Are a lot of people over there still into it?

DJ wise, I look up to guys like A-trak, TJR, and Laidback Luke. Those guys have very unique  feelings to their sets, and on top of playing big records, they really display how much of an art form DJing can be.

Have you watched the recent Russell Peters bit on DJs? Turns out he used to be a turntablist back in the day.

I haven’t!! I’ll have to check that out. Russell Peters OG.

What’s Toronto’s nightlife like? Isn’t the drinking age over there like 19? Do you have any cool stories that you’d like to share?

Inconsistent (mostly due to weather), but there's a really good community of artists and fans of  electronic music. The drinking age is 18&19 in Canada, depending    on where you live, so it really  helps getting more people into clubs. Its always awesome being somewhere for a show and  seeing guys you look unto in the scene there, as well to just hang out like everyone else.

Let’s talk about Provoke Records. It’s been your home for a lot of releases you’ve put out recently, how has the label been instrumental in your development as an artist? Any new tracks or artist on the label that you’re really into?

I’ve been with Provoke since day one. They were the first guys to hit me up about my music,  and now we’re all family. All of the new stuff has been awesome and I love the diversity.  Anything can come out on Provoke and it makes sense.

Your recent remix of Notize is a lot mellower than your usual high-octane stuff. Judging by all the productions you put out there is clearly a high level of range and variety in there, do you think you’ve found a certain sound you want to keep to or do you want to keep switching it up?

The remix is did for Notize just made sense to go that way to me. I wanted to do something really mellow for summer that you could just play in your car or  something.   I’d rather make lots of different kinds of music, instead of just club stuff or whatever. I just want to make music, whatever genre it ends up being doesn’t matter to me.

A burgeoning producer like yourself, obviously knows that the importance of social media as a DJ, especially these days. So many of these guys are doing over the top PR stunts to get people’s attention. What are your thoughts on all of this?

There’s two sides of it in my mind. It’s awesome how accessible artists are to their fans, you can  interact on so many social platforms that you can always stay in touch which is amazing. The downside is, if you don’t have a big enough social reach no one cares on the business side.  Promoters and Agents look at artists social reach, and if you don’t have enough fans they won’t book you or sign you which is BS to me. A lot of artists get screwed over by guys with less talent,  because they are more popular on twitter or something.

What are your thoughts on ghost producing? Have you ever ghost produced for any artist or has anyone produced for you?

If you have good ideas and you have someone get it down for you and help you finish them, I  think that's OK. If you have someone secretly making all your music for you then that's just dumb and you are a fake. I’ve helped people with ideas but I don’t think I’d ever make a full song for  someone, yeah there's money in it but I’d rather have artistic integrity than a big cheque.

Any new releases coming up soon?

I’m currently working on tons of new music, but I want to really step up my game before I put anything new out. I want all my new music to take my sound to the next level, so I’m taking a bit more time with this stuff. Expect lots of new music in 2014!!

DxE Exclusive Interview: Tom Staar + North American Mix



Happy Thanksgiving everybody! We at Death By Electro are thankful for all you guys out there who have supported us. If Black Friday isn't really your thing and you would rather blow all your money on a good time with friends at a nightclub go check out Moda Music head honcho, Tom Staar alongside Funkagenda at Control Fridays, Avalon this Friday. Tickets available here

Tom Staar has been in the game for several years now. Judging by his outfit, he kind of reminds me of the 'Speed Racer Of Electronic Music', his helmet being the reason for that.  The head honcho of the UK's premiere record label, Moda Music, he has also recently started another label called, Staar Traxx. Easily one of the brightest minds behind big room house productions, Tom's  North American tour couldn't come at a better time. If you do get a chance to see him, I guarantee you his high octane DJ sets will be instrumental in burning all that holiday weight.  He has even prepared a North American mix to get you prepped for what to expect.

New York! Tom Staar has just announced that he will be playing at Pacha NYC on New Years Eve alongside Thomas Gold. Get your tickets here

We caught up with him ahead of his show at the Avalon-

Your racer outfit bears a similar resemblance to Speed Racer? Are you like the ‘Speed Racer of EDM’? Do you even like the term EDM?

I guess you're referring to the helmet in my press shots. Its actually a replica Chinese fighter pilot helmet! I take it to my shows, wave it around and sometime put it on. I'm not a fan of the term EDM as I think that term has got a bad name for itself when it come to quality and originality. I prefer to think of my music as big room house.

You’ve played at Avalon a few months ago. What was that like? What’s going to be different this time?

Avalon was a great show last time, really looking forward to getting back there. The main difference will probably be a number of new productions I'll be playing that I've been working on over the past few months.

Moda Music has been around for many years now. Could you share some important dos and don’ts for producers who send you their music to Moda or any imprint for that matter?

The Moda label is very different in style to my Tom Staar stuff. We have taken a deeper more underground sound with the label and release stuff from acts like Hot Since 82 and of course Jaymo & Andy Geroge. I have recently set up a new label for my big room Tom Staar stuff called Staar Traxx. I'd say the main thing for new producers is to sound and do something different to everyone else. So much stuff sounds the same currently in the EDM scene and it booooooring!!!!

Tell us about some of your upcoming releases? When you’re in the studio, could you share how you go about making a track? Is there a formula of some sort that all producers are privy to for big room house sounds?

Well I've had three track out over that last month and a half (Trident, Staars, Face) so I think that will be it until next year now, apart from one remix that is still to come this year. There isn't really a formula I follow when producing as anything can get an idea going, be it a loop, bassline idea or some chords.

So New Years is coming up, got any plans? For any DJ that’s the busiest night of the year. It’s like Santa Clause hustling on his sleigh on Christmas, except DJs take private jets now :p. Is it really stressful? How do you cope up with it? Have you ever played multiple parties on new years in different countries the same night?

This year I'm playing at Pacha NYC on new years eve alongside Thomas Gold and I cant wait! I've never been to New York and have heard nothing but good things about it. I have done multiple gigs on new year before in the UK but not in different countries, that would be pretty heavy.

What’s the difference between the dance-floor crowds in the US and the UK? Are there way too many kandi rave babies out here in the States?

The crowds in the US are very similar to the clubs of the early 2000's in the UK, when clubs like Gatecrasher and Gods Kitchen were real powerhouses. I got my first taste of clubbing back then with all the Kandi style dressing up that went with it, so I love the kandi ravers!!

One thing on your bucket list that you HAVE to cross out before the New Year?

Playing NYC was quite high on my list and with my show on New Years eve there it looks like I'll cross it off just in time :)


DxE Interview: Plastik Funk Talks Globe-Trotting, New Tracks & More!

Bottles,confetti, and sex on the dance floor! These are some of the things that come to mind when the name, Plastik Funk pops up. They are a notoriously famed duo based in Berlin. Their recent summer endeavors have earned them quite the reputation in Europe and the rest of the world. With a residency at Space Ibiza and a slew of big-room bangers under their belt, they have made their way into US territory. What is strikingly interesting about them is that they are imports from Madrid and Tokyo, who are on a mission to spread unified global sound sprinkled with Berlin party-rocking shenanigans. And they are doing just that...Plastik Funk now hold residencies at Supperclub in LA, Body English in Vegas and Lumen, Chicago.

DxE caught up with the duo last week to see what they are all about.

Why do you call yourselves Plastik Funk? Are all your funk sounds made out of plastic? 

Back in the old days, we played a lot of funky house tunes, so that's where the 'Funk' in our name comes from :) Dance Music is a modern version of the old funk days so the best way to describe that was Plastik (in our opinion back then....). Beside that it just sounds good and looks good on a flyer ;)

You guys played EDC London After Party over the summer. Did you get a chance to go to the main festival? How different is playing a festival in Europe over the US, are there a lot of rave candy babies, is everybody about that PLUR?

We arrived last minute in London, because we played 2 festivals in Germany before we left for London, so when we arrived the festival was almost done. The Afterparty was crazy, the energy in the club was unbelievable, so we could imagine how EDC must have been. Its all about festivals in Europe at the moment, party people just love it. We've played more festivals than ever before. I think the US Ravers and the Europeans are similar. There is a new EDM generation all over the world who just likes to get crazy with music.

When playing parties in Berlin, do you guys go one deepa or do party jams fly out there too?

When we play in Berlin we play at the EDM, big- room places. They book Plastik Funk to get the Plastik Funk sound. Berlin is a big city with all kinds of music. That's why this city is so interesting. You can party 7 days a week, 24 hours non- stop and you find rock n roll clubs to EDM and finish your day in one of the best deep/tech house places. But its true, Berlin is famous for its Deep/Underground scene and its definitely one of THE places to hear and party to the best sounds of the underground.

What are you currently working on? Could you tell us about your upcoming releases? What does your creative process of making music consist of?

Beside touring like crazy we have worked hard on new productions and we are happy to have 5 tracks ready to be released! We played so many shows this summer, all over the world, and just got inspired by all the new places, people and clubs/festivals we have seen!

Also we just released our mix on one of the biggest dance compilations in Europe, maybe in the world. The CD is called 'KONTOR Top of the Clubs' and we are proud to be the artist who mixed number 60 of that series. Beside our new tracks with Artists like Kool and the gang, Ying Yang Twins, Teddy-O, Rebeka Brown etc we finished and released also some remixes for artists like Erick Morillo, Harry Romero, Jose Nunez, Sunnary James&Ryan Marciano, for Tikos Groove from Brasil and Electric Girl from Russia. Our label partner, Tiger Records, produced a Plastik Funk album with our biggest hits and some unreleased stuff for ADE in Amsterdam. This album will be official released in December 2013.

We heard you guys are re-working Kool & The Gang’s ‘Get Down On it’.  That’s a massive tune. What can we expect?

Yes that's right and we can say the track is ready to be released end of October, beginning of November. We always wanted to do a cover of that song and then Kool and the Gang themselves gave us the go-ahead, plus Kool played a short guitar part we used in the original track, which is an honor for us.  We tried something new and combined disco, funk, EDM-Electro. We are happy with the result and cant wait to release this track!

Tell me about the weirdest party you’ve ever been too?

Once a Spanish promoter booked us for an event and asked us to play the afterhours of the event as well. We did it and saw one of the weirdest things ever... People took a lot of drugs over there, one of the residents was sleeping in the DJ booth, people on the dancefloor were partying or having sex or taking drugs or all at the same time :) We played a short set and were happy to leave home.

Can you list three dance floor smashers that you are currently playing?

We love the original and the Dimitri Vegas & Like Mike remix is just outstanding and perfect for the dancefloor!

2.) Plastik Funk & Teddy-O ft Ying Yang Twins - "Do it like me" (Club Mix)

Its crazy how good our new track works everywhere. We cant wait to release this one!

3.) One of THE Ibiza Hits this year. Amazing Vocal and great Remix for Clubs and Festivals!

DxE Interview: Chris Lake Talks Rising Digital Tour, Indian EDM & TJR’s Darkest Secrets; Playing Avalon Friday



Chris Lake is one of the main OGs of house music.  The Scotsman has had an arsenal of hit productions and other successes  that goes beyond the average DJ/Producer career. He is a sharp and competitive entrepreneur in the dance music space. His label, 'Rising Music'  has released some of the quirkiest and most entertaining artists like TJR, GTA and Lazy Rich. He also happens to own a PR firm called, 'Rising Digital' that works with Deadmauu5, Calvin Harris and Axwell. Chris and his band of Rising mates are currently on tour and will be playing at Avalon this Friday! Tickets available here

In anticipation of this show, DxE sat down with one of our favorite producers to give us an insight into his life, these days.

You just had a birthday last month? Happy Belated! What did you do to celebrate?

Thank you!  I was in Ibiza chillin' during the day with my wife, working on beats in our apartment, then at night we headed down to Amnesia to play Cream with Calvin Harris.  It was a great day!

The Rising tour features quite a quirky bunch of DJs. What kind of out of the box shenanigans can we expect from this tour?

Ha!  We're all good mates, so I think we'll all be up to no good, trying to get each other into trouble, pulling pranks, but most importantly, trying to outplay each other with our DJ sets.  I'm hoping I win best set :)

We’re stoked about seeing you all at the Avalon. In comparison, to all the cities you’ve toured in your career, why do you think the Avalon has been such a force to be reckoned with in LA’s, electronic music scene?

Avalon is just a great club, it's as simple as that!  On top of that, it's also in one of the best cities in the world which helps make it epic.  I love playing there, and I also go there a few times each year when I'm not playing just to check out other acts. It's a lot of fun!

When touring, how does Chris Lake kill time on the plane? When sleeping, how do you make sure the flight attendant doesn’t wake you up?

I'm always working, and I very rarely rest on the plane.  I use the time to catch up on emails, while watching a film or tv show from iTunes on a little window on my screen.  If it's a long haul, then I sleep, maybe!  When I'm sleeping, I very rarely get woken up, because when I rest I look so damn grumpy, nobody wants to disturb me!

You’re agency, Rising Digital, has a pretty stellar roster of artists. At Death By Electro, our main focus is to promote fresh talent from all over the world and help build a budding artists profile. Could you tell us what are some of the traits that you look for when trying to find new faces? For example, with this DJ contest that you guys are throwing for the Rising tour, what are some of the things that make an artist stand out to you?

I just look for something unique in an artist that nobody else is doing.  It's so hard to stand out when SOOO many people are making dance tracks, or DJing.  You have to have something special, and I'm confident all of our artists have that.   That's what makes this tour so special to me, because I think there is so much talent on show in one night, that it gives great value for anyone coming to our shows.  They're going to be very lucky people :)

Tell us one thing about TJR that nobody knows?

He loves his eggs in the morning!  He does not function like a normal human being unless he has his eggs.  If he doesn't get them, don't go near him!

Having multiple initiatives associated with dance music must be a lot of work but feel great at the same time, right? How did all of this start? Growing up, what caught your attention about electronic music that has resulted in you building an empire around it? 

I'm just passionate about this scene, and I live and breathe it every moment of the day.  It really makes it quite easy to cope with all of this stuff, because I think of very little else.  When I first heard house music, I was hooked!  There is a simplicity, but at the same time a complexity about it that fascinates me.  I've been listening to house music now for over 15 years solid. It's bloody brilliant!

You have two record labels. What’s the story behind Rising? Why did you choose to call it that? Could also name one track, new or old, which you wish you signed to Rising? It’s no secret that the music industry is a tough market to crack for any indie label or artist. Could you talk about some of the challenges you’ve faced over the years and how you’ve overcome it?

I started Rising really just to get my own records out easily in the beginning, but then started getting access to all these amazing tracks from my friends, and I wanted to get them out and have them heard, so that's when it all began.  I was putting out Sebastien Leger, Deadmau5, Rene Amesz, Hardwell & R3hab records really early on, just because we were all friends and shared a passion for music.  The only challenge I've ever faced is getting records out quick enough!  I have so much great music around the label now, it's awesome!

A couple of years ago, I was at a warehouse party in Glasgow where I saw some of the coolest dressed people on the planet, no joke, I saw a group, probably a cult, that called themselves the ‘Kilted Binky’. They wore traditional kilts, sported binkies, sweating profusely and seemed to be having a great time. Is that a trend out there? Could you tell us about some more interesting trends you’ve seen surrounding the Scotland’s rave scene that you noticed today or while growing up?

Hahaha, you went to a club I definitely never went to!  The Scottish scene is fun, but very small.  It's only a small country. The only thing that stands out about the Scottish scene compared to anywhere are the chants they do while you're playing records.  Their 2 favourites are the 'ooh ooh' chant, but the best one is, 'here we, here we, here we fucking go'.  Gets people amped straight away!

