Tuesday, May 31, 2016

[GDD™ INTERVIEW] Motez Celebrates 10 Years In Adelaide & Largest Original Release To Date

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The pathway to stardom wasn’t always been paved for the Baghdad born Motez, but uprooting to Adelaide certainly accelerated his curiosities and access to the dance music culture. With early roots listening to Jean Michel Jarre and an affinity for the abstract and out of the ordinary, Motez shaped his musical belief system on a rejection of predictability. His signature brand of dance music is a proper representation of his talents as a producer intent on leaving his own unique mark on the house music community. Currently celebrating 10 years of living in Adelaide, we recently got the chance to wrack his brain on the current political landscape plaguing Sydney nightclubs, how his tour setup is evolving, and what keeps his creative juices flowing.

GDD™: So you’ve just kicked off a new tour in Australia, you’ve put out your largest original release to date, how has the Tour been going? Are there any similarities between what it’s like touring stateside vs. back home?

Motez: There are a lot of similarities in the crowds in America and Australia but I think the main difference between the two crowds is that in America they tend to be a bit more respectful in many ways. I think that probably has something to do with the legal drinking limit being 21, and I think those 3 years really make a big difference.

One thing that I noticed that doesn’t exist in Australia is that you have super fans in America and I’ve had fans that go nuts for you and follow you everywhere and people that drive miles to come to your show. In Australia we have something called the “Tour Poppy” syndrome which is when people get to a certain level they start saying, “Oh it’s just him” you know, “It’s just whatever.”

GDD™ With all that is currently taking place in Australia and with the lock outs and strict regulations on nightclubs does that make a difference when routing a tour at the moment?

Motez: For me from a touring perspective we didn’t change our plans that much but I feel for people that are just starting out because there’s not much of a scene going on, particularly in Sydney, where much of the uproar is. There is this absolutely horrible politician who is dismantling much of the culture related to dance music in Sydney and introducing lock out laws and curfew laws that make no sense whatsoever. I see, when I travel to Sydney, that the laws have affected it a lot, it hasn’t affected me too much but the overall theme is that you have to feel for everybody and vouch for everybody and kind of stand up for the whole thing regardless of how big you are. When I was first coming up there was a scene for us to participate in and that’s where we got the Flume’s, the Alison Wonderland’s, and I think if they were to be getting their start now it wouldn’t be the same. I think it would have been really difficult for them to establish themselves.

GDD™: So what are some of these policies currently being installed in Sydney and what was the reasoning?

Motez: For example, you can’t buy any alcohol after 10:00 o’clock, no entry after 1:30 AM, and everything needs to shut down by 3:30 AM.

We had a couple of incidences unfortunately where people lost their lives because they got hit by a drunk person and that’s kind of what started this wave of anti-social behavior but at the same time the laws that have been introduced and the behavior by the local government, led by Mike Baird, make no sense. It is so disproportionate and Draconian. There was a wine bar where a Police Officer walked in to tell off the owner for displaying his menu in an anti-social way but it’s just a wine menu you know, it makes no sense.

GDD: So what do you think are some strong next steps to counteract these measures?

We need all of us to standup against what appears to be tyranny. I moved from Iraq to Australia for many reasons, one reason being I wanted to voice my opinion and I don’t want unfairness to happen for no explicit reason. And I find it really hard not to voice my opinion about that, and even though it doesn’t affect directly doesn’t mean I can’t say that something, because something has to give. The scene in Australia was, not that long ago, absolutely amazing, and there are a lot of hubs in Australia that are doing very well but unfortunately the main hub in Australia, Sydney, is not.

GDD™: Well we certainly feel for you and appreciate all the hard work that’s gone into building the Australian scene today. The dance music community wouldn’t be the same without it. Let’s talk a little bit about your new music if you will, I read that funk, and jazz, and swing, had a huge influence on this latest release. Where does all that come from?

Motez: I personally just got a bit annoyed by the predictability and the darkness in dance music these days. It’s almost schizophrenic in a way because you have these chords and break downs that hold an amazing melody and then this drop comes and it’s dark as hell. For me when I listen to house music it’s not necessarily happy, but it’s emotional and sensual, you know, it’s nice on the ear. I wanted to find that in my own music. For example in “Know Me,” and “Like You” I feel like you can hear a lot of my background in listening to soul, and blues, and jazz, and funk, and even some of the more abstract electronica, things other than dance music that I can bring to the four on the flour format I try my best to incorporate.

I saw this video of David Bowie talking about how he made it in the business, and he essentially said “don’t make music for other people, just make music for yourself.” Once you start making music for other people you’re wrong, you need to be just uncomfortable enough and you will see. You gotta have your feet just a little bit off the ground so you can be in the right zone. Once you’re comfortable and predictable it becomes boring and that’s what I’m trying to avoid.

