Author: Tim Gauthier
Tomorrow evening, January 14th, we are pleased to once again have our good friends at the legendary Ed Banger Records in the house for Feadz’s album release party where he’ll be promoting his latest LP Instant Alpha. Joining Feadz on the decks will be Sydney-based tech house producer Light Year, up and coming production duo Phantoms whose self-titled EP is out now on OWSLA’s Nest, LA-based producer Mike B, and our trusty resident Bones! This isn’t the first time Feadz has brought the beats to our beloved #DimMakTuesdays – last March, he tore up the decks with Oliver Twizt and gave LA a rare taste of what he and the Ed Banger crew have been cooking up over in Paris. Recently, we had the opportunity to chat directly with Feadz before the big event tomorrow and, needless to say, this producer is one game-changing BADASS.
Enjoy an exclusive preview of Instant Alpha (100% satisfaction guaranteed) which is now available for purchase exclusively on Beatport!
[highlight style=”default”][highlighttext title=”Get schooled on all things Feadz in our exclusive interview with him!” titlesize=”h6″ subtitle=””][/highlighttext][/highlight]
1. What can people expect from your set this week at #DimMakTuesdays?
I hope the unexpected.
2. This isn’t your first time playing #DimMakTuesdays – in fact, you played here last March with Oliver Twizt! What do you think about #DimMakTuesdays?
I had a warm welcome and reaction and I love the fact that it is on a Tuesday. For me it represents people’s concern about music and not a random crowd who is going out on the weekend.
3. You’ve been referred to as “a child of hip hop,” can you tell us some of the artists who’ve influenced your music from the beginning? How do you feel your sound has evolved throughout the years from hip hop style turntablism to more techno-sounding productions?
Public Enemy has been the major influence in my life – so much room for scratching and so much great music, pitched down or up or manipulated in extreme ways for a result that is unexpected and not regular in a classic music eye. I think hip hop is becoming more & more techno over the years – it’s more minimal, it’s more synthetic, and I think my sound has followed the same path unconsciously.
4. You were in a scratch band in the early 90’s, what was that like?
It was a lot of guys, of lot of smoke, a lot of sweat, and a lot of technical practice. It was great for a while.
5. You’ve been with the legendary Ed Banger Records since 2005, how did that partnership first come about?
Paris is small and Pedro Winter has always been an influential DJ, so from my first records, I was giving them to him and he was liking my sound. As soon as he created the label, he offered to release my music.
6. It’s been awhile since you’ve been in LA, what are you most looking forward to while being out here? What’s your take on the LA music scene?
Of course i’m looking for better weather than here, and I’m very glad to show LA the music that I consider to be the best . I feel very far from the scene, being at the Hard Festival last year in LA I couldn’t believe the amount of horrible music I heard. For a country who invented techno music, I can’t believe the direction it went in and the music that is popular out there. I’m sorry to say that but I think Americans have terrible taste when it comes to electronic music. But on the other hand, it’s never been that popular so it’s still good and I got faith on many U.S. producers who are gonna level it up.
7. You’ve done remixes for Boys Noize, Cashmere Cat, Surkin, & Mr. Oizo to name a few. What have been some of your favorite collaborations so far?
All those mentioned here are collabs that have made me very happy . I couldn’t really choose a favorite amongst them.
8. What’s your take on the evolution of djing and what do you see as the future of edm?
DJing is turning more and more has a producer representation. It’s a little sad that the original job of the DJ – finding great music for you to discover and dance to – is thought less of than your average entertainer (who is gonna play easy and raise his hands on every track to put you in the mood). And as I was saying, I think the music can only get better as I think it’s pretty horrible right now – just my opinion though, I’m known to be pretty critical but it’s just because it’s important to me.
Tuesday, January 14th
$5 w/ RSVP before 11 p.m. ($10 after) | RSVP to GuestList@DimMak.com (hurry because the guest list is filling up fast!)
Or purchase presale tickets here to ensure entry.