You were in India in July. Have you been there before? I’m originally from Bombay (I don’t call it Mumbai because it was still Bombay when I was born, sounds cooler too) and am actually helping Nikhil Chinapa and the Submerge crew start their music blog. Let’s talk about your experiences out there. How was the tour? What do you think about the scene and people’s perception to it?

India was awesome!  What an amazing country.  Of course the poverty upset me, but the culture is awesome, and the people were so warm and friendly.  The food is next level good too, and I felt like a very rich man because of the strength of the dollar there.  I ate like a king for $10.

Also, I saw this picture. It looks like some really good Naan. What do you think is the secret ingredient in there?

Chris Lake


I think they put crack in the food.  I couldn't stop eating.  I think I put on a few lb in a few days for sure.  My trousers didn't fit the same when I returned.

Indian DJs don’t get the International/digital media attention that they really should. There isn’t really a solid blog culture out there, unlike the US and other countries, which is why I’m working with the Submerge crew to push that out there. How important is digital media attention nowadays for artists? Are there any producers you met out there that you would work with in the future?

Well I think it was important enough to start a company (Rising Digital) around it.  It's important to move with the times and recognize how your fans want to digest their information.  People want Chris Lake information online, or on their phone.  It's as simple as that.  It's best to make sure you get your name out there in the right way, and that's where Rising Digital comes in, getting artists name out there in the right way


Daft Punk & Pharrell Williams Speak To VIBE About Future Projects

Daft Punk and Pharrell Wiliams' faces graced  the cover page of New York's VIBE Magazine this morning. The magazine celebrated its 20th anniversary and what better way than to feature the creme de la creme tastemakers of dance music.

"We do exactly what we want," said the Robots who go into more details about Random Access Memories, Kanye's Yeezus, Get Lucky's remix album and many more interesting things. Big ups to VIBE editor Sarah Polonsky for this killer interview! You can read the entire story right here

Culprit Sessions This Sunday + Exclusive Interview With Ataxia


Well its that time of month again folks, LA's favorite deep house imprint, Culprit brings their latest installment of Culprit Sessions to the Rooftop at The Standard  in Downtown LA. This Sunday features a live performance from San Francisco's Tone of Arc, a rare three hour B2B performance from Droog & Inxec and an extended opening set from Detroit-based duo Ataxia. Each of these acts have stellar music that has been released in the past weeks or will be released shortly.

Tone Of Arc premiered their latest EP, "The Time Was Right" on Spin Magazine. Check it out here

This morning Droog posted their latest collaboration with Inxec on their Facebook page. Evidently, they are going to be releasing a new EP with Inxec on Booka Shade's imprint, Get Physical. Check out, "Body to Body" the first track of this EP.

Now for the act that we're most excited about, Ataxia is Culprit's latest signee. Their much anticipated EP, "No. 6" will be released on Monday. It includes vocals from Footprintz frontman Clarian, underground vocalist queeen Cari Golden and a remix from Luca C (Hot Natured/Infinity Ink). No. 6 is a very well structured EP with groovy, shimmering melodic undertones that will immediately captivate a listener. It's out Monday. Listen to the previews below.

DxE sat down with Ataxia to get an insight  into the Detroit music scene, space camp and more.

1.     Growing up in Detroit, who were some of the early influences that inspired your productions? Could you describe a typical Detroit warehouse party that you’ve been to and some of your experiences out there?


From my youth, I would say Hawtin’s Plastikman records were the immediate influencer and interest builder in electronic music. Other huge influences on me are Pink Floyd, The Clash…really all album oriented artists.As far as warehouse parties, raves and the like are concerned, I was primarily going to warehouse parties from 98 until 2001. 1998 is widely regarded as the apex of Detroit raving, as it was hitting its stride into a tipping point.

The Packard is the most known warehouse venue from Detroit, and I raved there 5 or 6 times. But an often overlooked gem in our city’s rave folklore, was a warehouse that stood at Mack & Bellevue.

It was a two-room warehouse, joined by a center hallway and loading dock. There would easily be 1000+ people there a couple times a month. Though I partied there countless times, I best recall catching John Acquaviva, as well as Frankie Bones/Adam X/Heather Heart on their 3Style Tour there.

It was the wild west of drugs and debauchery. You’d see people doing things at parties there that you’d never see at a club in Detroit nowadays. To say ecstasy was huge would be an understatement. There would be piles of people rolled out on the floor in the loading dock, while still over 1000 people danced their asses off all night it both rooms.

You’d leave the party with black gunk all the way up to your knees usually. Black boogers…rave boogers. Though the black gunk was a token of being a party kid in Detroit, regardless of what venue usually!



2.     Detroit is such a tough market to break into for music producers considering so much talent is out there. Could you describe some of your struggles, from record deals to gigs that have molded you as producers?


Years ago, we had a label that we had a verbal agreement to release some music with, and they weren’t communicating with us about the release at all. I put a lot of energy into worrying about what was going to happen with that record, when really I could have put all that time and effort into new music or opportunities with a different label.

Interestingly enough, that release, ended up getting picked up this year by a great label, and will be coming out by the end of 2013. It goes to show that not every deal is meant to go down, and sometimes it’s better to wait and let the music find it’s way to the labels and fans naturally.

As far as gigs that have helped define us as producers…playing Movement Festival in Detroit is always the most influential gig on our music. That weekend is the apex of being a Detroit Techno lover. This year, into the weekend after our set, Bruce Bailey & Terrence Parker THREW DOWN on the Made in Detroit Stage…the sound they push out gets us really motivated to create in the studio! Those guys can really get a crowd moving, it’s almost picturesque to recall.


3.     There’s been a lot of back and forth surrounding your EP on Culprit and its finally been released now.  What was the reason behind the hold-up?


One thing to know in the music business, things take time! Andrei is a pragmatic label owner, with a great vision for timing. The original music on this release is very airy, and mellow. It was an obvious choice to wait until the dead heat of summer, as it could provide a nice fresh breath amongst all of the banging music that gets released at this time. We’re very happy to have it come out in August of 2013, it’s a very big month, with Culprit Sessions in LA and Burning Man just on the horizon. These are great times for this music to be fresh on people’s ears!


4.     You have two big vocalists of the underground scene on the EP- Cari Golden & Clarian. Could you tell us what is a regular day in the studio like for you guys? What do you do? How do you get those creative juices flowing? When you have vocalists over, how does the song writing and production process all occur?


The best way for us to get creative juices flowing is by playing piano over a drumbeat. We will get a rhythm sequence going, and then proceed to take turns jamming on a keyboard, changing the synth parameters as we go along. A session will generally be formed around a bassline, adding pads and leads on top of that.

As far as work with vocalists, some of our sessions occur in the studio, but a lot of the work is done remotely, which is how the songs on this EP came together. The vocalists send their vocal ideas in audio stems to us, and then we work with their ideas from there. But every song is different, and the process is never the same for us from tune to tune.


5.     You’re playing at the Standard in Downtown LA this weekend. Apart from the show, what are you guys most excited about doing in the city? Any cool restaurants or areas you’re interested in checking out?


Truthfully, we are most excited to get some California sunshine! We are definitely looking forward to spending time with the Culprit crew, as well as Cari, she lives in LA too! Visits to Sound Nightclub and Pattern Bar seem in order, and our friends Bas & Jimmy from the label are taking us to a place called Jumbo’s when we get in.


6.     According to the dictionary, Ataxia is a Greek word for uncoordinated muscle movements. What’s the story behind calling yourselves that? I’m sensing a double meaning over here


We found the word while trying to find synonyms for disorder and chaos. After reading the definition, it made perfect sense for the kind of reaction we have to great dance music, and what we want to see at our parties!


7.     Future plans?

We are hoping our applications for Space Camp are approved, that’ll be a real game changer…

Bass Kleph Performs At Avaland + Exclusive DxE Interview



Maschine controller enthusiast, Bass Kleph, Stu Tyson, returns to LA this Saturday at Avalon, Hollywood. He will be joined by Lazy Rich and Paris Blohm in this week's edition of Avaland. He shows off his groovier side in his latest track,  "Back To Funk". The track is filled with horns and disco synths that gradually evolve into big-room tribal house sound. Rob Gaez also delivers a jazzy rendition of the track. The EP was released on German imprint, Great Stuff Records on July 29th.  DxE sat down with Bass Kleph, ahead of his show at the Avalon to get an insight as to what he's been upto lately. Click here to buy tickets for his show.

1. What is the story behind Bass Kleph? How did you conjure up that one?


It's a musical instrument that relates to all the low register/bass heavy instruments. That's the part of dance music that got me hooked, so it seemed fitting.


2. You've now been living in LA for over a year now. How is it been? What do you like about it? Which are some of your favorite spots where your fans can find you?


I love it! You can never get bored here. So much fun stuff to do and explore. Great nighclubs, shopping and restaurants. Plus so many natural attractions close together too. LA is one of the few cities in the world where I can go surfing and snowboarding in the same day. Aside from this, its basically the center of the world for the EDM scene right now, and slightly closer to everything than Sydney ;)


3. How stoked are you to be returning to Avalon on Saturday?


Very! Avalon is my favorite club in LA! You can't go past that amazing big room, huge sound system, and all the great people that are there for all the right reasons.


4.  The Aussies are fleshing out some great tunes these days. What is it about the scene that this might be attributed to?


Vegemite.  Include a little in your diet every day and you'll have the studio/club rocking!


5.  You’re podcast Klephtomania has been really successful. Could you tell us about how you go about organizing track selections every time you put a podcast up?


It's actually quite easy. My podcast is a selection of my favorite songs that I'm playing around that month, so I just record a set of them, and talk some Australian jiberish over the top


6.  You’ve been on tour for the past couple of months. Tell us where are some of the places you’ve been to that you really liked. Any crazy stories that surfaced from that?


Yeah, I just did a ten show tour around Australia, and then a 4 country tour through Asia. Indonesia, Vietnam, Singapore, and China. Both were so much fun. Probably my two favorite tours ever actually. Touring Asia usually brings about some interesting Lost In Translation style moments, but everything was very smooth sailing this time. Great shows, and great down time too.


7.  With your productions, you never keep to one kind of genre- it’s a bit of everything and we like that. Why do you choose to do that?


Thanks! I just follow what I'm digging at the time, and write what i feel like writing. At the moment I'm really enjoying writing electro house, but with an influence from my time writing Tech house, and Tribal.


8.  Here’s a quick one- Pretend like- You’re out camping in the woods. It’s late at night. You’re lost and need to find your way to back to your campsite. Which track/s would you play to ease the nerves?


Fat Freddy's Drop. Love those guys. They're a New Zealand dub/reggae band. Very soulful and cool.


9. What does crocodile meat taste like?


Very good! like chicken and fish blended together. much better than kangaroo or emu ;)


10.  Finally, what are your future plans?


My current single is still climbing up the Beat Port charts. It's called Back 2 Funk, and is out on Great Stuff Recordings. I also have a remix comp launching on Beat Port soon for my last track Less Is More. Stay tuned to for updates! Aside from that. Lots more music, touring, and good times ;)


Jay-J WMC Interview

jay-j w: sticker



Few artists have had the impact on house music that Sydney-based Jay-J has. The veteran DJ/Producer, along with Kaskade and the rest of Om Records, played a monumental role in sculpting the San Francisco deep house sound in its earliest days. Currently based in Sydney, the man is no stranger to WMC and its legendary parties; he has been coming to the conference since its inception, noting its exponential growth over the years. Jay-J threw two of the best WMC parties this year - a late-night rager at Kill Your Idol and a live concert on the Clevelander Hotel rooftop. Unfortunately, the rooftop party was cut short by heavy rain; it was short but definitely sweet, and the energy I felt as I stepped out of the elevator was indescribable. There he was, the man himself, jamming out on a keyboard along with a full band; he was accompanied by Rico De Largo on trumpet, Kristen Pearson and Natalie Conway singing, and DJ Yogi triggering drum loops on his laptop. It was a truly beautiful thing to see, everybody getting their groove on, people of all ages bonding over a shared love of music.

The next afternoon, I had the chance to sit down with Jay-J for an interview, and trust me, this really is a great one. We discussed the evolution of dance music, his studio setup, the rooftop party and much more. You can read the full interview below. He told me to come out to Kill Your Idol that night, where he would be DJing and hosting a party and DJing, accompanied by Jarred Gallo; it was an amazing night, with nothing but the funkiest house tracks until 5:00 AM. Jay-J mentioned in the interview that his favorite events are when the place is completely packed, and packed this place was. Everyone was on their feet until the very last song, dancing on tables, chairs, the staircase, and, of course, the dance floor. If you haven't experienced a Jay-J show I would highly recommend it to any lovers of house music. The man will not disappoint... guaranteed. See below for the full interview.


jay-j w: sticker


DxE: A lot of producers who have been around for a while are starting to move in a much different direction than they were when they started. But you really seem to be sticking to your roots; what's your opinion on the issue.

JJ: I don't necessarily think anything differently about them for doing it or anything, For me, I don't know if there's a part of it that's half-laziness, but I just stick to what I know and that's what I've done. Although in the last couple years i've definitely stretched a bit and explored moving around to different genres and adding different flavors or updated sounds. So I've evolved a little bit, but for me, I've always been a fan of the old, soulful sound, like when I'd be on the dance floor six nights out of the week for WMC. I've just stayed with that, since it's what I know and love, I guess.

DxE: And you were based out of San Francisco for most of your career. DId you grow up there as well or relocate?

JJ: Well, I moved to California when I was ten. So before that, I was in New York, Chicago and Virginia. But those were all for a couple years at a time, so I mostly grew up in California. When I was eighteen I moved to San Francisco for college.

DxE: Where did you go to school, and what did you study?

JJ: I have a degree in psychology from San Francisco State.

DxE: And does that background in psych help you understand what people want to hear on the dance floor?

JJ: I don't know, but I do think it helps me when I deal with the venues, managers, hosts, sound guys, etc. It helps me relate to people in a way.

DxE: Can you tell us a little about the Beijing Coca-Cola Project?

JJ: So Coke had this idea where they wanted to put together western music artists and chinese visual artists, and come up with a project that was based around their brand. So they had eight chinese artists each design a bottle, each based around a different theme; then they gave that theme to eight music producers and gave them the coke melody. We had a theme and melody, and saw the design of the bottle; from there we were supposed to make a song.

DxE: And was there any collaboration between the producers working on the different songs, or did you guys each just do your thing.

JJ: Everyone did them all individually.

DxE: I know Benassi participated as well; who were some of the other artists featured?

JJ: Benny, Kaskade Tiesto, JES, myself, and a couple others.

DxE: How was it working with Kaskade way back in the day, correct?

JJ: Yeah, we actually co-produced an album for a singer named Latrice, and her album came out on Ultra. We've been friends a long time, and I'm very happy for his success.

DxE: And do you stay in touch with a lot of the other Om records guys?

JJ: Somewhat, yeah. Miguel and I touch base a lot, and I helped him do some stuff in the studio this weekend.

DxE: I know you've also done stuff with Dope Den; what are some of the other labels you've been associated with over the years?

JJ: I did a bunch of stuff with Defected - a couple singles, two compilations. Miguel and I's CD, it's been ten years this year, the first In The Housecompilation on Defected, they were great to work with and it was an amazing experience. And then my own label, Shifted Music, for the last eight years I've pretty much put out all of my original music there. And then, remixed for lots of other people. Tons, really.

DxE: Do you have any artists you've especially liked to work with in the past? Maybe someone you just click with in the studio?