GDD™: So are you going to give yourself some time to sort of, explore this sound on the dance floor and tour a bit? Or are you diving right back in the studio to keep the creative juices flowing?

Motez: Making music for me is a cathartic experience and I can’t, not be making music. The good thing for me when I’m home in Australia is that I can come home and keep making music. Touring over seas unfortunately doesn’t give me the same opportunity but you know, occasionally on the road I’ll be able to make music. For example the Vancouver EP was made on the road in Canada, and same with being in California and being able to produce with Wax Motif. I’m happiest, though, when I’m home in my own studio and writing. That’s my way of expressing myself and I can’t stop it.

GDD™ Would you say a majority of your producing takes place at home? What’s your studio setup like?

Motez: Yes definitely, I’ve got a studio that doesn’t necessarily have a lot of gear (which in my opinion I think is a good thing) it just has a couple keyboards, a really old early 80’s mixer and that’s pretty much it. It’s a nice little zone for me to do my thing.

Motez in Brisbane on his Australian Tour shot by: BCS Imaging

Motez in Brisbane on his Australian Tour shot by: BCS Imaging

GDD™: Nice! That’s awesome. I heard that you’ve been incorporating these keyboards into your current Australian tour. What is the thought process in making a decision like that? Do you feel any pressure to evolve your set into a live set?

Motez: Yeah I’ve actually been able to incorporate both keyboards into this Australian leg and the people at Roland have been very, very nice to me and have helped sponsor me. Which is amazing to be sponsored by a company like Roland. It’s actually been so amazing to play live and to have people see this more authentic side to ‘Tez. It kind of goes back to me wanting to avoid being predictable and I think it’s more because I grew up playing keys and making music, not DJ’ing. DJ’ing was always a good way for me to promote the music I was making so it’s cool to see it all come full circle in that regard.

I’ll say this next part carefully as I’m sure it might piss off a few people but nothing depresses me more than seeing three dudes or two dudes on stage with a massive setup and they’re just DJ’ing. That is so underwhelming. You go to all this trouble to build a massive setup and program an awesome light show and then you’re just going to DJ? That grinds my gears as Peter Griffin would say. I think bringing my keyboards on tour and mixing it with my DJ setup makes things more interesting for me and for the people in the crowd and it just comes back to this fear of being predictable and adds this element of surprise that really delights the fans.

GDD™: Well now that we know what grinds your gears, let’s talk a little bit about what doesn’t grind your gears. Who are some live acts right now that you think are doing a good job in incorporating a live aspect to their setup?

Motez: I remember seeing Madeon, I played with him in Indonesia, really great guy, he does the same kind of thing, and I think Lido does something similar. Perfect example, RUFUS DU SOL, Flight Facilities, and Odesza are absolutely incredible from a live perspective, also Hayden James. That is a really good sort of blueprint for a lot of people and I look up to these guys and how they are doing it.


GDD™: It’s crazy how many of those acts are Australian! Tell me a little bit about these collaborations on your new EP, “The Vibe.” Are these all fellow Australians as well?

Motez: The first single that came out was “Down Like This” and it was done with my buddy TKay Maidza. Tkay is a rapper from my hometown, Adeliade, who’s been killing it and is easily one of the best acts in Australia at the moment. I produced a record for her on her first mixtape and she gave me these verses and I put them in a track I was working on and she came in and was like ‘OK’ let’s re-record the vocals and mix them for your track, and it feels really good to rep someone from my city try to expose them to new markets.

The second one was with a rapper from West London called Scruffizer. The track I’d made was 95% done but we realized it needed a featured vocalist and he was the one that came back with the best verses. He captured that tongue-in-cheek not taking yourself too seriously thing which is what I really wanted to go for with this track. In Australia we call it “taking the piss out of yourself” which is what you would call mocking yourself, in a certain way. I was really happy with the results here it’s easily become one of my favorite songs of mine so far.

The track with Wax Motif is called “Like You” which we actually recorded in his studio in Burbank. Waxxy is one of my favorite people in the whole world. He is an absolute legend. He’s such a great guy, I love him to bits. So many people would say the same thing, he’s one of the most genuine hard working people in the game and we did that track in a day. So always really, really good to be in his company.

GDD: Well thanks for taking the time to talk to us today! Good luck with the rest of your tour and we will catch you back in the states as your U.S. leg starts June 10th. You can purchase Motez’s new EP “The Vibe” out now via our good friends at Sweat It Out and to all our followers in Australia don’t miss the last night of The Vibe tour as it comes to an end in Perth on this Friday. Speak soon!


