Author: Tim Gauthier
Dim Mak Records is proud to welcome our newest artist Uberjak’d to the family! Uberjak’d is an Australian producer, who recently exploded onto the global electronic music scene with his electro-influenced Melbourne Bounce sound. This past year Uberjak’d mixed Australia’s #1 dance compilation Ministry of Sound The Annual and joined the nationwide tour, performed for 15,000 people at the Stereosonic festival, and celebrated his spot as the #1 podcast in Australia on iTunes, beating out Hardwell and Tiësto.
Uberjak’d is hoping to bring the Melbourne Bounce sound to the U.S. with the release of his upcoming EP on Dim Mak Records. Uberjak’d isn’t a stranger to Dim Mak, featuring on the Autoerotique Asphyxiation (Remixes) EP.
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1. Hi Uberjak’d, welcome to Dim Mak! We’re excited to have you as part of our family. Can you tell us a bit about why you joined Dim Mak?
Thanks! Pleasure to be part of the family. I have always been a big fan of the label. I see Dim Mak as a label that isn’t afraid to push sounds that are new, fresh, or different from the normal.
2. Describe your sound. Any artists and/or genres of music that have been particularly influential in your productions?
Melbourne Bounce obviously! I have been hooked on that sound ever since I discovered it while skipping class at uni to listen to music and as well as living in Adelaide. I wasn’t lucky enough to go check out this music in the clubs, so I had to compromise and downloaded the tunes off the Melbourne Bounce forums. At the time I’d heard nothing like this sound. This was the early days of the sound, so like Orkestrated, Kalus, Dean Del were all guys producing this underground, really techno-influenced electro. That was about five or six years ago, way before I even considered DJing myself. So fast forward a couple years and I had established myself as a DJ in my hometown Adelaide. I’d also been playing a few gigs in Melbourne and really wanted to put my own harder electro/rave influence on the Melbourne Sound, and I guess you will hear a lot of that sound on my new EP.
3. You’ll soon be releasing an EP on Dim Mak followed by a spring U.S. tour. What can you tell us about the EP? How do you hope to impact the dance music scene in the U.S. through this new partnership with Dim Mak?
I’m stoked for this EP. It’s really an Uberjak’d & Friends EP with collaborations with Chardy, Krunk!, and Sarah Bodle supplying some amazing vocals for another. The first track with Sarah Bodle is a bit big room meets techno meets Melbourne. I was inspired in elements by the old anthem and one of my favorite tunes of all time “Stranger To Stability” (Len Faki Podium Mix). Sarah did a great job on the vocals and this is my second track with her, so we have worked together and she has also performed live at some of my shows. The track with Chardy, “All Aboard,” was something we wrote about eight months ago, but have kept it tight and I’m so stoked it’s coming out on this EP. That one is a bit hardstyle, a bit Melbourne. Not sure what it is, but I think that’s why I like it! The track with Krunk!, my boy back in Adelaide, is definitely hardstyle, but we really rip it back in the break and get melodic and chilled, so it’s a bit of a contrast. The final tune, “Static,” is a solo track and is rave vs. Melbourne. I like the riff in it, sort of reminds me of bag pipes. Maybe it’s some of my Scottish blood coming through in that track.
4. There seems to be a surge of Australian producers taking over electronic music (Flume, Anna Lunoe, Will Sparks, the Stafford Brothers to name a few). What do you think is the reason for this? Do you feel that where you’re from has had an influence on your music in any way?
I think that Australia has always been a place that embraces and pushes forward-thinking sounds, which gives artists the freedom to do something different. I think where you live, more importantly the shows you perform as a DJ, has a huge effect on your sound. As a DJ, I want to make music that the fans at my shows enjoy, and different places always have a different vibe. Thanks to social media and SoundCloud, being so accessible these days and getting your sound out to people has never been easier.
5. You’ve been at the forefront of the growing Melbourne bounce scene in Australia alongside artists like Will Sparks. Do you think the Melbourne Bounce sound will catch on in the U.S.?