JJ: I've always collaborated with a lot of people through the years. You know, west coast guys like Marques Wyatt, David Harness, Chris Lum, Julius Papp, and also Hippie & Halo, Halo individually and myself did a couple records. There's always something that everybody brings to the table, and it's cool to think about things differently; everybody has their workflow, and you get together, and they want to do things that you might not think to do, and for me, the collaborative process has always been good, as a producer in the field and a student of music production and audio. In a sense, I just learn from my colleagues and musicians I respect. And I've chosen to work with people who's opinions and sounds I respect, so I keep a pretty open mind. I've had great experiences with everyone. Kaskade and I were in the studio working on this record. It was time-crunched but we made a really great record and had a fun time doing it. In fact, I saw Finn last night, a production guy that works with Kaskade, and we had all done the record. He was listening to the song and he was like "that dude is biting my style." It turned out to be a Latrice song that he hadn't heard for years.

DxE: Well, it must be nice to have an unbiased pair of ears for feedback while you work.

JJ: Sometimes in the creative process, it's not necessarily a 100% committed thing; I'll do something, and then think, "is that even good?" It's nice to be able to just ask, "what do you think? Is that working?"

DxE: Can you tell us more about the live show yesterday?

JJ: So in all my music through the years, I've always incorporated a lot of live musicians. Lots of live bass and keyboards playing. Not just loopy bits, but real playing; lots of guitar players, and of course, tons of vocalists. So I've always really appreciated that. A few years ago, I was thinking about the Miami parties, and I work with a lot of great singers and musicians, so I said why don't we put together a little jam session? Where we have a DJ playing some drums and beats, and we have two keyboard players, and yesterday we had a trumpet player, Rico De Largo. We had Kristen Pearson on vocals, Natalie Conway on vocals; Yogi was playing keys, I was playing keys. Well I was playing baselines - I can play keys with two fingers, not five. When I first got up there I was just playing a percussion kit in Garageband just to make it easy. And we have some pre-set instruments loaded that we can go through. Like a rhodes, a synth, a bass, etc. And we were just kind of going, building a record. Kristen was singing and Rico started to play trumpet; just as we started to get going, the fucking rain came and we had to close it down. So it's just been a concept of doing this whole live thing, and we've done four or five of them here. It was an interesting was for me to separate out the day parties, from the DJ scene, since there isn't much of our thing going on these days. We basically created a house track live.

DxE: And were the DJ's playing at your event playing full songs with you guys jamming over that, or was it stripped down so there was space for the instruments?

JJ: No, he would just loop up some drums and maybe some samples. Then we had the two keyboards, one playing chords and the other playing bass. Through the years, we've had sax players, trumpet players, percussionists, guitar players, bassist, lots of singers, different keyboard players. And throughout the course of the day, it's the type of thing where it just sort of rotates around. Like, I'll tell a singer to come some time between four and six, when they show up, it's like "cool, grab a mic and let's jam."

DxE: So it's all improvised?

JJ: All improvised, not rehearsed at all. For example, yesterday when we started we just decided that we were going to work in D, since the song that was playing before was in that key. And the trumpet player, he was great, so he just looked at us, and as soon as we mouthed him D, he just started playing.

DxE: Well that was definitely an unexpected surprise. A lot of times, you see fliers advertising "Live" sets, but it's just a guy triggering loops on a computer; you never really see live bands playing house music, and the party had a different vibe than I've seen anywhere else. People weren't worrying about looking like idiots when they danced, everyone was getting in the groove and having fun.

JJ: Yeah it was a great party.

DxE: And did you come from an instrumentalist background before you started producing and DJing?

JJ: I started out as a musician, playing guitar when I was a kid, and started learning about recording through that same process. I was writing songs with a friend of mine, we were young and would just mess around; like I said, I started learning about recording, started DJing, and then began to incorporate all of it together. Then it all just moved forward from there.

DxE: Did you start as a house DJ? Or did you start somewhere else and then move into that direction.

JJ: I first started DJing around '85 or '86 at a roller skating rink, which was fun. Kind of just pop music, and only during the day; slowly but surely, I started learn and work more nights, where there was a lot more flexibility with the music, a little bit older and more "up-for-it" crowd than during the day.

DxE: And that was just around the time that house was starting?

JJ: Yeah, it was. I've been around the music for a really long time, so I've seen so much of it. Like I was at the dirtybird party yesterday, and it was very electro-ish-based. Like not noisy crazy electro, but it reminded me of the late-80's electro sound. Lots of cool drum machines, interesting things, bleeps, and things like that. It's funny how it's come full-circle.

DxE: And have you worked with any of those guys?

JJ: Not really, no. Justin Martin and Christian Martin, they used to DJ at this party I was doing on Wednesday nights in San Francisco. When I stopped doing the party, they started to work with the guys that I started it with. So they started working there, but we never messed around in the studio together.

DxE: Do you have a favorite city or venue anywhere in the world?

JJ: You know, there's a lot of great gigs that I've done. But it doesn't necessarily depend on the city; like I've done good and bad gigs in London, Ibiza, New York, and really everywhere I go. So it's way more about the particular event, and my experience has shown me that it's better to have a venue that's just a little bit smaller than the amount of people you have. It doesn't matter if it's a 2,000 person venue with 2,500 people in it, or a 300 person venue with 400 people in it.

DxE: So you like it completely packed?

JJ: Yeah, there's just exponentially greater energy when it's filled up. Totally makes it a fun night.

DxE: And does any particular gig that stands out?

JJ: There's a few, like the first times I played at Ministry of Sound in London and Pacha in Ibiza Also, a gig I did at home in Sydney, at a big club; it was their anniversary, and Latrice was singing. There's been some pretty amazing gigs. We did a full live band thing at SOuth Port Weekender, a big festival in Europe which was crazy. I did the whole live thing again at Ministry of SOund that weekend. There's been some really great ones for sure; when I was moving to New York we did this going away party, which was incredible. All these people came out that had been supporting me for years, new and old. The vibe was amazing - I've been lucky to have so many amazing nights. And some random weird things that you wouldn't expect. Like my first tour in Australia, I played in Canberra, which is like their capital. All week long people were telling me that Canberra would be the worst gig ever, but, you know, it's a gig and whatever so it's cool. But I went to this little venue that was a restaurant by day, and they moved the tables out and set up some speakers and a DJ booth. They completely packed it, I played for like five hours, and it was incredible. So you never really know what to expect.

DxE: And do you usually plan your sets, or just start out and go with the groove?

JJ: Yeah, I just like to groove. Lately, its the same concept now on Traktor where they have record crates.

DxE: Are you mainly DJing with Traktor these days?

JJ: I am. In Traktor you have playlists; it's kind of like when I used to go into my record room. I'd go through my boxes and take some things out and end up with a choice of a hundred or two hundred records and then go to the gig and just feel out the vibe, going from one to the other. I never really put them in an order, I just make a playlist and see where it goes. I'll spend a bit of time going through songs to get a general idea of what I want to play, and then from there I just wing it. What I really like about the flexibility of Traktor is the search function - when I think of a song, then I can just search for it and find it easily.  It helps me when I work because I'm way more organized, I never play the same song twice anymore; the whole CD thing also got out of control, burning a bunch of CDs with ten songs on them, getting confused and overwhelmed.

DxE: Do you prefer to mix with a controller, or external mode with a mixer?

JJ: I do external control, so I'm Dj'ing using the CDJ's, basically just using Traktor as a music library. But i also like the occasional ability to go on a little X1, throw on a loop, and just play with the FX.

DxE: Can you tell us a little more about your setup in the studio these days?

JJ: Since I moved to Sydney, I've had a pretty modest setup in terms of gear. I have a SICK computer, it's a dual twelve-core mac with 16 gigs of ram, loaded with four hard drives, an ssd drive and a super fast audio drive, just about a terabyte version of my sample library that's been collecting for 20 years. I've got a pair of Focal speakers, twin 6's, which are amazing speakers. I've also got a 36-inch dell monitor, and I basically just brought all that there, and just set up.

DxE: Are there any particular DAW's, plugins, etc. that you gravitate to?

JJ: Yeah, I use protools, and there's a lot of stuff available for that. I use their sampler for a lot of the pieces I've created and I find myself using hybrid a lot, the Rob Papen Predator. I also like the Arturio stuff, a lot of the different plugins by SoundToys and Sonnox. There's some great EQ's and compressors in there.

DxE: Any Native Instruments sounds in your work?

JJ: Yeah, Massive, FM8, you know, I use a lot of their plugins. And the one for drums - is it battery?

DxE: Yeah that sounds right. Gotta utilize all the technology you have. Do you do more of your productions on the road or in the studio?

JJ: I definitely spend more of my time in the studio. I guess now that I'm in Sydney, I have a residency and don't have to travel too much for that. It's like right up the street from me.

DxE: And where's the residency at?

JJ: It's  Goldfish, a really cool club in Sydney. I played there on my last Australian tour, and just worked it out so that I could do the residency thing.

DxE: Was it easy to integrate yourself into the music scene out there?

JJ: Well, I've been there a lot so I know some people, especially from my last tour. So yeah, it was pretty easy coming from America, and I think that my sound is pretty compatible there.

DxE: Dance music was underground in America for so long, and now it's starting to break into the mainstream; It's pretty much always been huge in Europe. What do you think caused that to happen in America now, as opposed to earlier or later?

JJ: Ultimately, someone got behind it; there were labels pushing it, putting money in so they could market it and it could be heard. Also, the music had to be good, and it had to be something people could relate to. There were great songs, and the production quality got to the point where people were able to appreciate it; When the labels put money behind it, more people were able to hear it, and then, you know, BOOM!.

DxE: And do you think that part of that has to do with the fact that, these days, anybody with a laptop who puts in the time and effort can learn to produce? Because that wasn't the case fifteen years ago, when you needed a million-dollar studio to make a record.

JJ: I don't really think so. If you look at the biggest names in electronic music, these are guys who have been doing stuff for a long time. There's a couple of those younger guys, like Skrillex, I guess. But mainly it's artists like Kaskade, and Axwell, the Swedish House Mafia crew which came about later, who didn't just pick up a laptop and learn Ableton over the weekend.

DxE: And how do you think the early San Francisco sound influenced your style?

JJ: Well, for me, It was just fitting. When people talk about the early San Francisco sound, it's kind of what we created. We just liked a more laid-back sound because it's a laid-back city, and the weather is nice, and we all came up listening to soul and various other stuff.

DxE: And could you walk us through a typical weekend during those days?

JJ: Well, in the early 90's it wasn't even just the weekend. I did a party every Tuesday night that went until four in the morning, Wednesdays we'd go to a club called Babylon which was packed out. Thursday nights was this after hours club called Kit Kat, and I would play there. Friday nights we were at this big club called Sound Factory, which had a Steve Dash sound system so it was like Sound Factory in New York, with huge, huge bass bins. And from there, Sunday Nights, Spunday would do a party at a club, and I played there every other week for after-hours. So it was kind of like mayhem back then.

DxE: One last question. WHat's your favorite type of ice cream?

JJ: You know what? In Sydney there's this place called Messina, and they make gelato. But they have all these different, really amazing flavors. They have this salted caramel flavor, but they also do all these weird ones. Anyways I'm obsessed with this place, and it's right around the corner from my house. There's this little strip with a bunch of restaurants, so we're up there all the time, and it's incredible. But if I was to just pick a flavor of ice cream, I always like vanilla-based. Probably Haagen Daaz swiss almond, so it's like chocolate covered almonds in vanilla ice cream. It's pretty amazing.

DxE: That does sound good, I'm going to have to check that out. Thanks so much for your time, and we all really appreciate it here at DxE.

JJ: Sure, anytime.

DxE Exclusive Interview w/ Cosmic Gate :: Wake Your Mind Deluxe Edition OUT TODAY!

wake your mind deluxe


wake your mind deluxe



As evidenced by the success of their most recent album, Wake Your Mind, German duo Cosmic Gate (Nic Chagall and DJ Bossi) have  established themselves as musical pioneers, pushing the boundaries of trance in every directions. They continue to display their virtuosity, not only in the studio, but in the DJ booth as well, captivating audiences worldwide with their perfect balance between beautiful melodies and pure, raw energy. If you haven't already, I would HIGHLY recommend seeing them perform, which shouldn't be too difficult as are on tour non-stop, year-round.

This year has been especially monumental for the duo, with an amazing festival circuit including Ultra Music Festival, EDC, and, most notably, hosting and headlining their own stage at Future Music Festival in Australia. Additionally, they are releasing the deluxe edition of Wake Your Mind TODAY; this release includes all of the original tracks, a plethora of remixes, and some extra special content. In honor of the upcoming release, Nic and Bossi gave us a great interview, discussing their creative process, extensive touring, and thoughts on the behemoth that is modern EDM. Read the full interview below, and don't forget to check out the album by clicking here!



DxE: This year has obviously been a big year for Cosmic Gate, especially with the success of Wake Your Mind. Can you tell me a little more about how the album came to be about and how you decided to go in that direction?

NC: It's always pretty similar when we produce an album. We try not to think about it too much, to be
honest. We just go into the studio and start our productions, and then all the traveling and touring
influences us without us realizing that it does. So we just go with the flow; we don't do too much of the
"concept album thing.

DxE: So you just get in there and see where it goes?

DJB: Yeah, we just heard a big guy; I don't remember who it was, but he was giving an interview, and
saying "well the album was like this and that." We just went into the studio and tried to produce good

NC: Yeah, that's exactly how it goes.

DJB: If we feel it, if we both like it, then it gets on the album and we release it. And of course we hope
that people like it too and feel the same emotions, the same feelings about it. To talk music is always,
like, five people listen to the track and they have different opinions about it, maybe different feelings,
or put it into different genres, and that's not what it's about. For us it's not about if it's progressive,
trance, or house influenced, or even dub step, we want to do what we like to do, which is making
good music.

NC: That's the only concept that we have, and that's why we love doing albums. We don't want to be
too much into genres, we want to be free to produce whatever we want; that's the exciting thing about
an album, that you don't have to do just one club banger after another. So you can be very free and
open to just produce, and to an artist it's even more interesting.

DxE: Do you guys have a favorite track off the album?

NC: That's hard to say, because it keeps changing as our moods change.

DxE: FOr me I'd definitely have to say the opening track, Sometimes They Come Back For More.

NC: Yeah, we love that track, and of course we love Be Your Sound, and I remember when we did
Flying Blind

DJB: Yeah we love Flying Blind, that's a great track.

NC: Wake Your Mind Too; They're all different vibes, so it's hard to tell.

DxE: I understand you guys are doing a re-release of the album with extra content. Can you elaborate
on that a little?

NC: Yeah, we're doing a deluxe version. It contains all of the original tracks, plus remixes for each
one. Also, some very new remixes of singles that we never released; and our favorite remixes of the
ones we really liked. So it's a 2-in-1, maybe for people who didn't buy the album but considered it;
they have a huge extra reason now.

DJB: Also, for fans that have it already, we have the best remixes and unreleased material; we think
that for a big fan, this is the best thing.

DxE: Yeah, I can't wait to hear it. The album was great and it's only going to get better. You guys have
been pretty much touring nonstop this past year.

NC: Well we talked about it, and for the last ten years, we've had between four and six weeks off a
year. If we take two weekends off in a row, it starts to feel weird; when we aren't playing shows, it
always feels like a very long time.

DJB: He's right, it definitely feels weird. After a week or ten days, I feel like I know nothing about music.
We're just so used to being on the road, and we love it; it's a huge part of our lives.

DxE: Do you guys have a favorite city to play in?

DJB: Well, every continent has its cities, clubs, special vibes, and things that make it so special. And
that's the beauty of the job, to see so much of the world and so many different cultures; a lot of
interesting people to meet, so we couldn't put out one that is really standing over the others.