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Dele Sosimi at Mercati Generali (Italy)

Nero Express is back this summer with an unmissable event – blues rhythms, African, funk and much more are to be expected! First guest this year: Dele Sosimi, one of the most active and respected musicians of the contemporary Afrobeat scene. Just fifteen , he was already the child prodigy of Egypt 80 Fela Kuti , with whom he played from 1979 to 1986.


Keyboardist & Musical Director Dele Sosimi was born in Hackney but returned to Nigeria aged 4 and grew up with the Afrobeat revolution, playing in the Godfather Fela Kuti’s band for 6 years at their peak (he featured on the recent film), and afterwards a decade with son Femi. More recently he’s been hitting London dancefloors hard with all-nighters in hot venues and tunes produced by Nostalgia 77 on the hip WahWah 45s imprint. His 8-piece band includes many of the faces of the London Afrobeat aristocracy.

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Dele Sosimi at Music From Around The World 2016

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Dele Sosimi Afrobeat Orchestra at Pangaea Festival 2016

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Dele Sosimi’s Afrobeat Orchestra at MondoMix 2016

Take a detour in June 2016 and make your way to Calbourne Mill to hear some of the best music you didn’t know you liked. Dele Sosimi’s Afrobeat Orchestra; Justin Thurgur’s Afro-Jazz Septet; South London All Ska’s South London cats; ArHai Ethereal Balkan Folk Electronica; The Boom Yeh; CajunDaze Cajun; Fellowship of Groove; General Skank and many more + DJ Earl Grey, DJ Sepia, DJ Headfunk, DJ Global, Psychedelic Sound System, DJ Ember, DJDJ, Doctor DJ.


Keyboardist & Musical Director Dele Sosimi was born in Hackney but returned to Nigeria aged 4 and grew up with the Afrobeat revolution, playing in the Godfather Fela Kuti’s band for 6 years at their peak (he featured on the recent film), and afterwards a decade with son Femi. More recently he’s been hitting London dancefloors hard with all-nighters in hot venues and tunes produced by Nostalgia 77 on the hip WahWah 45s imprint. His 8-piece band includes many of the faces of the London Afrobeat aristocracy.




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Listen to Kaytranada’s remix of Rihanna’s ‘Kiss it Better’

Montreal producer Kaytranada has been gathering widespread critical acclaim for 99.9%, his album released earlier this month. After dropping the robot-dancing video "Lite Spots" a few weeks ago, the producer unveiled a remix of Rihanna's current "Kiss it Better" single earlier today.

Kaytranada's version transfroms the mid-tempo, '80s-tinged Anti cut into a club-ready foot-stomper.

Speaking with Zane Lowe from Beats 1 Radio, Kaytranada explained working on the remix for the Barbadian pop star.

"I had it on repeat, low key, I really loved the song," said Kaytranada. "But I really wanted to remix it.... It's hard to explain what it was, I just think about it and then, boom."

Listen to the Kaytranada remix of Rihanna's "Kiss it Better" below.

by Del F. Cowie via Electronic RSS

Bev Lee Harling & The Kitchen Sink @ The Beacon

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How we made Air's Moon Safari

‘Before we came along, French pop was synonymous with Sacha Distel. I hated it’

Daft Punk were down the street from us in Paris and we could almost hear the music they were making when we opened the window during band sessions. It was the late 1990s, and Paris suddenly had this incredible electronic music scene: all these clubs were opening up. I didn’t get to go to all the parties, though, because I was generally at home with my wife taking care of Solal, our baby. We were poor. I knew our livelihood depended on Air being successful.

It was alien, psychedelic, loungecore for after you'd been out clubbing

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by Interviews by Dave Simpson via Electronic music | The Guardian

Monday, May 30, 2016

The Egyptian Lover: 'I only started singing so people would know the track names'

The electro producer also known as Greg Broussard recalls the studio techniques and diverse influences that made his records club hits in the 80s, and explains why the sound will never die

Greg Broussard is explaining how he found his voice – a purr of a voice; a slick, calm invitation. It’s the voice of his musical alter ego, the Egyptian Lover, and he owes the voice to Prince.

“On a long version of one of his songs, Controversy, he’s saying [Broussard goes into an impression here]: ‘People call me rude / I wish we all were nude.’ I liked that chant style, so I tried to be cool with it. I started lowering my voice, trying different things, and it just fit along with the songs. It wasn’t screaming or overpowering, more a seductive way of talking to women.”

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by Ned Raggett via Electronic music | The Guardian

Upworthy! The happiest, danciest songs of 2016

Yep, 2016 has been pretty tough.

Actually, on many levels, it's been kind of the worst. Death, sickness, raging infernos, natural disasters, election madness, heartbreak and general destruction, gloom and doom at every turn.