Hahaha! I hope so! I guess if I love this music so much, if Australia loves it this much, then why can’t America or the world? Will Sparks has just returned from his tour and it looks like the reception for him and the sound was really good, so hopefully that’s a sign for good things. I think the great thing about EDM, as it’s known in the U.S., is that it’s about innovation and looking for something fresh. I guess electronic dance music has always been about that, so I hope that people are up for this sound. A funny thing is that when I first started to play Melbourne Bounce outside of Melbourne, there was a track I played at my gigs. I won’t name the artist or the track, but it’s now a bit of an anthem over here. I used to play the track at my gigs and literally people would walk off the dance floor. They didn’t understand it and it was something so different to what they have heard or were used to. About 6-8 months later, people are requesting it on their phones during gigs and they know all the lyrics to it and can’t get enough of the track. So what I’m saying basically is you might not love Melbourne Bounce the first time you hear it…but you will eventually.
6. You recently did a remix for Autoerotique’s “Asphyxiation,” which was released on Dim Mak Records this past July. Can you tell us more about that remix? What can you tell us about your remix process?
Yeah, I actually had a lot of fun remixing that one! I guess when approaching a remix, you don’t want to change the essence of what makes that track great. For me, it was those chords and the vocal, so I knew I had to keep them. And then it’s just a matter of adding your flavor to it because that’s why someone would want you to do a remix. Some advice to producers and DJs: If a label asks you to remix in a certain style to fit their remix pack, don’t do it. A remix is about adding your style, find what makes your sound unique and use the shit out of it!
7. Dream collaborations? Any Dim Mak artists you’d like to collaborate with in the future? A certain Steve perhaps?
Ohh yeah! Of course I would love to collab with the big man! I have a collab with Deorro as well, which started when we were both in Amsterdam for ADE last year, as well as a collab I started with Autoerotique. So maybe keep an ear out for them in 2014.
8. You recently posted on Facebook, “I think 2014 will be the year of deep house and hard style…” Why do you say this and what’s your take on the future of EDM?
I always say this, but what I mean is not that all DJs will start playing this style, but it will influence what is popular. I think we have already seen the big hardstyle kick thing go crazy, and I think the groove-driven vibe of deep house will somehow start being heard more in different genres. Innovation is what makes music so interesting. A few people have asked me, “Why no Melbourne Bounce??? ” Of course I hope it has a big year for all my boys in Australia. There is so much talent here with guys like J-Trick, Joel Fletcher, Reece Low, Chardy, and SCNDL. I think it’s time we all came over to the US to show you how we do it!
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Grammy-nominated international producer/DJ Steve Aoki joins forces with Grammy-Award-winning, multi-platinum alternative rock band Linkin Park to release the A LIGHT THAT NEVER COMES (Remixes) EP. Aoki and Linkin Park enlist a diverse pool of producers to remix their massive hit collaboration “A Light That Never Comes.” Featuring renditions from Rick Rubin, Vicetone, Angger Dimas, Coone, and others, the A LIGHT THAT NEVER COMES (Remixes) EP takes the original and flips it into the worlds of electro, house, hardstyle and beyond.
“Drowning” with Substance One is a featured track on Coone’s recently released full-length album “Global Dedication.” The track demonstrates the more melodious spectrum of “Global Dedication,” spotlighting harmonious vocals. A mixture of plush chord progressions and intricately sewn melodies shows off the diversity possible in modern hardstyle. Most impressive of all is how the serene vocals truly capture the emotional context in “Drowning.”
[highlight style=”bordered”][highlighttext title=”GLOBAL DEDICATION” titlesize=”h3″ subtitle=””][/highlighttext][highlightbutton][button color=default-button3 url=”https://itun.es/i6Fr68f” size=”small-button” target=”_blank”]ITUNES[/button] [button color=default-button3 url=”http://btprt.dj/INpHyW” size=”small-button” target=”_blank”]BEATPORT[/button] [button color=default-button3 url=”http://youtu.be/UBJ-_7kYKpk” size=”small-button” target=”_blank”]YOUTUBE[/button] [button color=default-button3 url=”http://open.spotify.com/album/3DsjbVqCOh2YwGJJsnU37X” size=”small-button” target=”_blank”]SPOTIFY[/button][/highlightbutton][/highlight]
After much consideration of a whopping assortment of multi genres submissions, the winner of the Dancing Astronaut, Dim Mak & WAVO “Bring You To Life (Transcend)” remix competition has been awarded to REGOTON!