DxE: Would you say that different cities/crowds react differently to certain tracks?

NC: INowadays, it's pretty global, and most of the scenes are somewhat similar. With the internet and
all, it's so global, and people all over the world are hearing the same songs.

DxE: It's great that dance music has become that.

NC: These days, you can release a track, you play it two weeks later in a different continent, and
everyone knows all the words. It's amazing.

DxE: I know you guys have worked with a bunch of different vocalists. Does any one singer stand out
in particular?

DJB: Well, of course Emma Hewitt is very close, she's touring with us a lot. We've got a kind of small
family; JES is amazing too. Also Carey Brothers, he's an amazing guy every time; good to hang out
with. We like to have not only the business side, but the personal side too. When you work with
people that you sit with at night at the bar, that's what we prefer instead of just doing business.
Otherwise the vibes aren't as good as they should be, and the musical result isn't going to be very
cool either.

DxE: Absolutely. Dance music is global now, and I hear it's always been big in Germany; especially
trance and techno. Is that accurate?

NC: It used to be big in Germany, but it died about ten years ago.

DJB: We haven't really been playing in Germany for the past five years or so. Techno is still there, but
only in small, intimate clubs. But in general, dance music is by far not as popular in Europe as it is
here now.

DxE: Well, it is growing exponentially in the USA now.

DJB: It's the new thing for the crowds here.

DxE: Now, there's a big debate between the purists, they either want only trance, or big room, or tech
house, or whatever they like.

NC: Europe is especially like that. If they like techno they only want to hear techno, and if they like
trance, they only want to hear trance.

DJB: We hear a lot of people saying, like, "yesterday I was at a Skrillex show, and tomorrow I'm going
to see cosmic gate." That would never happen in Europe. You're either a trance head, or a house guy,
or say a dubstep guy; whatever they prefer, they all hates on each other. We love the attitude in the
States, where everyone is so open-minded. That's a big part of our concept, just being open to
different things, different aspects, and different musics.

NC: That's how we are too; we listen to so many different genres.

DxE: Well, Miami seems like the melting pot where it all comes together. You guys are in high
demand these days, and a lot of artists are trying to remix your tracks. How do you go about selecting
artists to do the remixes?

NC: A lot of times its based on the tracks we play from different producers. When we play two or three
of someone's tracks in a set and we like their style, we approach them. We also try to find up-and-
coming guys, because they have new, fresh sounds. It's more interesting, so we always watch what's
going on with these guys. On one side it's easy, but on the other hand it's hard. So many artists to
choose from.

DJB: It's definitely a challenge because if we're just four weeks late to an artist, there's already been
about ten remixes released.

DxE: And since you guys are always on the road, do you normally produce tracks on a laptop, or in a
studio when you're back home?

NC: We used to do everything in the studio until a few years ago. But now that we travel more and
more, and aren't based in the same city all the time, we've started to produce on the road; we have
to. But we've already though about taking a couple weeks off to go in the studio and really focus.
Because otherwise, if you produce two days here and one day there, it's hard to really get into it.

DxE: Understandable. Do you have a specific DAW software or plugin you tend to use?

NC: We produce on Logic, and we do everything on Apple. And there's other software that people
use, but it's all 90% the same. It's what you do with it that makes you stand out. You have to work with
them and try to make your own sound.

DxE: And when you do get into the studio, still mostly computers, or more synths and gear.

NC: Mainly computers, especially with all the traveling. Back in the day, for our first and second
albums, it was all hardware. HUge studio with a lot of analog gear.

DxE: Well, you can definitely feel that raw energy, especially on Exploration Of Space.

NC: It does sound nice, but nowadays it's pretty much just software, unfortunately. But it has its good
aspects too; you can recall a song and everything is there. I remember back then, it took us forever to
recreate the sounds.

DJB: And it was hard to recreate the same feel after every session. You always had the feeling it
sounded a little different the next day; it's just difficult to capture the same moment a second time.

DxE: And who's your biggest influence outside of the EDM world?

DJB: We started listening to music before house was even invented. So everything had a big change
when house started, and then when it evolved into acid and then techno. There was no stopping it;
but we still like certain pop records.

NC: Also, a big influence from classical music, because my parents loved it; I really just grew up with

DxE: You can definitely hear the classical influence on the last album. It's a lot more complex
musically than a lot of other trance music these days.

NC: I did hear it every day in my house. And my family took me to operas, which was a big part of my
youth that influenced me for sure, maybe the most.

DxE: Do you play instruments as well?

NC: Yes, I play the piano.

DJB: Me? No, I actually don't.

DxE: So how did Cosmic Gate form? Were you guys doing your own thing before and then started
working together?

DJB: That's exactly how it happened.

NC: We met through mutual friends in '97 or '98, and decided to go into the studio together with three
other guys. When they left, we stayed together in the studio and just made music. We didm't even
know each other too well, but we just had a fun session.

DJB: We made one track and sent it out, and then things just picked up from there. It was a chance
thing, not planned at all, and we were wondering, are we going to leave now? We were talking a bit,
and decided to just feed our sampler; in three or four hours we had finished the track. It was The
Drums, our first single.

DxE: Well it's been a great run since that day. What can we look forward to this year, other than the
album release.

NC: Certainly a lot of touring, and we have a nice festival summer ahead of us. We Tomorrowland,
Global Gathering, Ibiza, EDC here in the States, and we just did Ultra. We also recently hosted our
own stage at Future Music Festival.

DJB: So there's a lot of big things coming; plus we go back to the studio in April as Nic mentioned.

NC: That's the main thing we want to do right now, to get some fresh sounds to play and maybe even
another album.

DxE: That'd be great to hear a new album. Do you prefer playing at festivals or nightclubs?

DJB: We really can't say, you need both. Clubs are more intimate, you're closer to the crowd. You can
play a longer set which we like. At a festival, the music is very short and a lot DJ's only play for an
hour, maybe and hour and a half if they're lucky.

NC: And in that short set, they're playing maybe 20 or more songs, so they're just banging through

transitions. But on the other hand, you have a huge crowd in from tot you, and they all have their
hands in the air. It's an amazing feeling.

DJB: But in the club you're sweating with the people, and the energy is transferred back and forth.
Both experiences are simply fantastic and we wouldn't want to do just one and not the other.

DxE: With a longer set, you obviously have more of an opportunity to read and react to the crowd.

DJB: That's one of the most important things to do as a DJ, to set the feeling, and to bring them into
your productions. It's important as a producer of electronic music, especially trance, to be a DJ as
well, and incorporate the club sounds into your productions. Also, it really helps to feel what's going
on, and to be on top of the game.

DxE: And these days, there aren't very many artists who are just DJ's or just producers; everyone is
expected to do both.

DJB: That's how it is; and a lot of "DJ's" are playing pre-recorded sets. They're producers and not
really DJ's but they have to perform. But if it's an amazing prepared set, then what can you say?

DxE: This issue of pre-recorded sets has been very controversial, and a lot of famous DJ's have been

DJB: That's right, but the people usually can't tell the difference.

NC: I guess their talent then is in preparing the set. But we are not fans of that.

DJB: And how would you know what the vibe is at the event? Like what tracks the DJ before you is
playing, so that would be very tricky in our opinion.

NC: And even when we DJ at festivals, like Ultra or something, we never prepare at all. Of course we
listen to new songs, maybe do an edit or two, but we never prepare a set list.

DxE: So you just improvise?

NC: Yeah, because we have no idea what the other DJ's are going to play.

DJB: We choose the first song and, on some occasions, a good song to transition out of that intro, but
once it's time for track three, we ask ourselves how we feel and what the vibe is. It wouldn't make
sense for us, it would be against whatever we feel to prepare a set from A-Z.

DxE: A lot of fans feel insulted when they pay good money to see artists that aren't even working,
they're just sitting there with their hands up. Personally, that upsets me because these people all
know how to DJ but choose not to. At the end of the day, if you mess up once or twice it isn't the end
of the world.

NC: Yeah, exactly. Who cares if one transition is off?

DJB: If I hear that the DJ is really mixing, and he's correcting a little, then that's great! He's actually
DJ'ing. Nobody's perfect, and if you play two or three hours, it simply happens. Some tracks don't
perfectly fit together, and even if they're on beat, you still hear it because they all have different
grooves, and maybe don't quite fit.

NC: Exactly. If a song fits in our set and sounds good, we don't care if it's in a different key. We've
done it for so long that our mixing isn't really a problem. But we still think it's about the music


DxE: We're running out of time, so I'll just throw you a curveball for this next question. What's
your favorite flavor of ice cream?

DJB: My favorite ice cream is, uh, Amarena cherry.

NC: Mango.

DxE: I'd say cookies n cream myself!

DJB: That's good as well. Rum raisin from Haggen Daaz is great too.

DxE: Well thanks so much for your time. Can't wait for the party at spin agency!

NC: No problem.

DJB: Absolutely


Chuck Love :: Interview :: Boots n Nuts Remix Challenge


For 35 years, Minnesota-based Chuck Love has been making a name for himself, tearing up dance floors in every corner of the world. His uniquely engaging audio and video content, available through Love NetworkDope Den Productions, and Om Records (among many other championed labels), reminds the EDM community that traditional, organic house music continues to thrive. We were fortunate enough to get a great interview from this old-school legend, which can be found below (scroll down past the contest info).     Attention DJ's and producers!!! The man himself, Chuck Love, is inviting YOU to remix his newest track, Boots n Nuts. The exciting thing about this contest is that there is not just one single winner. Chuck has announced that he will be playing all of his favorite submissions on his upcoming tour and releasing those that are well-received. Even more interesting, the original version of the track hasn't even been released; it's up to you, the up-and-coming producer, to interpret it in a completely original way. So fire up the DAW of your choice and get cracking. You can download the stems by clicking here. But hurry up if you haven't already started; the opportunity ends on March 31st, so make sure to get on your grind all weekend long! Submit your MASTERED remix via yousendit or wetransfer to; The website says, "We will send you an email confirmation we've received your remix. All submissions should be MASTERED Wav or Aiff file with the correct title you want your remix listed as Boots n Nuts (DJ Name Remix)For more info please visit the official contest page. Check out this video of Chuck showing off the amazing stems and where his inspiration comes from.



DxE: So how did you get your start DJ'ing and producing music?

CL: Well, I started really young, playing musical instruments like trumpet in the school band, so I was able to pick up piano chords; I learned to play a lot of stuff by ear pretty early, so that kind of became the core of my musicality. Soon after, I got into multitrack recording, playing guitar, and tracking on tape when it was all very promising. I also held a job as a studio operator/producer for many years before getting into the DJ thing, but I always liked electronic music. And because of the things I do musically, the DJ booth turned out to be a good place for me.

DxE: And do you feel that coming from an instrumental background gives you a different perspective than someone who jumps straight into DJ'ing and producing?

CL: Mainly I concentrate on my productions and presenting them; a lot of DJ'ing is more about finding tracks, but for me, I prefer making them. So I have a pretty in depth knowledge about the music I play because I've touched it in some way.

DxE: Is it fair to say you're more of a studio guy than a DJ?

CL: You know, I'd call myself more of a producer/presenter than anything.

DxE: And do you record the instrumentals on your own tracks?

CL: Yeah, on rare occasions; I try to incorporate them whenever I can.

DxE: That's very interesting because a lot of people these days are doing the opposite, abandoning their singer/musician backgrounds to focus only on DJ'ing . Would you say it's important to keep utilizing your specific skills for the sake of sounding unique?

CL: Yeah, it's really worked to set me apart from other artists, and that's what I'm focused on on.

DxE: Right on. And have you been based in Minnesota the whole time?

CL: Yes I have.

DxE: What's the music scene like out there?

CL: We have really solid scenes of all types; whether you like electronic, rock n roll, or even jazz, there are a lot of nice places to hear live music. Big room EDM, I guess, is also working pretty well here.

DxE: In terms of EDM, is that more of a festival or a nightclub scene?

CL: Well there's one club that's about the right size for most of these acts, called Epic, here in Minneapolis. And, that's where you'll see Kaskade and the likes.

DxE: So that's the must stop for any DJ coming through Minnesota?

CL: Yeah I would say so. If it's not, then I'd say something bigger, like a festival, but that's usually how high levels of talent travel through town; they'll usually go to epic. And, of course, First Avenue has been kind of a staple in this scene for a long time. But from my side, it's more about the smaller clubs.

DxE: Do you have a favorite city to visit, whether for touring, playing gigs, or just traveling in general?

CL: I've spent a lot of time in San Francisco, it always seems to be a really welcoming place and I love it. But I've been far and wide, I've always had a feel for Istanbul, thought that was cool too. And I've had great travels throughout Australia the many times i've been down there - I've had a chance to be a tourist and also to work there as well.

DxE: Yeah, Australia's a great place to visit. Can you tell us a little more about what you're doing with Love Network?

CL: It's been kind of a slow start in terms of numbers of releases. We really want to focus on branding a record label with some real video presence. And we want to have some great content that I'll be able to bring with me and present at some point. It proves to be compacted, but right now the thing I'm most excited about are Assemble Your Crew and Boots n Nuts, which are two releases for which we released the stems to the community before the releases are even out.

DxE: So Boots n Nuts isn't released yet?

CL: Well, there's no version of it available, but the stems are all there.

DxE: Can you tell us a little bit about the contest for Boots n Nuts; have you heard any of the submissions yet?

CL: Yeah, I've heard a couple of them, and they're great. Assemble Your Crew picked up 24 or 25, which is great because we'll be releasing a lot of them.

DxE:  It's nice when producers are taking the stems and not hearing the original; it brings a whole new level of creativity to the table.

CL: I think this is due to the hook content, as you can incorporate the hook into your own sound. And if you're a DJ you don't need  an original if you can make your own.That way, you can probably make it more suited to your type of dance floor.

DxE: Is that sound actually boots running through a dryer? It's a truly unique sound that I haven't heard anywhere else.

CL: Actually it's just my techno representation as such.

DxE: And what are you using to make the sounds?

CL: For the most part, I use Logic and its native synths... just because it's enough. And moving over the years makes vast hardware collections impractical. And there's also layers of stuff where I'm recording live instruments, electric pianos, trumpets and such. It streamlines the whole process, since you open it up and the stuff is all there.

DxE: And how long have you been involved in dance music? Or the recording/producing side of music in general.

CL: I'd say about 35 years; I started recording my own material, multritracking and that kind of stuff. It's been a long hustle.

DxE: So obviously you've seen house music grow from absolutely nothing to what is now; what would you say have been the major high and low points so far?

CL: I don't know, I guess I always gravitate to whatever sounds good; the high points are when I hear something along the way that hits my trigger. The more organic approach is working now, but there was a little bit of a backlash against the organic sound when electro got huge. But I do love parts of that, and have done my share of those sounds as well. I can find something to like in pretty much any style.

DxE: Well, it's great to keep an open mind. And right now everyone is eager to categorize everything, whether it's tech house, deep house, bass music or whatever else they hear. Do you think that has a positive or negative effect on how people perceive dance music?

CL: I'd say it's kind of a double-edged sword. If you want to organize and find music, it's easier if you have bluegrass-punk-polka (if that's your sound) and can be very focused. But on the other hand, my set is so eclectic, including house, deep house, techno, tech house, electro, and dare i say dubstep (but there is some half-time music i've done). I support diversity just because i approach it musically, and theres no reason not to play a good track just because it's labelled under the "wrong" genre. Just impress your friends and fans and play a techno track if you're a house DJ.

DxE: Yeah, that can be a heated topic, but at the end of the day it's just music;  where do you find most of the content for your sets?