Unfortunate times call for uplifting music and luckily, the first five months of the year have offered up a bevy of bouncy, beautiful, utterly brilliant gems to help hike up our spirits and soothe our souls.

Just like our 2013 positivity playlist, everyone still needs a little sunshine, a jolt of joy to get the feet moving, the blood pumping and trigger one of those involuntary smiles that starts on the inside and transforms your face. Check out the gallery above for some great music, which we've paired with some adorable photos because you deserve a dance party and a crazy cute animal photo (or 30).

Hang out with me on Twitter: @_AndreaWarner 

by Andrea Warner via Electronic RSS

Sunday, May 29, 2016

Beth Orton review – husky murmurs and scuffed mementos

Attenborough Centre, Brighton
Orton may seem as reticent as ever, but her songs about motherhood show her voice maturing with arresting results

“I used to think people who had their lyrics on a stand were wankers,” says Beth Orton, eyeing the stand near her laptop. “But then, when you get to my age … ” It’s hard to believe that Orton is 45 – she looks much the same as ever as, lanky and reticent, she addresses the audience in sporadic bursts that telegraph her shyness. Something has changed in her voice, however: the cracks are now crevices, offsetting the lunar coolness of her new music. Orton may have produced contrasting work since her 1990s chillout-queen days, but her tone has matured to the point at which it claws through the gauzy electronic fabric of her just-released seventh album, Kidsticks.

Her change in tone is amplified by the pristineness of this recently reopened arts centre. The glacial loops of Moon, and the grumbles that run through Petals, melt into the cool air, leaving Orton’s husky voice adrift, often, but not always, arrestingly. Later, the world’s least obtrusive guitarist and drummer plump up Falling’s grey-zone vagueness as Orton murmurs over the top. All of these elegant little drifters were written while she was living in Los Angeles, and it’s a relief when she throws in scuffed mementos of 90s England in the form of Central Reservation and She Cries Your Name. It’s a pleasure to see that she has matured – Kidsticks is about her experiences of motherhood – without California buffing away her awkwardness.

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by Caroline Sullivan via Electronic music | The Guardian

Beth Orton: Kidsticks review – sunny side up with a shard of ice


Twenty years ago, Beth Orton’s breakthrough Trailer Park correctgently dripped tasteful electronics over folky confessionals. Her latest collection, created in California, dives fearlessly into deeper waters. Although dependent on repetition of small riffs, syllables and phrases, these 10 songs are pleasingly unpredictable, uncoiling languorously around layers of synthetic and organic sounds. There’s grit too – the bass-strafed Petals wrestles with itself until its brawling, bawling end, collapsing into the jaunty single 1973. Orton’s alluring vocals decorate rather than dominate, making chilling lyrics like “the phone book is filling up with dead friends” (Falling) even more shocking when they surface. Despite its sunny origins, there’s a shard of ice speared through Kidsticks, a frost that burns fierce as fire.

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by Damien Morris via Electronic music | The Guardian

Olga Bell: Tempo review – spry melodies and restless rhythms

(One Little Indian)

It’s the spry unpredictability of Olga Bell’s vocal melodies and the restlessness of her rhythms that put her a cut above your average avant-garde producer. A former child classical pianist, the Russian-American’s last album, Krai, was a musical exploration of the far-flung edges of her homeland through folk and avant-garde electronics. Here she returns to the immediate electropop of her debut Diamonite, but with more muscle and shadow. There are thrills galore for fans of the Knife and Róisín Murphy (like Murphy’s Hairless Toys, Tempo is inspired by ball culture documentary Paris Is Burning), and nagging hooks too in the playful, compulsive herky-jerk of Randomness, the rippling, deep, dark housiness of Ritual or the seductive trip-hop of Power User.

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by Emily Mackay via Electronic music | The Guardian

Flume: Skin review – guest-heavy dance with broad horizons


“Oh, great! Just what the world has been waiting for,” runs the cynical first response to this collaboration-heavy Australian dance package, “Disclosure from Down Under”. But while the multimillion Vevo views of F word-garnished electro power ballad Never Be Like You featuring Kai suggest the advent of a trance Eamon, Flume (the aqueous altar ego of Sydney bedroom boffin Harley Edward Streten) actually covers a wider musical waterfront than he needs to. Distinguished guests – UK nearly siren AlunaGeorge, rapper Vince Staples – are ushered respectfully through a series of viable electronic hinterlands, where a couple of them, notably perennial cameo supplier Little Dragon and Wu Tang vet Raekwon, manage to put down roots in actual songs.