Regoton has utilized smart production, an irresistible Melbourne-Bounce lead and great variation that edged out the other contenders. However the competition was so fierce, we felt two other remixes were very close so we have awarded them our Staff Choice winners: Hallvard Vaaland Remix and Inscape Remix, both bringing two unique takes. Hallvard Vaaland creates high energy anthemic vibes that will impress progressive house fans and on the flip side, Inscape takes a direction opposite to many of the other submissions by demonstrating how chill & downtempo influences can be implemented in reworking a track into a wholly different vibe.
Congratulations & thanks for your entries!
[highlight style=”bordered”][highlighttext title=”FOLLOW REGOTON” titlesize=”h3″ subtitle=””][/highlighttext][highlightbutton][button color=default-button3 url=”https://www.facebook.com/regotonofficial1″ size=”big-button” target=”_self”]FACEBOOK[/button] [button color=default-button3 url=”https://twitter.com/regoton” size=”big-button” target=”_self”]TWITTER[/button] [button color=default-button3 url=”https://soundcloud.com/regoton” size=”big-button” target=”_self”]SOUNDCLOUD[/button][/highlightbutton][/highlight]
Over the past decade, Belgian DJ extraordinaire Coone (aka Koen Bauweraerts) has been building a name for himself in dance music circles as a global ambassador for hardstyle, the bass-heavy, high-BPM genre that’s managed to wallop its way over the Atlantic from Europe. And stateside clubbers have indeed taken notice, with LA-based arbiter of taste Steve Aoki signing Coone to his own Dim Mak label. Hardstyle, it seems, is set for worldwide take-off. Now here’s your chance to make your mark in 2014 by remixing Coone’s hard-storming anthem “150 BPM” from his latest album, Global Dedication. Enter this Play contest before February 3 for your chance to win a Novation Launchkey 49, a Novation Launchpad S, and an official release on Dim Mak Records.
[highlight style=”bordered”][highlighttext title=”150 BPM REMIX CONTEST” titlesize=”h3″ subtitle=””][/highlighttext][highlightbutton][button color=default-button3 url=”http://play.beatport.com/contests/coone-jim-ferren-150-bpm” size=”big-button” target=”_self”]MORE INFO[/button] [button color=default-button3 url=”http://play.beatport.com/contests/coone-jim-ferren-150-bpm/rules” size=”big-button” target=”_self”]RULES[/button] [button color=default-button3 url=”http://play.beatport.com/contests/coone-jim-ferren-150-bpm/#prizes” size=”big-button” target=”_self”]PRIZES[/button][/highlightbutton][/highlight]
When he isn’t spending his time running the trap as RL Grime, Henry Steinway is annihilating dancefloors
[highlight style=”bordered”][highlighttext title=”PURCHASE / DOWNLOAD/ STREAM” titlesize=”h3″ subtitle=””][/highlighttext][highlightbutton][button color=default-button3 url=”https://itunes.apple.com/us/album/nasty-single/id776658736″ size=”small-button” target=”_blank”]ITUNES[/button] [button color=default-button3 url=”http://www.beatport.com/release/nasty/1217413″ size=”small-button” target=”_blank”]BEATPORT[/button] [button color=default-button3 url=”http://www.amazon.com/Nasty-Autoerotique/dp/B00HGPAMZU/” size=”small-button” target=”_blank”]AMAZON[/button] [button color=default-button3 url=”http://youtu.be/zefpdIWtQvA” size=”small-button” target=”_blank”]YOUTUBE[/button] [button color=default-button3 url=”http://open.spotify.com/album/3SumGxCTTaqjNPH5zlnf9k” size=”small-button” target=”_blank”]SPOTIFY[/button][/highlightbutton][/highlight]
Autoerotique continues to be a powerhouse for production, performance, and panache. Though his most recent release, “LZR BASS”, may qualify as an eighth step back in intensity from this year’s favorite, “Asphyxiation”, it can still only be described as an unrelenting electro house track. Full alarms blaring, no bass retreating, that’s Autoerotique’s style.