CL: For the most part, it's a combination of remixes and originals i've made. About 90% of the tracks are something I've had my hand in in some way, and the rest are just tracks I've come across over the years.

DxE: Do you press a lot of records on vinyl? Or mostly digital releases.

CL: Vinyl has definitely been important to my evolution, but I've never really used it for DJ'ing (apart from local gigs before anybody had heard of me as an artist). But back then, the record store was the final process/gatekeeper. And there were a handful of records coming out on vinyl, but there wasn't like 3,000 records that would hit the spot and be available the way they are now.

DxE: Does that mean you prefer CD's?

CL: Yeah, CD's or USB sticks.

DxE: Is it true that you do your own visuals?

CL: Yeah, I've been working on it, and spent long periods of trying to get that situated. I'm hoping there's a day when I can predictably and reliably bring that all over the world. It's really fun and definitely keeps me engaged as an artist.

DxE: Right on. Do you have anything else you'd like to add, or any closing thoughts?

CL: Nope, I think we pretty much covered anything.

DxE: Thanks so much for your time.

CL: My pleasure.


DxE Exclusive Interview w/ NERVO






      After sitting down with NERVO for an interview, I was thrilled to hear that I would be attending their private party at the SLS Hotel, sponsored by Elektro Magazine and Covergirl Cosmetics. The vibe was unreal, with enthusiastic partygoers lining up around the block for a chance to witness the amazing spectacle that is a NERVO convert. WIth support from Morton Breum, these girls absolutely killed the dance floor… or should I say pool deck? In Miami, the distinction isn't always so clear. Regardless, they definitely kicked the party into 5th gear, dropping unforgettable bangers such as their new single "Hold On," the iconic "Reason," and "The Way We See The World," a collaboration with Afrojack that was named the official anthem of Tomorrowland 2011. They also proved that they can spin way more than just big room electro, dropping some really funky tracks and even moving into some really cool trap.This A-list event was one of the best events of the week, completely selling out several days before; and after hearing their sets from Ultra the previous weekend and Story the previous night, I knew that I was in for a real treat! They were kind enough to share their thoughts on WMC, remixing, and much more.  Read the full interview below for more, and remember to keep checking for more post-WMC updates.



DxE: Can you tell us a little bit about what Miami Music Week means to you?

MN: This is one of the most fun weeks of the year for us.

DxE: I absolutely agree 100%

MN: Also because everyone's together. It's like if you're on tour but also get to hang with all your friends and listen to their sets; that's what Miami is to us. And we've been coming here as lovers of music since before we were playing together.

DxE: I remember your set w/ Dimitri Vegas and Like Mike last year. I was hooked. And I hear you got your start in modeling

LN: That's actually not quite right, its funny. The modeling thing happened because we used to look a lot more similar.

MN: Yeah,we  had the same hair and were tall and lanky girls. But we moved to the UK when we were 19, so we never did any campaigning or anything.

LN: Yeah, we did have an agent, but never worked.

MN: And now we do model, but it's all for music or related to music.

DxE: So Mim was telling me about how much you love Miami.

LN: Yeah definitely. We used to come here before we were gigging because we love house music and love WMC. So now it's a real buzz to be able to come out here and actually play the gigs.

MN: It's very different from what it was 6 years ago.

DxE: And what's been the biggest thing making it different?

LN: You know, I just think it's more popular, which is great. The parties are bigger, and there's more of them. Literally i remember coming here, and there would only be 2 parties a night. They were the parties you HAD to be at… but now theres like 6 or 7 parties you HAVE to be at.

DxE: Indeed. Literally every hotel in south beach is sold out this coming weekend.

MN: And every party.

LN: Our party's sold out as well.

DxE: Well I'm definitely excited for your party tonight. Will Dimitri Vegas and Like Mike be there again?

MN: They're crazy, those guys (laughs). They have their party on the same night as ours, which is annoying. But we love working with them.

LN: Yeah, they're great guys; we tour with them a lot.

MN: They're like our brothers from other mothers.

DxE: So what's it like producing as artists rather than staying behind the scenes? You guys have done a lot of work in both areas and been hugely successful.

LN: It's different. We get to do things like interviews now, when we never used to. And it's great to be recognized for the music that you make… and to be able to put your name on records that you worked on, so we're loving it. It's a whole other beast and it's great. We love working for other artists and we still will because theres freedom as well. Like, if you work for another artist, you don't always have to write something that's four-on-the-floor and 128 BPM with a big drop. For us there's quite a lot of pressure to deliver that kind of record for NERVO releases.

MN: And we enjoy many different types of music. Once our album is done we definitely look forward to being able to do that again. But luckily for us we're doing a lot of collabs as well, where we do put our name on it, but we have a bit more room to move. So it's like two worlds coming together.

DxE: Right on. Who's been your favorite artist to collaborate with?

Both: Ahh. It's so hard.

DxE: Nobody's feelings are getting hurt, i promise.

LN: We really love sneaky sound system.

MN: I don't think you can say favorite when it comes to artists; every one is so beautifully unique and different. So we're doing a lot of new collabs, which we're super excited about, especially the Marco Flores one.

LN: It's almost like a deep house sound.

DxE: Well I'm a deep house head myself, and can't wait to hear what you guys do with that.

Both: Oh you would love it.

DxE: When does that drop?

MN: Soon. Hopefully we'll have it out by the summer.

LN: We won't be able to play the version we're releasing, but there will be some remixes as well.

DxE: Speaking of remixes, if you could remix any non-electronic artist, who would it be?

LN: Remix or work with?

DxE: Either

LN: I would love to remix Imogen Heap. I just think her vocals are so talented. So lush and unique.

MN: I'd also love to work in the studio with Fatboy Slim and Bassment Jaxx, even someone like Moby.

DxE: So all of the legends?

MN: Yeah. and I'm loving some of the new stuff, like what the Rudimentals are doing in the UK. So beautiful and out there.

DxE: Have you been following any of the up-and-coming UK deep house artists? Like Julio Bashmore, Maya Jane Coles, etc? Because that sound is starting to blow up

LN: We both LOVE Maya, and Hot Since 82, Massive Extinct… what's it called?

MN: Totally Enormous extinct dinosaurs.

LN: Yeah him. This british artist, we just posted his new stuff.

MN: I love all the hot creations guys. But no matter what, we always listen to music that we don't write or produce. We like to educate ourselves, and working with Marco was great.

DxE: Will you guys be at the Hot Creations party then?

LN: Absolutely. Yes. Like Maceo Plex and all those guys. I'd die for them.

DxE: Any other events you guys are especially stoked for?

MN: I would say our own party. We've got Steve Lawyer and Pete Tong coming out to support. Also Michael Woods, Funkagenda, and a few other biggies. I'm totally stoked we have our own party. And even more stoked that it's already sold out. Really excited to be able to play for those guys.

DxE: Should be a great night. And you guys are really in demand; are you on the wish list of any artists to who want to remix your songs?

LN: Oh wow. I mean, it was just an absolute thrill when the Reason remix competition came through; we had 400 submissions! So that was a massive compliment, and we were just blown away.

MN: And also the great thing about that competition was that the record was interpreted in so many different ways. And so it's a nice way to reach out to new producers out there and say, "Hey, I really like what you did, let's work together!"

LN: And I think theres more opportunities with laptop producers. Almost anyone can do it.

MN: Well not quite anyone…

LN: That's right. You need to put in the time and effort.

MN: True. And it's also affordable. Everyone has a laptop and can buy the programs, you don't need to hire the mammoth studio.

DxE: Speaking of studios, do you prefer digital production or using gear?

LN: When we record, we hire a studio. Just because you need it; we like to have clean vocals with a proper booth and no spillover. Or, if it's not a booth, at least somewhere where it's quiet enough. But for little ideas and stuff, we do them on the road.

DxE: And when did you begin the radio show? NERVO nation right?

LN: That's right. We do that every month. We just had our one year anniversary.

DxE: Congrats!

MN: Thanks. It's really great for us because we play our live sets and theres a certain sound that we have to play to get the crowd going and stuff.  But obviously we're house lovers and music lovers; and as such we get to pick out, listen to, and support music that we otherwise wouldn't be able to play. For example, we always end our show with a deep house track.

LN: And we always start with more housey records then build up to big room, like Pete Tong. We like to experiment and the radio show is a great outlet for that.

MN: And also we get to interview our friends which is cool, and put them on the spot.

DxE: So how about we put you on the spot? First off, vodka or tequila?

LN: Im moving more toward tequila these days

MN: So am I.

DxE: Yeah i can't do vodka. One bad experience just ruined it for me. And tequila keeps you up all night.

LN: It does. It's a good vibe.

DxE: Festivals or clubs?

MN: We've just came off a festival, so I'll say nightclubs, since we can play a longer set. Because as great and crazy as festivals are, its nice to play the club, feel the room, and really get into it without worrying about time.

LN: At festivals its more of a showcase, you're just expected to play banger after banger. And they want to hear only our records.

DxE: What's the longest set you've done?

LN: I don't know… 10 hours?

MN: No no. I reckon it was South Africa. Most people ended up going home after 4 or 5.

DxE: So you guys held it down all night?

LN: Yeah. Dimitri and Mike were there, and the lovely promoter just let us keep going. We must have played maybe 8 or 9 hours.

MN: And that's just professionally, we've done longer sets for fun back in the day. Just days and nights and weeks.

DxE: What was it like opening for Britney Spears?

LN: Obviously we had to play slightly more commercial music. Like we still played house, but it didn't make sense to play anything TOO poppy.

MN: A lot of our own material, and remixes of our stuff that was a little more mellow. So it was a great experience, we'd never done an arena tour before. Crazy huge stadiums full of people. But it was great, and the crowd was really into it, even though they would normally be a pop crowd.

LN: We didn't know what to expect when we got there, but we were actually really pleased.

DxE: What can we expect this year?

MN: A lot of new music, especially collabs, that we're excited about.

DxE: I hear you'll be dropping a new single this week?

MN: Actually we played "Hold On" at ultra last week, and it was great. And we've played it again and again all week. People have loved it, and it sounds very NERVO since it's us singing. We're trying not to do as many vocals, since it's hard when we play our sets. So more instrumental stuff coming in the future.

LN: Hopefully an album. Got some beautiful stuff coming out this summer as well. Something that you and the rest of the deep house lovers will appreciate.


Dope Den Productions



       As you can imagine, we're getting VERY excited for Miami Music Week 2013; one artist in particular to look out for is Jay-J. His music is amazing and from what I hear he puts on one hell of a set. Be sure to check out Shifted Music's  Jay-J & Friends Go Live pool party; it's on Friday March 22 at the Clevelander Hotel. And Jay-J is just one of many killer artists represented by Dope Den Productions; we were lucky enough to get a quick interview from founder Jeff Berger, who told us a little more about what Dope Den is doing in and out of the dance music community. Additionally, we will be doing a full review and interviewing Jay-J after the show so be sure to check back after WMC!

     UPDATE: In honor of Miami Music Week, the Dope Den guys are giving away 5 free ringtones from Jay-J, Mark Farina, Chuck Love, and DJ Nutritious. Click here for more info!


DxE: Can you tell me some of the biggest moments in Dope Den's history?

DD: This year we're celebrating the 20th Anniversary of  "Mushroom Jazz" from Mark Farina.  We're teaming up with OM Records for a special edition MJ8 for Fall 2013.
          In 2008 when Jay-J, along with TiestoBenny BenassiKaskadeJesSerge Devant,Lucas Prata and Cezar were asked to create tracks for the 2008 Beijing Olympics/Coke® WE8 project.

         Chuck Love's remix of "Ain't My Fault" by Mos DefLenny KravitzThePreservation Hall BandTrombone Shorty and Tim Robbins to benefit Gulf Aid.

          Sugar Rod's debut release; a remix of Mayer Hawthorne's  "A Long Time".
          Nutritious's "Hipster House" comp cd coming out at the end of 2013.
           MTV & VH1 licensing tracks for The Pauly D Show and VH1's Morning Buzz.
DxE: Who was your first big artist? And what are some of your company's goals?
DD: Our first big artist was Mark Farina. We want to explore, discover and share the best in EDM culture, DJs and House Music with the world.

DxE: Right on. How did you get started in the music industry?
DD: Left the movie business after 13+ years working for Michael Mann (Miami Vice, Heat),Marty Brest (Beverly Hills Cop, Scent of a Woman), Mike Myers (Austin Powers) andJane Rosenthal (Meet The Fockers) to go on tour with Leann Rimes.   Realized I missed the "cinematic process" and got into producing music videos for DJs.  After working with Jay-J on "The One" and "With Him" projects, we decided to expand our relationship to Artist & Label Management.  Word got out about what we were doing, then we teamed up with APT Entertainment Booking Agency, and offered up a complete package of services for established and aspiring DJ/Producers to allow them, best said by Jay-J, to focus on "making music by day and sharing it with the world by night".
DxE: What direction is dance music headed?
DD: Back to its roots, yet evolving, finding unique and interesting ways to unite us like minded people around the globe.
DxE: And how does the future of dance music look?
DD: Bright and promising.
 DxE: It definitely does. Do you think that means bigger and bigger festivals? Or a reemergence of the underground scene?
DD: Neither.  Personally, both options have inherent restrictions and limitations imposed on both the artists and audiences. We need to raise the bar.  Expect the unexpected.  Trek high and low to unique locations to experience the music we're so passionate about in different ways. If you're reading this Sir Richard Branson, let's talk "1st DJ in Space"!
DxE: And who are some of your favorite artists outside of the Dope Den crew?
DD: Janes Addiction.  Sigur Ros.  Thompson Twins.  The Who.
DxE: Can you recommend any up-and-comers to look out for?
DD: We've got some 50+ releases slated for 2013.  In the next 6 months, look out for projects from Sugar Rod, Cubez, Michelle Shaprow, Future Relative, Mustafa, Seafloor, Afrolicious, Dynasty Electric, Jeremy Sole, Devil's Backbone, Ill Subliminal, Infernal Devices, Hipster House, Noa & Ron Aldo Sanchez, Stu Laurie, Trevor Vichas, Sean Ray, DJ Dee Cf, Nagwoode, Jeff Swiff, Adrian Duran, James Shoji, DJ Drue, MSG and Anonymous and Andrew Emil feat. Gryffyn
DxE: What is Dope Den doing for Miami WMC 2013?
DD: We're bringing back "Jay-J & Friends Go Live" on the rooftop of The Clevlander Hotel.
Everything else is a surprise, and will be announced here first:
Follow us on Twitter for up to the minute reports & set times at #WMC2013 - @dope_den, @djmarkfarina, @shiftedmusic, @therealsugarrod and @djnutritious.
DxE: Do you have a favorite club (current or from the past)?
DD: Oasis Nightclub, Zaragoza, Spain. Also, A Lokita party on a clay tennis court in some small fishing village in Northern Mallorca.  The only people who spoke english were the promoters Puchetti & J Martin, myself and the DJ, KASKADE.  That is, until Kaskade's "It's You, It's Me" dropped and the entire crowd sang back each and every world.
DxE: Do you prefer vinyl, cd, or mp3?
DD: Sometimes you need an analogue break in this digital world.
DxE: Indeed. Would you say that vinyl is making a comeback?
DD: We hope so…  It's worked for all the legendary artists in music since its inception.

DxE : These days, a lot of artists are talking shit online. Do you think that "Twitter Wars" are good or bad?

DD: Inevitable…  We're 12-0.