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by Ben Thompson via Electronic music | The Guardian

Friday, May 27, 2016

[EVENTS] Culprit & Transmit Bring Ripperton, Sandrino & Droog to A DTLA Loft Tonight

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The famed Culprit parties are back in proper form for their first underground affair of 2016. Together with Transmit, the well-respected LA-based label and event company is bringing us a night of house and techno with an all-star lineup featuring Ripperton, Sandrino, and residents Droog. Each of these artists hold their own, and have carved out their own places amongst a crowded artist landscape to cut through the noise and push quality, forward-thinking dance music. For tickets and more information, visit here. It’s bound to be a fantastic way to kick off the holiday weekend.

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Thursday, May 26, 2016

Gold Panda: Good Luck and Do Your Best review – warmly immersive electronica

(City Slang)

It would be unfair compare Gold Panda to Caribou on the basis that they both make immersive, tender electronica, have at one point or another been signed to City Slang, and are named after cute mammals. But if the latter’s shuffling house rhythms and minor-key samples give you a kick then Mr Panda is certainly a pleasing chaser. He has not yet reached the same heights as his labelmate, perhaps because he favours glitch over a good hook. But his fourth album, though still twitching with IDM, breakbeats and hip-hop, bathes the instrumentals in a more intimate glow, crackling like vinyl playing under an amber nightlight. Inspired by a trip to Japan, it has oriental flourishes woven in subtly, from the relentless piano break of Chiba Nights paired with nimble two-step and fluttering flute, to the windchime shimmer of Pink and Green, and Song for a Dead Friend – a eulogy of cacophonous video game noises and Japanese koto. More than an audio travel journal, though, these songs are headline festival sundowners: the slow-burning acoustic thrum of I Am a Real Punk, the gorgeously textured, jazz-inflected Autumn Fall and Time Eater’s sombre temple-step. Bound to give you that warm, fuzzy feeling.

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by Kate Hutchinson via Electronic music | The Guardian

[STREAM] Above & Beyond (Acoustic) – “No One On Earth”

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One of the most venerable trio’s in the music business at the moment are set to bring their world renowned acoustic show to the Hollywood Bowl this weekend after an incredible two night stint at The Greek Theater some years ago. I was there when it first went down, and I’m glad this concept was expanded upon so more fans would have the chance to be touched by the music of Jono, Pavo, and Tony.

While I will not be in attendance this weekend, I can’t help but become enamored with the latest release off their Acoustic II LP, “No One On Earth.” Bone chillingly beautiful, and hauntingly graceful, I can’t help but dream about the good times that could have been this weekend. For those unable to make it as well, look out for the full Acoustic II LP released on June 3rd.

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[GDD™ PREMIERE] Denney – “Visualize” (Crosstown Rebels)

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Once dubbed by Mixmag as their “Future Hero,” the UK based Denny returns to a label he holds dear to his heart. His latest EP, Visualize, is framed around the many different aspects of the night, he says “All the tracks were approached slightly differently when I was making them, I was aiming them for different parts of the night and inspired by different dance floors.” The title track, as premiered below, sets the tone with a house driven beat and heady vocals that would transcend any dance floor scenario. With a bit of an acid break at the end, “Visualize” kicks off his latest EP with a bang so be sure to cop when it’s released on May 27th on the legendary Crosstown Rebels.

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Wednesday, May 25, 2016

Billboard Hot 100 Festival Returns to NY’s Jones Beach Theater This August

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After a successful inaugural festival just last year, the Billboard Hot 100 Festival returns to New York’s Jones Beach Theater from August 20th-21st with a lineup consisting of some of music’s biggest talents, including everyone from Calvin Harris and J. Cole, to Hippie Sabatoge, Paper Diamond, Team EZY, and more. The 2015 Hot 100 Festival shattered attendance records for Nikon at Jones Beach Theater with over 40,000 attendees, and this year is expected to be just as in-demand, if not more. With Billboard-charting artists spanning multiple genres, there will surely be something for everyone, so don’t sleep on this and buy a ticket here.

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Tuesday, May 24, 2016

5 things you should know about River Tiber

River Tiber is the musical project/alter ego of 25-year-old Toronto-based musician Tommy Paxton-Beesley. He's releasing his solo album, Indigo, on June 24, capitalizing on a run of increasing critical acclaim since the release of his September 2015 EP, When the Time is Right.

"I think that [Indigo] has many more colours to it," says Paxton-Beesley, discussing his progression since the EP release. "I definitely am influenced by a lot of different stuff on this. I think rhythmically it’s more diverse. It’s just bigger. And it’s like the format of the EP is more concise, so there isn’t really the chance for the energy to build up and go quite as crazy. With [Indigo] it really extends all the way."