6356 Hollywood Blvd.
Los Angeles, CA 90028[/one_half_last]
On January 30th, we’re kicking off the year with the launch of Night Bass, a new event series curated by the king of heavy bass house AC Slater and his Brooklyn-based record label Party Like Us. Starting January 30 at Sound Nightclub in Los Angeles, Night Bass features a diverse array of talent highlighting leaders of the U.K. bass-driven scene and caters to the night owls of the world.
Serving as Los Angeles’ best new underground event, Night Bass brings the sound that’s bubbling out of the bass bins from dark clubs and warehouses the world over direct to local audiences. Expect to hear cutting-edge house, garage, bassline, and boundary-pushing music. Together with Dim Mak, Party Like Us, and AC Slater, Night Bass brings the most unique party to Los Angeles.
For the opening event, Night Bass welcomes original Dirtybird player Christian Martin, who brings his tech-house flavor to the dance floor, along with Party Like Us label head AC Slater himself, who adds his unique spin on house and bass music. Main Course co-founder Astronomar joins the night with additional support from LA bass head Petey Clicks and local LA tastemaker Bones.
[highlight style=”default”][highlighttext title=”For the 411 on this exciting new event series, check out our exclusive interview with AC Slater!” titlesize=”h6″ subtitle=””][/highlighttext][/highlight]
1. Dim Mak: You are gearing up to present a collaborative party between Dim Mak and your label, Party Like Us. The night is being introduced as a home for cutting-edge house, garage, bassline, and more. Can you elaborate on the type of music party-goers will hear?
Think high-energy bass music with some soul. Somewhere between the big world of EDM and the underground sound of house music, that’s where Night Bass lives.
2. Describe the Party Like Us brand.
We want to share our musical influences and tastes with everyone. Party Like Us is bringing unique sounds to America on a regular basis via our releases. We want to shake things up and show music fans new sounds to keep them excited about dance music.
3. What can partygoers expect from an event thrown by Party Like Us and Dim Mak?
People can expect a well-curated night of fresh, bass-heavy house music that Party Like Us specializes in with the hype and excitement of a Dim Mak production.
4. How will Night Bass be different from any other party in the LA area?
This isn’t an event about standing and watching crazy visuals or an LED wall light up. This is about enjoying music on a nice sound system in a great atmosphere. On top of that, you will not hear a lot of this music anywhere else in LA. That’s the difference, something fresh for the city, an alternative to the norm.
5. You will be spinning at these parties. What are some tracks that you think will set the tone for the night?
You’ll hear me play a lot of forthcoming, unreleased Party Like Us tracks as well as tunes from labels like Black Butter, Four 40 Records, Rinse, Trouble & Bass, and much more. Exciting, forward-thinking music, from uplifting vocal tracks to dark, driving bassline tunes.
I’ve also created a special Night Bass Spotify Playlist featuring songs I’ve been playing out for the past month or so that always get the party going, along with some dope tracks by the artists performing at the very first Night Bass event.[/one_half][one_half_last]
6. Fast-forward one year: You have the amazing opportunity to curate a very special Night Bass 1-Year Anniversary Party. Who are those special guest DJs that would grace the decks?
My 1-year anniversary dream line up might be:
U.K. Garage legend DJ EZ
Taiki & Nulight
AC Slater & Petey Clicks (B2B)
7. Anything else you want to tell your fans and friends?
Shout out to Sound and Dim Mak for helping us bring this to life. Shout out to all the Party Animals coming to get involved in the Night Bass movement every month!
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.
[highlight style=”default”][highlighttext title=”To find out more about this rising artist check out our exclusive interview!” titlesize=”h6″ subtitle=””][/highlighttext][/highlight]
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!
[highlight style=”bordered”][highlighttext title=”FOLLOW UBERJAK’D” titlesize=”h3″ subtitle=””][/highlighttext][highlightbutton][button color=default-button3 url=”https://www.facebook.com/uberjakd” size=”big-button” target=”_self”]FACEBOOK[/button] [button color=default-button3 url=”https://twitter.com/uberjakd” size=”big-button” target=”_self”]TWITTER[/button] [button color=default-button3 url=”https://soundcloud.com/uberjakd” size=”big-button” target=”_self”]SOUNDCLOUD[/button][/highlightbutton][/highlight]
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.