JA5KO- New Up and Coming DJ/Producer from Chicago Goes In Hard




This guy has it down.  For the past few months, Ja5ko has been starting his music career while studying full time at the University of Iowa.  While still a new "underground artist", his music is everything but rookie. As he is in the process of creating his first original track, he has kept his fans and followers entertained with some dirty mix sets and mash-ups. His style ranges from EDM/House to some more recent filthy trap and bass sets.

He has already been killing the night scene in Iowa and is planning a college tour.  His non-stop mentality for his music is whats going to get this guy into the EDM big leagues; so make sure to pay close attention to this DJ.

An interview a long with his first original track and promotional video will be up for all to see very soon! So stay posted!!



DxE Artist Profile + Exclusive Interview with Mako




You may not know about them yet, but oh how you will... In an era where unexpected ingredients thrive, Mako offers a truly unique experience created by Logan Light and Alex Seaver. Although relatively new to the EDM side of things, the duo have found a way to catch the ears and attention of many a name in the industry, beginning with their track "Head Up" being licensed by Primal Scream Music as the centerpiece theme of the 2012 Fruit Of The Loom Olympics campaign.

Having already opened up names such as Mat Zo and Porter Robinson, the guys are ready to take over the world by storm numerous up and coming singles, remixes and collaborations. Kicking it all off was their debut single "Beam," featuring the b-e-a-utiful vocals of Angel Taylor (also featured on Mako's collaboration with Paris Blohm entitled "Wish You Were Here"). You'll be able to peep both tracks as well as the PR-opening set below, but before getting into their music it's only right that you get to know the newest duo to hit the scene - Mako:

DxE: We heard about how you two met... How'd the name "Mako" come about?

M: We never really thought about a name and then were quickly put under pressure to decide on something once we had put together the track for the Olympic ad campaign. We started with a list of like 30 things ranging from things that meant something to us to words that sounded cool. Since my last name was Light, we saw Mako meant "magical light" in Japanese. My [Logan's] brother lives out in Japan, it tied into my last name, we liked the sound and it won out over all our other choices.

DxE: How would you describe your sound to someone who may not have
heard your production before?

M: Progressive House is a good place to start.  Our productions are generally conceived from a really sincere desire to make something highly moving, personal, and emotional.  Expect us to start really pushing boundaries bringing in heavy orchestral and indie rock influences as well - now that we've designed our first release, we
want every subsequent new track to offer something unexpected.  We don't want to get pigeon holed by one genre. Our influences come from all over the spectrum and we want that to be apparent in our music.

DxE: It seems like this all took off pretty much over night... How quickly has this whole project actually come together?

M: I think at face value Mako has jumped to the forefront of our lives really quickly. We've put a lot of hard work into Mako since we started a year ago and we've been really fortunate that within a year of forming we've had the privilege to work with some of our favorite artists.  Even though Alex was only aware of dance music about a year
and a half ago, part of our design is bringing a good 4 years of work writing orchestra music into the fray.  The better part of our efforts have been locking down all of the production aspects that make dance music what it is.  We've had a lot of fortune getting a bit of exposure and attention so quickly - but it came at the cost of 7 day work weeks without exception, and sacrificing an absurd amount of our lives to get the production in order.

DxE: What can we expect/prepare for in the future? Touring at all in addition to tearing it up in the studio?

M: First it's all about getting the music out there. We have many new crazy and experimental productions, including some several high profile collaborations. We'd love to start playing shows but our priority right now is the music. We have plans to get a great batch of music out by the early summer and then hopefully look into some shows from there. We are locking down some random shows here and there in the meantime though so keep tabs on our Facebook page and website

DxE: Our ever-lasting DxE final question... Does Mako have a favorite ice cream flavor?

M: Great time to plug our standby music escape - Studio Yogurt in Studio City, CA. If you haven't been you must go.   We'll start with the simpler of our two orders. Alex gets anything as long as its topped with a shit load of jelly beans. I [Logan], on the other hand, am still stuck with the taste buds of a five year old. Gotta go Vanilla or Cookies and Cream and the fun starts with the toppings. Rainbow Sprinkles, Gummy Bears, Chocolate Chips, Oreos, Gummy Worms, Reese's Pieces, Skittles, Sugar Cookies, Kit Kat, Sno Caps, and probably more I'm forgetting. And yes that's all at once. And yes I know I'm disgusting.



We sure wish we could tell you all the exciting Mako-related news, but this shall suffice for now. Be sure to keep your eyes and ears peeled because there will most definitely be more big news coming soon ;)

DxE Exclusive Interview with PrototypeRaptor!



Prototype Nostal

With an early introduction to the world of house and music production at the age of 13, Jonathan Paulsen, better known as PrototypeRaptor, now 22, has been a relatively unknown, yet consistent force of electronic music. After fashioning his iconic “R” out of lines taken from his sequencer, he quickly became known for combining his electro-fidget sensibilities with an unusual melodic design. Following up on his debut album "Penultimate," the Raptor has been busy in the studio compiling his newest compilation "Nostalgiarithm," which just hit the world wide web at the end of January. The man who first caught our attention with his massive bootleg of Wolfgang Gartner's "Push And Rise" was kind enough to chat with us, giving us a full-blown view into the life and times of an ever-growing animal:

DxE: Gotta start it off with the new album... was it easier the second time around? How did the creative process differ from the first?

PR: This album is different from my first in that I had an overall 'idea' in mind - Penultimate was just a collection of songs I did that were all in a similar mood.
With Nostalgiarithm I wanted to really go somewhere, take the listener on a journey. So instead of putting together one track at a time, I would work on two or three at once in a general style, so that they would sound more cohesive due to being written together. Then that 'album chunk' would get archived until I was done with the next one, and then I would go back to the first segment and listen to all the tracks and tweak/trash certain songs that didn't fit. I have probably 15+ tracks in various degrees of completion that got cut for some reason or another.

DxE: Which came first, the track or the album title?

PR: The track, definitely. The album title was the final and most difficult thing to come up with in the whole process, not gonna lie. I'm pretty terrible at naming tracks in general, and I didn't want to do anything like 'untitled album two' because deadmau5 has a monopoly on those types of names...

DxE: How were you able to find a balance of staying true to your sound while taking the album in a whole new direction?

PR: Finding my sound has always been something I've struggled with, to be honest. It's difficult to make tracks that are both original and creative while also fitting into a standard DJ set-structure.
Since I've tried to do both, some of my tracks are meant to be played live and others are meant to be listened to at home. I made most of Nostalgiarithm thinking about personal listening, my favorite electronic music albums are all like that, so I think I'm going to stick to doing EPs that are more 'dance oriented' and albums that are more 'experimental.'

DxE: When did you first realize that music (and then EDm specifically) was what you wanted to pursue as a career?

PR: I always loved electronic music - I got into the scene through wildly opposite bands in the 90s... stuff like Aphex Twin, Headhunterz, DJ Tiesto, The Prodigy, etc. Lots of progressive trance and IDM. It wasn't until later that I discovered more traditional house music, I was *that* kid that went around listening to Eiffel 65 and Basshunter back when everyone thought half of Europe was wearing neon green outfits and tripping at Scooter shows haha. I knew I wanted to produce electronic music the moment I first downloaded the FL 4.0 demo and worked on a track back in high school - something just clicked, it's hard to explain. I've written traditional sheet music, too, but there's just something about getting to make the actual sounds instead of directing a performer what to do and when that is just.. cool. I never thought that it would be a career, though, that came later. I just knew what I wanted to create as a composer/producer in the beginning.

DxE: In one sentence, how would you describe the PrototypeRaptor sound to someone who may not have heard your music before?

PR: So, a SNES goes into a bar and has too many drinks, then accidentally stumbles into a recording session with someone smashing on synths while hyped up on Red Bull and Dr. Pepper - their sounds explode out your speakers in a cascade of sugary, late 90s sunshine that leaves you warm, tingly, and a little bit confused. Yeah.

DxE: What programs do you use when producing/DJing? Any particular synths you've grown to love?

PR: I use FL studio for all my productions and Ableton Live for shows and time stretching.
I have grown quite attached to Native Instrument's Massive, but I think my favorite synth will always be Minimonsta... I have a soft-spot for vintage sounds.

DxE: A question from one of our followers -- do you like your beats fast and your bass down low?

PR: I like my beats like I like my bass... well articulated.

DxE: What's next now that the EP is being unleashed into the world?

PR: More music! I'm already preparing my next release, along with several more collaborations and a top secret side project. You can sleep when you're dead, is what they tell me.

DxE: Are we seeing you in and/or LA anytime soon?

PR: I don't have anything planned out there at the moment, but hopefully this summer will see me getting back to the west coast to do a mini-tour of some of my favorite places!

DxE: And the ever famous final question - does PrototypeRaptor have a favorite ice cream flavor?

PR: I'm not too keen on sweets, but I do love me some peppermint ice cream. Put a little mint chocolate chip fudge on that thing and have a hot cup of coffee on the side... mmm. the best.
And finally I just wanted to give a huge thanks again to DXE crew for the interview

Be sure to peep the madness that is "Nostalgiarithm"  (all 12 tracks can be heard in the first player, but just in case you can also just click HERE), including a free download of the first track "Timeless" below. If you like what you hear, support this awesome up and comer and swoop up the entire album - you won't be disappointed.

To keep up with everything PrototypeRaptor related, be sure to stay tuned via Facebook | Twitter | Soundcloud (quite the array of remixes and bootlegs up there for your ears as well)!

Mark Farina w/ DJ Nutritious @ Playhouse Hollywood 02-04-13

Mark Farina


Mark Farina

As we walked into Playhouse nightclub, we had no idea what to expect; we’d been to playhouse plenty of times before, but only for electro, dubstep, and big-room house nights. Old School house legend Mark Farina would be spinning, supported by DJ Nutritious. Famous for perfecting his "Mushroom Jazz" sound, we had no doubt that Farina would drop an amazing set. This was our first time seeing a deep house show at Playhouse, and it was uncertain how the crowd would react to the deep, soulful sound that has previously been shunned by many upscale nightclubs. What we saw was mind-blowing; every single person in the venue was dancing, and there was an ineffable, uplifting positive energy.

The event drew a different crowd than we expected; it was very clear that everyone in the room had come because they love the deep house sound, and not just because they wanted to “go clubbing” (not that there’s anything wrong with that). Normally Playhouse features very extravagent stage and crowd lighting effects, but for this night they decided to keep it on the simple side, mirroring the vibe of the early chicago house club culture; it turned out to be ereally cool because it forced the crowd to pay  attention to only the music and really get grooving.

Neither DJ used a laptop, something that’s becoming increasingly rare these days. And it was very easy to tell that both artists really knew what they were doing. DJ Nutritious got everybody on the dance floor, and nobody could have played a better show to lead into Farina’s sound. He started by laying down the groove with some funk and disco house tunes, setting the perfect foundation for Farina to take the stage. He turned out to be a really cool guy, and was happy to give us an interview right after his set.

As soon as we finished the interview, we rushed back inside to see Mark Farina literally killing it. Playhouse’s amazing sound system handled his style perfectly, and the whole building was rumbling from the bass. He was dropping mainly deep house and tech house, and then every once in a while he’d throw the audience a curveball with a totally unexpected track, like some old school funk and even a track very reminiscent of Sinatra’s sound (it could very well have been a more unknown track from the big band legend himself). Normally the traditional Hollywood crowd isn’t really receptive to older music from previous generations, but Farina was able to command the attention of every single concert-goer, and incorporated these tracks in a way that worked perfectly in the context of his set, and the crowd went wild every time.

After his two-hour set, we were lucky enough to catch Farina for an interview, during which he really got a chance to elaborate on his feelings of the history and future of dance music, as well as talk about his personal musical roots; you can read the full interview and hear some of his music below:


DxE - We’re here at Playhosue with Mark Farina

MF - Yo yo yo

DxE - First of all, great set tonight

MF - Thanks

DxE - We've been huge fans of yours for a while now, and we just wanted to know, what got you into the house scene? Was it growing up in chicago during that time?

MF - Yeah, that definitely helped. Growing up in chicago in the 80’s and before that, but it was like the house breeding ground, so yeah, that helped. And it was also even pre-house, it was kind of like, I grew up in a good industrial scene. It was like waxtrax records, Ministry, Front 242... I grew up going to Waxtrax the record store, let alone being into the label was a big influence getting into all that stuff like pre-house, and then from the industrial side. I mean, the club I went to growing up pre-house was called Medusas, which is kind of infamous in the Chicago new wave industrial realm; it was a great club in the mid-80s.And then from there, you know, I got into house,acid trax, detroit techno

DxE - Awesome

MF - And chicago at that time was like mixes all the time. there was a lunch mix, the lunch mix at 6, and of course, weekends there was mixes 8 pm to 1 am like every hour, on the hour

DxE - Great, and it’s pretty clear you have a lot of jazz influence going on in your music. Where would you say you draw the most influence from, in terms of jazz music, or just generally stuff that’s not house music?

MF - Well the jazz stuff, i mean, i was a trumpet player way before, prior to insdustrial and house, I played trumpet in grammar school, high school... I played in the marching band, and the jazz band, and whenever that rally band was.

DxE - So you have a solid musician’s background?

MF - Yeah so i was into it from that and you knwo, of course as the music progressed later to infuse both of those with house, and i was into jazzy house earluy, it wasnt as big of a subgenre early on, but its developed since. and then you know the whole mushroom jazz thing came out of those sort of roots mixed with east coast hip hop and acid jazz from england and like around 88 89, so...

DxE - In the best way you can describe it, what was the Warehouse like the late 70’s, early 80’s

MF - The warehouse? i was actually too young to go to that

*Everybody laughs*

MF - I was a suburban kid, and that wasn’t really accessible to me no offense to anyone of course. so i went to and played at the warehouse II, it was like joe smothe was the owner from dj international, and it was across the street from dj international records, but, um, i went to the warehouse and the power plant once, i went to hear ron hardy once ortwice, and it was like lower whacker drive but i was still a little like, i was from more of an industrial, new wave background and not as much of a disco background, so it was before my time and i was a bit young in that 86 87 era, i was still 16, 17. so i didnt quite have the knowledge and know how but of course course i knew about it.

DxE - And another thing, how do you feel about the whole modern edm/house thing going on now, what are your thoughts on that?

MF - I don’t mind it, im just hoping that... i just like non-electronic people getting into electronica, so im hoping that will bridge them into other stuff. whether they come in from dubstep or electro, or whatever, as they get older they evolve, and if they wanna drink and meet girls, or if they are girls, they wanna dance, then i guess they’ll eventually find propper house music. as opposed to coming from a complete rock band kind of that thing. and there was that era, it was post-rave, and there was no raves, because of laws and things, and there was no dubstep, or edm thing, there was kind of a gap, and kids were just getting into rock and stuff, so im just happy theyre into electronic music, and im hoping it will lead them to other shit

DxE - Totally. (nutritious walks up to us) so have you gusy been working togethetr for a while now?

MF - Yeah we’ve ben playing for a while now. our paths crossed, luckily, for a couple years.

DxE - and how did you guys meet?

MF - Was it new york at a gig possibly?

DJN - Yeah perhaps it was either like philly shakedown, or what was it called and friends, something allong those lines

MF - Mhm. were kind of like ships passing along in the night sometimes, but weve been lucky to be on the same bill in philly, you know. we have mutual good friends in philly, which is a very good music town.

DxE - Philly is definitely a great town

DJN - The firs time together, i guess, was mighty... last year for mushroom jazz, which was a really fun gig. which were off to again

MF - Yep and then were doing mighty in san francisco. mushroom jazz

DxE - And as a long time fan of your mushroom jazz mixtapes, how do you put those together? ive always wondered, whats the process?