Thematically driven by the course of a relationship, Indigo runs the emotional gamut. "It’s like a journey through my mind in a way, spiritually and psychedelically," he says. With lyrics that hint at an uneasy romantic union, the densely layered, jazz-infused lead single, "Acid Test," gives a glimpse into the musical world Paxton-Beesley has created on this new album.

Given the impressive sounds coming from River Tiber, CBC Music spoke with Paxton-Beesley to find out more about the man behind the music.

1. He wasn’t always confident about his voice

As a trained multi-instrumentalist through the Berklee College of Music — comfortable with the cello, guitar and trombone — singing wasn't instinctive for Paxton-Beesley. He gradually incorporated vocals into his repertoire, inspired by Jeff Buckley's Grace.

"I think that more and more, I’ve gravitated to putting my voice front and centre in my productions because it’s just the instrument you carry everywhere that you go," he says. "Even listening to my record I feel that I’ve developed so much since making that record as a vocalist, primarily just honing in on the clarity of it and the lyrics and what I’m saying. It’s so hard to work up the courage to sing in the first place and when you first start out, it’s washed out in the reverb and buried in the mix under these instruments. As I've become more confident, I’ve really been honing in on that clarity and I think it’s only going to be moving further in that direction."

2. Collaborations are key to River Tiber's creative process

While the release of his own EPs — The Star Falls and When the Time is Right — have been serving notice of his talent, Paxton-Beesley has been making his name even more recognizable through collaborations with artists like Daniel Caesar and Doc McKinney, the latter being an esteemed producer known for his work with the Weeknd, among many others.

Paxton-Beesley worked extensively with producer Frank Dukes and BadBadNotGood on Sour Soul, the band's Polaris Prize shortlisted collaboration with Ghostface Killah. Another frequent collaborator is Montreal producer Kaytranada, who released his own critically acclaimed album, 99.9%, earlier this month. The duo worked on the song "Illusions" together (which also featured Pusha T), with Paxton-Beesley incorporating Kaytranada's drums. Kaytranada and Paxton-Beesley will also be going on tour together for a few U.S. West Coast dates starting May 24.

"We didn’t have a mastermind plan or whatever for it but the framework for it was there," Paxton-Beesley says about working with Kaytranada. 

"I love to collaborate," he continues. "The tension between two artists pushes you forward and pushes me into places I wouldn’t expect."

3. He appreciated being sampled by Drake, but hopes the long-term focus will shift to his own music

Drake producers Boi-1da and Frank Dukes sampled River Tiber's "No Talk" from his When the Time is Right EP for the Toronto hip-hop star's hugely successful mixtape If You're Reading This it's too Late.

"I think it definitely gave a big boost to the attention my music was getting but I think the main thing I realized right away that you can’t live off a co-sign or whatever," says Paxton-Beesley. "I just mean you’ve got to be able to back it up with your own story, your own music and your own art."

So while he entertained questions on the notoriety the Drake association afforded him, Paxton-Beesley was concentrating on long-term goals. "I would say now, I feel good where everything is heading. I’m carving out my own space in my music. I definitely am going to keep it rolling in terms of putting out music and keep it building. You can't let it all rest on something like that."
 From left to right: River Tiber, Pusha T and Kaytranada. (Carlo Cruz/Red Bull Sound Select)

4. He’s excited about Toronto’s musical future

The mix of electronic, hip-hop and R&B purveyed by artists like Drake has expanded the city's sonic identity to those on the outside looking in, benefitting artists like River Tiber, who dabble in those genres. So why all the attention now?

"I think that it’s probably because Toronto has been underrated," says Paxton-Beesley. "It’s such a big city, even population-wise. It’s massive and you would think that it would be on the level of a Chicago or an L.A. on the depth of its talent because of the population alone. And I think that it is and I think that with anything it’s a matter of expectation, really. I think people have had low expectations of Toronto, y’know. I don’t think the thing here is like New York, L.A. or Chicago — those places are still to me, meccas of culture and music. I think that we’re really in the process of developing a history as places like that. At least the way I see it. You look at the history of some of those places and it's really deep. I think we’re babies compared to that. But yeah, I think we’re getting there."

5. He could have played every instrument on his album, but didn’t

The album features a variety of intricate instrumentation, says Paxton-Beesley, including cello, violin and trombone, drawing on his classically trained background. Staying true to the one-man band his moniker conveys, Paxton-Beesley could have feasibly played all of the instruments. Instead, he decided to defer to others like live band members Thadeus Garwood, John Mavro, Danny Voicu and David Lewis, when appropriate.