Safe to say that “Nasty” furthers his signature style and jocular attitude. The track plays host to a dominating vocal chorus, “I Like It Nasty”, which sounds rather like Siri (if we are picking from well-kown female robotic voices).
Australian duo Yolanda Be Cool return with All That She Wants feat. vocalists SYF and Fritz Helder formerly of Azari & III – their first piece of work since the Canadian outfit recently disbanded.
This collaboration between four of the brightest minds in electronic music today resurrects the Ace Of Base ‘90s pop classic in a cool, brooding, chugging fashion. The two-part remix EP releasing on Dim Mak Records February 4 and February 18 respectively, includes the original version from Yolanda Be Cool and features remixes from a cast of rising producers including Human Life, Walker & Royce, Plastic Plates, Wordlife, and Go Freek.
Battle of the Beats is a feature from Dancing Astronaut that pits two remixes against one another to determine which production made better use of the original. With remix packages growing in length and increasing in frequency, the number of reworked tracks has skyrocketed. After wading through the archives, we are opening it up to our readers to weigh in on whose rendition takes the proverbial cake.
Kaskade & Project 46 – Last Chance (Dirtyphonics remix)
France’s Dirtyphonics make good on their name with their remix of Kaskade and Project 46′s uplifting Atmosphere collab. Ratcheting the tune from 128 to 140 bpm, the quartet beef up the bassline while modifying the melody into something a tad more face-melting. Supporting the vocals but snipping away a few refrains, the remix instead highlights a rebuilt dub framework complete with deep dips and a heavy dose of reverb. Only the second Ultra outing for the Dim Mak regulars, the Dirtyphonics remix of “Last Chance” demonstrates their versatility.
Kaskade & Project 46 – Last Chance (Clockwork remix)
Debuted at EDC Las Vegas, Clockwork‘s remix of the collab wastes no time getting to the punchline. An electro take on the euphoric tune, the track utilizes the pounding tribal-esque percussion popularized at festival grounds around the world this summer. Structured as a back and forth between vocal and vertigo-inducing builds, the tune also engages in a bit of piano chord play that allows the original’s plucky bridge to peek through. Spanning several genres while consistently hitting the crowd-appeal note, Clockwork’s rework has celebrated its success with a spot on the Beatport Top 100.
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Now that we’ve just about finished getting excited about the new divergences, tangents and confluences that resulted in the new styles and genres of 2013, it’s time to start coining some new ones. Future soul might not mean much to us now, but it sounds pretty exciting. And who better to give us a personal introduction than Grammy nominee Kenna.
“Pink Matter” – Frank Ocean
I think this song was overshadowed by the many other records that Frank has put out. I think it resonated with me because it reminded me lyrically of the things in my head that I may or may not ever want people to find out. Some insane things go through it. Outside of that, like I told Frank, he could sing the phone book and we would listen.
“I’m Into You” – Chet Faker
This dude has great tone. Not sure if this is “future soul” but it is soulful to me. I think we have a divergence in sound vs. genre. This is the type of record that bends the rules and this is the type of artist that leaves you wondering where his soul will lead us.
“Treat Me Like Fire” – Lion Babe
Her name is Lion Babe. What man isn’t going to want to know what that sounds like. After you hear her though, you can feel her influences in the delivery of her melody, but the song is original. The video is raw and rad. Her name is Lion Babe, for the love of God.
“Cold Nites” – How to Dress Well
A friend put me on to this. I think it just has a great deal of raw energy in it. The lyrics are bent towards the ethereal and allows you to morph it into your own life. The strength in it is its illusive quality – it’s just mesmerizing.
“Love Is Still Alive” – Kenna
I’m biased on this one. Its one of my favorite songs because it is delimited. This song speaks of the dimensions in between communication and life. It challenges the sacred geometry of coming back from a death in love to find a resurrection.
“Only When I Walk Away” – Justin Timberlake
This song is an evolution in Justin’s melodic journey. He challenged himself to meld worlds and bring angst to a beat with the R&B overtones. I don’t think production of this can get any better. The show version kills.
Appetite suitably piqued? Check out Kenna’s new video for “Relations”, featuring Childish Gambino,here.
(via The Line Of Best Fit)