MF - Theyre pretty impromptu, i just throw something on and go from there

DxE - Is it mostly your originals, or...

MF - No its generally not a lot of my originals. more other people’s stuff, im not the greatest at playing my own stuff and promiting it, i tend to like playing other peoples stuff. but mushroom jazz its all about a tempo, which is generally 95-ish, BPM, and it kind of goes from there.

DxE - You guys have anything else you want to add?

MF - No i dont know, I mean, we’re outside in LA, and LA of course is a, of course, thanks to doc martin and marcus wyatt, and that, you know its a great house town. And

DxE - And theres definitely a deep house scene here thats coming up right now

MF - Yeah you know, theres an underlying funk thats always been here, and Im happy to keep hearing that.

DxE - What are your hopes for the scene, not only in LA, but in the whole country, for the future? Just for America and our dance music scene? Because we had the whole backlash in the 70s

MF - Like i mentioned about electronica, theres all these young kids that are gtting into dubstep and other genres, and at some point theyll probably turn to house and nu-disco, or proper funky stuff as they get older and develop, and it’ll just kep getting stronger.





DxE - Alright so this is micah and mike from death by electro. were here with DJ Nutritious.

DJN - What’s happenin’ death by electro fam.

DxE - Yeah, so we just saw you kill it opening up for mark farina. got a lot of deep house, soul and jazz influences, just wondering, who are your main non-house influences?

DJN - Jazz

DxE - Any one artist in particular? Some Benny Goodman maybe?

DJN - Sure, why not. (LAughs) Yeah man all the greats of course, all the legends. There’s some new school cats that have been really inspiring me that i think are worth a mention, because, you know, everyone knows the classics.

DxE - Were you a fan of austin peralta?

DJN - Yes, yes, of course. Rest in peace. There’s a dude by the name of Ari Hoenig, out of New York, out of Brooklyn, he’s one of the illest drummers on the face of the planet. And he plays in this trio and I’m gonna blow up their spot big.

DxE - Do it.

DJN - They’re playing these small shows in New York for like 20-30 peopls on monday nights, once every couple months are so. 3 dudes, its a trio; it’s Ari Hoenig on Drums, Jean Michel Pilc on keys, and Francois Moutin on Bass. And the 3 of them shred music like i’ve never seen a trio do it. Like, they just, they think of time in ways that not many people do.

DxE - What made you want to start DJ’ing house music in the first place?

DJN - Well I was in live bands and stuff.

DxE - What instrument did you play?

DJN - Drums

DxE - So you were a jazz drummer growing up?

DJN - Well, mostly, actually likepunk rock and, uh, It’s just what you do when youre young

DxE - Yeah I was in some punk bands too. Gotta let out all that youthful angst somehow, right?

DJN - But then I did get into some jazzier and funkier shit, and then, like, ultimately, there was this point where this band i was in had to split up, and my older brother at the time had just bought a yamaha qy sequencer, and i had never laid hands on one before. i was trying to make mixtapes out of all kinds of weird gear. I’d come home from the clubs and... i didnt have tables, not a computer, it was like a 4 track seperator and i was just fucking around with this stuff. Is it alright to curse, on, uh, death by audio... I mean death by electro blog?

DxE - Fuck yeah.

DJN - So im just fucking around with shit, uh, ultimately i started messing with sequencers and it just started moving from there. then i bought decks and it was over.

DxE - So what is your DAW of choice these days?

DJN - Right now, I’ve progressed to working entirely in Ableton.

DxE - Yes! There we go, that’s what’s up. We both use Ableton in our productions, it’s the shit. Tell the world that Ableton is the best.

DJN - (laughs) Ableton is the greatest. Very powerful

DxE - Maybe we can collect some royalties on that (laughs)

DxE - So what were your main influences once you got into electronic dance music? Like some of the artists that got you hooked?

DJN - Actually one of the groups i was the most into was the prodigy. When I was younger those guys were just putting it together. They jsut went at it and that was probably one of the bigger groups, and then of course you know the classics.

DxE - Kraftwerk and MSTRKRFT?

DJN - Definitely. And even prince, used to mess with Joe Mitchell, Funkadellic.

DxE - So where do you think house music is going these days? Do you see it returning to the Chicago days, or modern movements, what are your thoughts on all that?

DJN - I think it’s all happening now. But i think we’ve finally hit a point where electronic music ingeneral, like house especially, is accepted. Like I remember a point in time where you could roll up to a club and play house music, and people were like what is this... you were the bastard child of the music scene if you played house music. And now, it’s like, everybody listens to house music. And thats really cool to see, especially in the states. It’s been big everywhere else forever, but to see the states come alive, its beautiful.

DxE - Have you been a part of the la music scene for a while? or are you based out of another city?

DJN - I live in Brooklyn.

DxE - You on tour, or just visiting LA?

DJN - Yeah I’m doing a bunch of solo stops, and also supporting Mark in a few cities. Im excited for the next stop with mark, we’re doing a mushroom jazz show in san francisco. We did a mushroom jazz show together at mighty in San Francisco, and it was off the hook. And im just really honored to be invited back to do it again.

DxE - I’ll bet. I mean Mark is a G, obviously. No need to state the obvious.

DxE - One last question... What’s your favorite sports team?

DJN - Favorite team? Interesting. You know, ah man, that’s a difficult question to pick one favorite team.

DxE - Yeah, man, it always throws djs off guard.

DJN - Wow, my favorite... like above all else favorite?

DxE - just who you would go for in the super bowl or nba finals, just any situation.

DJN - I mean i root for all New York teams, thats the thing.

DxE - Be honest, just tell us who it is. Jets, Giants? Mets? Yankees? Take your pick.

DJN - Honestly I’m over the Jets, I can’t handle it. And the Yankees are just too mainstream for me. But the mets are also a pain in the butt too so its like forget baseball. Brooklyn nets man.

DxE - Great choice. Rangers as well I assume?

DJN - Of course the rangers. And it’s crazy, the islanders are moving to Brooklyn now.

DxE - Really? That’s crazy! Do you have anything you want to add?

DJN - Nah I think we’re good. Thanks guys.



DxE Exclusive Interview with Morten Breum

Morten Breum has arrived. Spinning since 14, this Danish mastermind has spent the last 15 years tearing through Europe, eventually finding himself on the bill for Sensation White, one of electro's biggest and most-loved parties. Since relocating to the United States a mere eighteen months ago, he has taken the country by storm, leaving our biggest clubs in ruins and our wildest fans begging for more of his funky, high-energy, big-room sound. I was lucky enough to enjoy a few drinks in the company of the superstar before his performance last Saturday at Los Angeles' debut nightclub, Sound.

DxE: First thank you for sitting down with us, we are very excited. How does it feel to be back in LA?

Morten Breum: Awesome, I love it here. It's amazing to be back. It was freezing in Europe.

DxE: I can't help but notice but you have a ton of tattoos. I'm sure you get asked a lot, but do you have a favorite?

MB: I have this Buddha on my arm that I like a lot. I have a couple cool quotes too.

DxE: You have Shakespeare somewhere in there right?

MB: Yes, I have "If music be the food of love, play on." But I don't really have a favorite one, it's more like a full work of art. I love them all.

DxE: So you've been playing music since you were 14 years old.

MB: Yeah, well I started deejaying when I was 14, yes.

DxE: So what kind of inspired you? Was there a song or record that was like, "This makes me want to make music"?

MB: I didn't actually start making music at 14, I started deejaying. I picked up producing like 6 or 7 years ago. But I started deejaying when I was 14. I was at this youth club, a place where we could go after school so we wouldn't get into trouble. And then they had this deejay course, for some reason, and back then we played hardcore hip hop. So I started playing on the turn tables, and it was a lot of fun, and quite fast I picked it up. I've been playing ever since. A lot of years from now. Ha!

DxE: You also toured, pretty early on in your career, with [Danish pop superstars] Nik & Jay.

MB: You know Nik & Jay?

DxE: Yeah! I was wondering how you felt that influenced your career? Because you were so young and they were huge!

MB: Yeah well the thing is, I did a track with a guy called Rune RK, a prodcer from Denmark, and it became this like anthem of the year (2008's "Højere vildere"). We won tons of awards for it and it became this huge charted track. And then all the sudden, Nik & Jay did a remix of it, put their vocals on it, and at that time like you said they were huge, huge multi-platinum artists. So it became a huge hit and they asked me if I wanted to tour with them! So I started touring with them. In the middle of their shows I'd pop up and play house music for like, ten minutes. And that was kind of new at the time, to mix house music with like, well they were more like pop/r&b artists. So that was new and people went nuts. And yeah, I was very inspired by them, because they were as you say superstars, and at that point I wasn't very used to big stages like that, you know? They were in front of fifty, sixty thousand people sometimes. So that was, in Denmark you say... learning money?

DxE: Good experience?

MB: Yes, good experience. Good lessons. And they're good friends of mine, even still.

DxE: So you were also voted Denmark's top dj for three years in a row...

MB: Yeah, I can't really remember, I was like in one category, another category; I think I've been nominated seven or eight years or something.

DxE: That's amazing! So your last award was in 2010. Since then, you've relocated to Los Angeles and you've kind of been all over the US ever since. How would you say the scene here in the United States differs from the European scene that you kind of grew up in?

MB: Well, I see... well in general, I play a lot bigger clubs, like super clubs, here in the US. There's a lot of bottle service, a lot of... a whole other industry. It's a much bigger industry here. Compared to where I'm from in Europe, it's more underground, more clubbing; not that it's not underground or clubby here, but the way I play here is more big room and bigger venues. The scene here in general I think is very commercial compared to Northern European scene. But also much more fun. I love the crowd here! They are very energetic, and they are very acceptable of new music. They really appreciate a good label, a good song. I love that.

DxE: We do love to party. Ha! So you are also the first and only deejay in Scandinavia to receive full sponsorships from Pepsi and Red Bull. So how would you say that marketability has helped you achieve your goals as an artist?

MB: You've really been studying, ha. I like that.

DxE: I'm kind of a fan.

MB: Well that's cool, thank you. Yes, I did a relationship with Red Bull. It was a relationship where I supported them and they supported me, and I think Red Bull has a really good way of supporting things that are... how do I say this? I don't mean up and coming, just a good way of supporting something that’s a little awkward.

DxE: Outside the box?

MB: Yes. Outside the box. And the techno scene is a little outside the box. And they went in and supported it, supported me deejaying. And Pepsi, I was on I don't even know how many bottles of Pepsi Max, and that was actually with Nik & Jay. Of course that was really good profiling, advertising for me, because everywhere I went I saw big Pepsi trucks with my face on them!

DxE: I can imagine that was quite a trip.

MB: Yeah, that was really cool. I mean, I wish it could be here! But it branded me a lot. Through their network, I could get my own music out, and touch a really big crowd of people, which was really cool. So yeah, really good relationships with both companies.

DxE: Cool! So what was the first event that you went to as a fan?

MB: Um, that was in a beach at Creta, where I heard little Little Ribeca, in the sand, in the ocean, he was the deejay booth in the ocean. And there were like ten thousand people there. I didn't know who he was, but I became a fan instantly. I'd never heard house music like that before. It was amazing. And yeah, that was like ten, twelve years ago. And that was very vocal, very deep house. The whole atmosphere around it was really cool.

DxE: So I'm sure as you've heard, electro festivals have come under a lot of scrutiny in the last couple years. As a headliner for some really massive events, like Sensation, how does it make you feel when people come down on these events and say they're all about drugs?

MB: Well, to me, it's all about music and culture. What people do when they're out having fun, it's up to them. I mean, it's not my responsibility what the crowd does. I don't do hard drugs, and I'm not a fan of it, but whatever people do is up to them. I just hope that people are safe and look after each other so they can all have fun.

DxE: Totally. So many say that you have sort of trademarked this deep, Dutch house sound that many other Dutch producers, like R3hab, have subsequently built their careers on. But then more recently you've been playing more trap and dubstep in your sets. Do you think this has been influenced by your move to the US?

MB: One hundred percent. I mean, right now, I'm kind of all over the place. I can't really define where I am. People who have been listening to my music for many years always tell me they know exactly what I'm doing something, whatever kind of music I do, they'll always know it's me. But I don't want to be locked down into a box. Last year we did a remake of "Deep Purple," which is a very old school, classic song. And this year we did a remake of "Diamonds" by Rihanna. Two very different things. I don't know, I just want to make good music. I'm very influenced by wherever I am in the world, and right now I’m in LA, and I see beautiful things every day, and meet very inspiring people. I'm very inspired being here.

DxE: LA is certainly diverse. So where you're playing tonight, Sound, is literally brand new. And you know, dance music is so big here, and there is always a new spot in LA trying to become "the place to be." So how does it make you feel as an artist to know that this venue sought you out to help establish itself as somewhere you want to go to see good music in LA?

MB: Well. Of course, playing a new club is always good, as you said. I think they're really looking to have Saturdays known as big parties with really good music, real quality deejaying, and I think that's what I do, and I'm excited to party with these people!

DxE: It's gonna be really fun! I'm so excited!

MB: Yeah, there's a really good buzz about it.

DxE: It's also hosted in collaboration with Gotta Dance Dirty and they have a huge following of people that are just super passionate about all different kinds of music.

MB: Tonight? That's so cool. I can't wait for that.

DxE: So how do you unwind after a show? What's the one thing you always do?

MB: Well, I always really want to get something to eat. Haha. It's a lot of energy, you know, so I get really hungry. And then an ice cold draft beer.

DxE: What's your favorite beer?

MB: I like the Danish beer Carlsberg. But over here they have very good... well, I’m very into working out since I live in LA, and they have a lot of good low calorie beers. Haha. But there's one here that I never tasted in Europe, but I drink it a lot here, called Blue Moon. I love that one!

DxE: Blue Moon is good, but Shocktop is my favorite. Or Fat Tire. When I lived in Europe growing up, I drank a lot of Hoegaarden.

MB: Ah yeah Hoegaarden is good, it has that sweet kind of honey taste. Good.

DxE: Okay, so in the last fifteen years, you've come a really long way. What do you see yourself in the next fifteen years? What do you hope to accomplish?

MB: I really want to continue on this path right now. It's very exciting. I'm working with really talented people. I just want to make good music and make people happy. It feels like it just gets more and more fun every year and I can't wait to see the whole US! I've just started.

DxE: What's the craziest thing you've seen at one of your shows since you've been here?

MB: Wow um... okay so I played in Vegas. This guy, this crazy fan, he kept throwing hundred dollar bills at me! After half an hour I was like, dude you have to stop, it's too much! I had like five thousand dollars on stage. It was quite intense.

DxE: Where was I? That sounds amazing!

MB: I tipped a lot of people. Haha.

DxE: So you've done some really cool remixes, like Rihanna, and worked with some pretty big artists, like Booka Shade. Is there anyone that you really want to work with?

MB: I really want to work with Axwell. I’m a huge fan of him. I mean, I've played alongside him, and I really love that, but I'd love to make a production with him. I think Axwell is amazing. He is one of my favorite artists in general. And Metallica would be fun, Public Enemy, Pink Floyd. There's a lot.

DxE: So why did you wait so long to move to LA? And why LA, of all places?

MB: Well I'd been in LA, before I moved here, one or two months every year in the spring just to get some inspiration. And I loved the vibe here, I loved the people here, and I loved the weather. It came naturally to me to be here. It just felt like we had accomplished everything we wanted to in Denmark. I couldn't really get higher. After I said no to X-Factor, it was time to move on, to do something else. LA was just obvious for me.

DxE: What do you mean you said no to X-Factor?