"It’s not just me. I do all that, but it’s not just me," he says, of the musical arrangements on the album. "The way I play drums is so different than my guy Thadeus, who I play with a lot. I play drums on this other [album] track that definitely has a different vibe. I think that once upon a time I would have tried to do everything myself, but sometimes you just gotta serve the song. I’m definitely part of a community of amazing musicians. I think it’s pretty cool to have a lot of different voices that one person might be good at creating. I don’t want [Indigo] to sound like a bedroom record and I don’t think it does at all."

by Del F. Cowie via Electronic RSS

Evvol's Julie Chance: 'As a closeted lesbian in Dublin, life wasn't easy. Then I found heroin'

As the dark wave duo prepare their new EP, their founder explains her journey from heroin addiction to touring with her musical hero

Let me tell you about the moment I arrived on planet earth, the moment I discovered my sole life purpose. I was 15, standing in the middle of a dance floor in a dingy Dublin night club called the Pink Elephant, Atlantic Oceans’ Waterfall was pounding through the sound system and I was coming up on my very first pill. I smiled broadly at all my new best mates, and thought, ‘It doesn’t get better than this.’ I made a decision that from this point onwards, I would go forth and dance and take as many drugs as possible, because that was what God intended me to do. And that’s pretty much what I did for the next 10 years.

But let’s take it back to the start. As a young closeted lesbian growing up in Dublin in the early 90s, life was not easy. I was so far in the closet that I couldn’t even admit to myself that I could possibly be attracted to girls. The shame I carried around was so overwhelming that I think my brain must have buried it deep in my subconscious just to protect itself from blowing up. Nobody talked about gay people and definitely nobody talked about lesbians. These words weren’t in our vocabulary yet, well not in mine anyway.

Related: My heroin addict friend: thrown in jail, a rebound in rehab – now Shelly has hope

Related: New band of the week: Evvol (No 44)

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by Julie Chance via Electronic music | The Guardian

Monday, May 23, 2016

Flume on the pressures of writing his sophomore album: 'It didn’t just come'

After his smash hit debut album the electronic producer did what anyone in their early 20s does: he partied. But writing his follow-up album wasn’t nearly as fun

Flume is holding the vinyl copy of his new album, Skin, for the very first time. “It arrived today,” he says down the line from New York, where the Australian producer – aka 24-year-old Harley Streten – is based while speaking to global press. “It’s very satisfying that it’s tangible. It’s all the last few years’ work in a nice, slick-looking package.”

Related: Moby: ‘There were bags of drugs, I was having sex with a stranger’

As soon as I got away from it all I was able to write again.

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by Marcus Teague via Electronic music | The Guardian

Wah Wah 45s at Cloudspotting (Slaidburn) on 30/06

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South London Soul Train Festival at Bussey Building on 16/07

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Baker Brothers & London Afrobeat Collective live + Wah Wah 45s DJ at the Blues Kitch (Shoreditch) on 15/07

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Dom Servini at MondoMix Festival on 3/06

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Dom Servini – Amazing Radio Show #40

Listen again here!

1st Hour

Al Green – Simply Beautiful (Maribou State Edit) (Ninja Tune)

Falty DL – Sexy Lady (Swamp 81)

Mike Burns – This Ground (Legalize Lambada)

Album of the Week: Sunburst – Ave Africa

Sunburst – Vijana (Strut)

Painel de Control – Relax (Extended Waxist Version) (Favourite)

A Hundred Birds – Welcome to the Club (BBE)

AM + Joey Waronker – Dreamscape (AM Sounds)

AZ – Simigwado Edit (Banoffee Pies)

Crazy Godz – Dynamic (Inst) (Back To The World)

Henri-Pierre Noel – Diskette (The Reflex Revision – Long Version) (Wah Wah 45s)

Around7 – Live at Filmore (Ondule)

2nd Hour
Album of the Week: Sunburst – Ave Africa
Sunburst – We Need Each Other (Strut)

Seegweed – Make Love to Your Mind (G.A.M.M.)

Kaytranada – Lite Spots (XL)

Medlar – Body Action (Wolf)

Exclusive Mini-Mix: Bodymoves
BodyMoves Intro
Max Graef and Glenn Astro – Where The F*** Are My Hard Boiled Eggs
Jeen Bassa – Discotheque
Wendel Sield – History Of Black People

Romare – James
Bootsy Collins – I’d Rather Be With You (Alphabets Heaven Edit)
DJ Mitsu – BOTM Beat 20
Moon B – Measure Pleasure

End of Mini-Mix
Album of the Week: Sunburst – Ave Africa
Sunburst – Black is Beautiful (Strut)

Red Rack’em – Transfer List (Nettles)

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Gideon Conn at Leigh Folk Festival (Essex)

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Bopperson at The Bussey Building/ CLF Art Cafe on July 2nd

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Bopperson at The Bussey Building/ CLF Art Cafe

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Bopperson at The Bussey Building/ CLF Art Cafe

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Southern Soul Festival

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Sunday, May 22, 2016

Calvin Harris cancels second concert after car crash

British DJ and producer pulls out of festival in Alabama after going to hospital with cut nose sustained in collision in Los Angeles

Superstar DJ Calvin Harris has pulled out of a second concert following a car crash in Los Angeles.