MB: They wanted me to come like be a guest deejay, that sorta thing. Just different things, all of those tv shows. After that you can't really go any higher, you know. I was playing sold out shows, as you mentioned, like Sensation White. I even played the Queen's wedding. That was kind of it. So now it's really fun to go back and play huge festivals there. I have really great fans there.

DxE: So if you could play any venue, or any festival, in the world, what would it be? If you could have your pick.

MB: I'd like to sell out Madison Square Garden. That would be really cool. EDC seems nice, I'd really like to go there.

DxE: The money they invest in EDC is out of control. It's an experience for sure.

MB: You know, I actually used to live with Pasqualle [Rotella, founder of Insomniac]. Jesse "Cy" Waits, who runs XS in Vegas, or used to, well I met him at Avicii's birthday party two years ago in Stockholm. I was playing up there. And then we met up when we got back to LA and I lived in Hollywood and he has this huge mansion up on the hill. He was like, "Do you want to stay here? I mean, there's nobody here and I have like fifteen bedrooms." So I was like sure! And one of the guys living there was Pasqualle as well.

DxE: I'll bet that was fun. So do you have any advice for young, aspiring deejays that are starting from the bottom like you did?

MB: All I can say is work hard. I mean, there are a lot of people who jump where the rope is lowest, but the only way is working hard. I mean, me playing from 10pm to 5am at a club in Denmark for fitten years, really made me know how to deejay. And that's just hard work. And be good to everyone! Karma, it always comes back.

DxE: I agree. And our final question, now that you have been in the US for a while... what's your favorite thing to eat in America?

MB: Hmmmmmm. I love a good burger, but here it is Mexican food. We don't have Mexican food back home. Pinches is my favorite place.

DxE: I'll have to check it out. Well that's all we have. Thank you again so much, this has been really great. Can't wait for tonight!

MB: Yes let's do it!

What happened next completely blew my mind.

Aptly named, Sound Nightclub boasts an impeccable sound system, perfect for Morten's banging setlist. The second we walked in, the energy increased by at least a thousand notches. Only ten minutes into the show you could feel the moisture in the air as every single person on the dance floor jumped, kicked, and screamed. Morten was all over the place in the best way possible. He perfectly blended trap, house, and funk to create a sound that guaranteed anyone who didn't already know him would be downloading all his songs as soon as they got home.

Seeing Morten perform was a very real experience; nothing felt rushed or faked, which can sometimes be hard to avoid in LA. His positive energy and passion for music poured out of him and onto the crowd, and it really felt like he was just happy to be there playing for us. It was by far one of the best nights I have ever had in LA, and I am so happy Morten plans to stay for a while.

With love and the happiest of memories, A xx

Check out the segment our homies at Electronic Spotlight did on Morten!

Like Morten Breum on Facebook & Follow Morten Breum on SoundCloud

DxE Exclusive Interview with Krewella

krewella picture for interview



Back in December 2012, our good friends over at CONTROL hosted by far one of the craziest nights I have ever been witness to, featuring trap superstars Flosstradamous and RUN DMT, as well as my personal chart toppers - the Yousaf sisters, Yasmine (Y) and Jahan (J) alongside their PIC Rain Main (RM), better known as Krewella. The trio didn't even take the stage until around 2:30 am but kept the entire crowd present and going well through 4 in the morning. Lucky me, I got to sit down with all three of them before they took the stage, they are so damn nice it is ridiculous. They are blowing up and they deserve it.

Y: "It's on like donkey kong, whooooo"

DxE: before we even start, why Rain Man?

R: so, I used to make hip hop beats back like 4 years ago and I entered in a beat battle there were three judges one was Ken Lewis, mentor friend homie

Y: he's a boss, works on Kanye records

R: this was the night i met him and I was playing and they would judge and comment on your tracks, he's like what's your name, i wass blah blah blah my name, he said nah you're not that you're Rain Man cause you'll have money Rain Maning down on you one day

DxE: i was gonna say like Dustin Hoffman?

RM: I like that

J: double meaning

DxE: maybe you're really good in Vegas, who am i to judge

RM: people tell me they think I'm kind of autistic

J: actually the name is appropriate in many ways besides the money Rain Maning down

RM: well that's not really true

DxE: you released Troll Mix vol 1 the fuck finals edition and you guys did Krewlife vol 1 and 2, i saw the second one, and I'm sorry for what happened to you (Rain Man)

J: he loved it

DxE: did he?

J: well, he doesn't remember loving it

RM: I don't remember loving it. I didn't hate it though. it's like eating a sandwich. It happens

J: so it's like eating a sandwich when you, when  she got her pussy in your face?

Y: well it's technically a sandwich

J: He's uncomfortably remembering it

DxE: so the Play Harder ep, you have four remixes of Killing It, then Come and Get It, then Alive with more remixes. How did you guys choose which remixes to put on the ep? Or was it even your decision?

RM: what we did was we gave people, we did  two things. people would say can i get an acapella, and we would listen to their music and say oh this is cool so we would send them an acapella or stems, another thing we would do was reach out to people we were interested in

Y: the homies

RM: would you be interested. and from what we got back the ones we were most inspired by we put on the ep

DxE: so I know albums take a year or so to make...

RM: I knew this was coming, we got Krewlife in the works, 3 4 5, we have Trollmix vol. 2 in the works, and most importantly to us the album. we're taking a lot of time off in Jan, Feb, March, weekdays weekends we're gonna play. we've already got stuff blocked out.  10-14 tracks and we're thinking if we're lucky late summer

J: but in between now and then we will be releasing singles and collabs

DxE: what makes you push yourself to the next level of live shows where it looks like you were in the crowd just going at it, where does that energy and drive come from, the energy to go all out then wake up the next day and do it all again?

J: that is the beauty of music, no matter how exhausted you are, or how drunk you are if there are ten people in the audience music has that power to control people's emotions control people's energies

DxE: and I know your music one way or another has that almost sexual drive to it

RM: from what I've noticed it's something that you feel, you know we're young and we got into edm from going to and djing raves,  like small underground raves. So to me it feels like an emotion and it doesn't mean that it won't change, but it's a feeling

Y: a lot of people talk about sex as a bad connotation, but it's one of the most passionate things and it's the passion for anything you love. the drive. and I literally had to say this because the last time we played here (Avalon) ten months ago this guy we know named nick after we got off our set, he said you guys are fucking crazy, well we just jumped around for an hour. but something that stuck witth me that he said was that if you aren't sweating out of breath at the end of your set you didn't put your heart in it.

J: that is how we assess our own shows. depending on how sweaty we are. the sweatiness is the rage cage.


I have shared it with you all before, but it's still so damn good why not share it again -- Krewella's "Troll Mix - Volume 1" *FUCK FINALS EDITIONS*. Volume 2 just aired live on Sirius XM's Area this past Friday, so it's only a matter of time before we see it hit the stream :)

DxE Exclusive Interview with Rukes, World’s #1 DJ Photographer



While most of us are dancing away in the crowd, DJ photographer Rukes (Drew Ressler) is right there in the action, taking the types of  pictures that make our nights unforgettable and turn the DJs we love into legends.  On his website, he's touted as the world's #1 DJ photographer, and after one look at some of his shots, you'll be hard pressed not to agree. He's traveled all over the world snapping pics of everyone from Steve Aoki to Skrillex, and the man himself was nice enough to take some  time from his crazy travels to answer a few questions for DxE.

DxE: There are tons of photographers out there that all have their different specialty. Why did you choose electronic music?

R:  At that time, I was really getting into the music, listening to artists such as Hybrid, BT, Sasha, Plump DJs, The Chemical Brothers, The Prodigy and more.  I was really big into breaks. As luck would have it, when I moved to LA, Avalon Hollywood had most of the DJs I always wanted to see play there.

DxE: Is there a story of how you got into photography? Has it always been a passion or did it strike late in the game?

R:  It just happened by accident really. I got a point and shoot for my birthday in 2003, went to some clubs in New York with it, then when I moved to LA in 2004 I decided to get a DSLR to try it out for fun.

DxE: After you got into the photography game, what was the beginning of your career like, before people knew who you were?

R:  Pretty much all the DJs started knowing who I was, so those that came to Avalon regularly started expecting me to be there to take pics of them, and would recommend me to other DJs.

DxE: I’m sure for a lot of DXE readers, your job is the ultimate career. You get to travel around the world and listen to some great music while snapping some incredibly epic moments.  Do you ever have moments on stage looking back at crowds of people, when you think, “I can’t believe I get to do this for a living?”

R:  Of course, all the time! Just the day before I wrote this, the Skrillex tour in Mexico wrapped up. Sonny travels with a separate dressing room with CDJs and monitors, so he can try out new tracks or just party for fun.  After the last gig in Guadalajara, he started to DJ along with Nadastrom, for just a small room with myself, Zedd, 12th Planet and the rest of his crew, maybe 20 people max.

DxE: What has been your favorite moment so far of your career?

R:  There isn’t a favorite moment, but lots of favorite moments, such as touring with Deadmau5, the amazing Stereosonic, going on Holy Ship for the first year, being in the studio while Zedd created his album “Clarity” and more!

DxE: Is there one venue in your mind that sticks out as your all-time favorite place to shoot shows?

R:  Probably Radio City Music Hall is up there, it was pretty amazing to be able to shoot in that legendary venue; even the shots I took of the empty venue were beautiful because of the architecture.

DxE: You spend a lot of time shooting some of the world’s top DJs and seem to have a good amount of fun, what’s it like to take pictures all night of your friends?

R:  It’s exactly that, just documenting the lives of my friends through my eyes. Pretty much all the DJs in the industry don’t really look at me as a “photographer” but more as a friend with a camera. Because of that, I can get a lot more candid photos that any other photographer wouldn’t be allowed to get.  As a bonus, that just makes it overall more relaxing, since it’s more like hanging out than work (although it does get stressful doing the work in the end, of course!)

One negative though is the business side. It is my job and I do have to make a living from this, so it’s always tough having to inject money into my friendships. I try to keep that line as fine as possible, though.

DxE:  Do you ever get time to just chill with them on the road without the camera, or are you always behind the lens?

R:  All the time, really. However I always like to carry a point-and-shoot around to take pics of the “hanging out” moments, like being a tourist or going out to eat. I feel naked without some sort of camera, so I am at least thankful for my iPhone 5 and Instagram!

DxE: Are there any rage moments you want to share where you had to put the camera away?

R:  99% of those times are due to security. The bigger the event and the more credentials, the more difficult it is for a huge mass of security to follow the rules they were given. Usually it’s something as basic as not being able to shoot in a pit, meanwhile I’m the only photographer allowed on stage; backwards logic like that. Stuff like that thankfully gets taken care of quickly.

DxE: Where is somewhere you haven’t been that you want to go?

R:  There are a few places I haven’t been yet that I would love to visit; Italy, Greece, South Africa, India and especially as many Asia-Pacific countries/islands as I can. That’s probably my favorite region to go to.

DxE: We know you take pictures of electronic music, but do you have another favorite type of music? Any guilty pleasures?

R:  Not really, I like all types of music, especially pop. Music should never be a guilty pleasure.

DxE: If you could put together a 5 song playlist, from electro beats you love to hear on the road, what would it be?

R:  It would take me forever to figure out a 5 song playlist, but it would definitely have to include Hybrid – Break My Soul, one of my favorite tracks of all time.

DxE: If you could give any advice to someone starting out that wants to do what you’re doing, what would it be?

R:  Take photos that look good to you, don’t try to conform your photos to another photographer or a look you think people will like. In the end, your job will be easier and the right people that love the work you put out will notice you.

[Brand New] Cazzette Releases Part 1 Of Debut Album “Eject” – Review + Exclusive Interview With DxE


Launching from nothing, Swedish duo CAZZETTE have made long strides since their explosion onto the EDM scene just last summer. With the help of Ash Pournouri at At Night Management (responsible for the fast and furious rise of Avicii), music masters Sebastian Furrer and Alexander Bjorklund have stolen the hearts of electro lovers worldwide with their infectious and innovative "dub-house" sound. After a whirlwind year, we at DxE were lucky enough to chat with the pair for a few moments in the midst of the release of their highly anticipated full-length album, Eject.

DxE: You have come so far so fast. In just over a year, you've pegged an official remix for Swedish House Mafia and played the biggest music festivals in the world. How did it feel to be mainstage at Tomorrowlands? Creamfields?

C: We are really happy and satisfied with what our manager Ash and the At Night Management team have done for us! It's been one amazing year and to be able to perform on the biggest festivals has been incredible. Looking back on it, it feels very surreal. Yet amazing!

DxE: With such a busy summer, where did you find the time to produce a full-length album?

C: As soon as we get off the stage, our minds start itching for some creative stimulation – and we spent all our off days during the tour producing. That, with our capability to work pretty fast, got us the ability to release this album.

DxE: There are no collaborations on Eject. After building your career on remixes, what was it like to produce a full-length album in its entirety? What was the best part?

C: We had a lot of fun creating this album! The best part with the album is that we got to create so many different kinds of tracks. We love to diversify, even though it's within the frames of house.

DxE: What was the worst part?

C: There is no such thing as the worst part of the procedure, even though some of the tracks took a while to finish, but Ash has really been a huge asset in this project and we see him as the third member of Cazzette.

DxE: How long did the process actually take? How did you pick what tracks to include in which segments?

C: It's really hard to tell actually. We had some of the tracks made before there were any plans of releasing an album, which made everything go a lot faster than to make everything from scratch. We simply picked the tracks we liked the most.

DxE: Can we expect you to stray from the typical Cazzette sound we have all grown to love?

C: Yes! The album is very diversified, so expect a lot of tracks that is not in a classical Cazzette way.

DxE: What do you say when people tell you you're the creators of the new genre “dub-house”?

C: We are so grateful – it feels great to be a part of something new!!!

DxE: What can fans expect from you in the coming months? With the new album?

C: We have a lot of other tracks in the works, but the album will be released in three different parts exclusively on Spotify. We really like the way this album has come together. So releasing part II & part III is what's next on the Cazzette schedule!

DxE: Do you have any parting words for your fans?

C: Thank you all so much for all the support! Without you we would not be able to do what we are doing and thank you again for being so patient with us!

DxE: Always gotta ask this one… does Cazzette have a favoriter ice cream flavor?

C: Homemade Italian chocolate ice is the best anyone could get!

I definitely agree :)

Eject, Part I is legitimate electro gold. The diverse segment offers listeners excellent melodies, enormous drops, and fat house basslines, with a tracklist that seems to parallel the duo's career. “On The Road” is slow and subtle, the perfect lead-in for “Beam Me Up (Kill Mode),” a dance floor banger with a unforgettably catchy chorus and permeating sound. From there, the album only builds with tracks like “Hit Da Face,” which does just that. This jam is full of energy and funk and the drop is guaranteed to have you jumping no matter where you are. “Cream” is an excitingly progressive track; the synth/piano combination just makes me feel good. It's guaranteed to become the theme song of a major festival in the coming season. Last but certainly not least, we have “The Rat,” unlike any other track on the album. With varying levels of BPM, this track is perfect for rage-ready Knife Party fans and the sexy moombah lovers so affectionate for Dillon Francis.

Eject, Part I is a true testament to the pair's talent, showing that they can offer new, eclectic sounds while still keeping their fans not only engaged but also satisfied. Whether you already use Spotify or not, there is absolutely no excuse for missing out on this action-packed powerhouse debut. Parts II and III will be released via Spotify on December 11 and January 22, respectively. Make sure to like Cazzette and At Night Management on Facebook to keep yourself educated on the latest in Swedish electro. This album is proof enough that the nation can only emit greatness.

Happy listening! A xx

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