The Scottish producer was taken to hospital with a cut to his nose after the collision at around 11pm local time on Friday.

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by Press Association via Electronic music | The Guardian

Friday, May 20, 2016

[EXCLUSIVE] GDD Chats with Bushwick A/V’s Myroslaw Bytz + Exclusive Mysteryland USA Mix

Property of Gotta Dance Dirty

This year’s Mysteryland USA on the historic Woodstock ’69 grounds in Bethel, NY is fast approaching, and the countdown has already begun, as we’re just a couple of weeks out from its June 10th launch. In addition to names like ODESZA, Art Department, Gramatik, Claptone, Moodymann, and more, there are some notable local talents like Myroslaw Bytz of Bushwick A/V, Brooklyn’s go-to afterhours party series. Myroslaw has been a fixture of New York’s electronic music scene, both as an artist and event producer, while keeping his integrity throughout all of his endeavors, and pushing the scene forward.

Bushwick A/V will be heading up late night festivities at the silent disco to make sure attendees can keep the party going in proper fashion, so we felt it was necessary to highlight this famed party series, along with its co-founder who graciously sat down with us for some questions, and gave us an exclusive mix to show what you guys can expect late-night at the festival. Enjoy the mix and check out the interview after the jump to hear about how Myroslaw has gotten to where he is today, the context of his mix, what Bushwick A/V is bringing to Mysteryland, his plans for the rest of the year, and more.

Limited tickets for Mysteryland USA are on sale here, and be sure to check out this GRiZ x Electric Family bracelet giveaway for a chance to win festival passes, as well as a meet & greet with GRiZ.


GDD: GDD first question tradition – what do you like to drink?
Myro: Iced green tea with spearmint, ginger and cranberry juice. I brew and drink a gallon of the stuff every couple days!

GDD: Tell us a about your musical background and how you have gotten to where you are today.
Myro: I began producing hip hop and electronic dub back in the late 90s, and paused for a little while as I pursued grad school in media. I realized after several careers that the rat race just wasn’t for me about 4 years ago when, while unemployed and broke, I asked to try booking live music nights at a small lounge in my Greenwich Village neighborhood. I had talent from every genre of music 6 nights a week, and succeeded in creating a real sanctuary for the underground in the city where very few still existed at the time. After that, I brought some of the more successful parties to more fitting venues around town, experimenting with crossing genres and bringing different crews together in new and unique ways. In 3 years of this, I produced around 400 parties and events, often with very little budget.

GDD: How and why did you start your popular Bushwick A/V parties series? What is your vision for its future?
Myro: My partners and I are pure lovers of the afterhours vibe in general, and at the time we wanted to craft something different, something with a little more heart and soul than what was being offered. Too often, I felt, afterparties were just after-thoughts. They felt haphazardly produced, in makeshift venues, with questionable motives. So we really wanted to create a safe space where people could come together, with impeccable sound quality, thoughtful curation of artists, and a more inclusive vibe. I find that our parties typically attract a crowd that is a little more driven toward the music, those who refuse to be constricted by arbitrary time restraints, and those who espouse togetherness and respect. Our parties are a journey for the audience every time.

GDD: What can you tell us about your Mysteryland USA/Bushwick A/V mix?
Myro: I recorded the mix live at my residency night at TBA Brooklyn, an incredible and experimental lounge/bar that is a favorite bastion of the Brooklyn techno underground. It snakes through a lot of different genres and time periods, while highlighting some of the music I’ve been playing recently. It’s a pretty good cross-section of the eclectic vibes I like to put out there when I play.

GDD: What are your plans for the rest of the year?
Myro: I’m doing my second Europe tour in July — hitting Paris, Ibiza, Germany and Luxembourg with my fellow Secret Guests DJs Adam Collins and Cry Baby — so that will be exciting! Other than that, we have some really incredible things planned for Bushwick A/V, but I’m not allowed to disclose any of it just yet!

GDD: What can fans expect from you at Mysteryland USA next month?
Myro: I have a background in film scoring, radio and sound design, so playing my very first Silent Disco environment is going to be a really cool challenge for me. I am going to really embrace the immediacy of being patched directly into people’s headphones — and brains. Rather than wielding a giant soundsystem, I will have the opportunity to really sculpt a personal experience and soundspace for the listeners, so expect some very intriguing juxtapositions and feels!

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Southern Soul Festival

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