Cupe

Iconic Radiohead and Atoms For Peace frontman Thom Yorke has long had a lot of love for electronic music and his projects have become increasingly underground electronica in recent years from working with Modeselektor to his band playing Berlin techno nerve center Berghain and infamous Boiler Room set. However in a recent interview with Rolling Stone Thom and long term collaborator and fellow Atom for Peace Nigel Godrich gave a few examples of aspects the scene they like a lot less as the criticized the culture that accompanies ‘mainstream DJs’. "I have to say, I don't like a lot of the DJ culture, I don't like this sort of, get paid a lot of money and the DJ comes and he just fucking does his set. Which is fine, 'cause he knows it works and he's worked hard at it – but sometimes, you're like, 'Really? What, really?'" Nigel continued the sentiments adding: “mainstream is horrible,” comparing smaller more underground scenes and clubs to “haut couture” whilst acts like David Guetta and Calvin Harris, which he branded “all kinds of shit,” had more in common with cheaper mass producer high street chains. When quizzed further for a stance on the whole EDM debate Yorke explained his take on the industry further stating: “They wash the surface off...clean it up and Auto-Tune it. It’s like, fuck you!” before giving credit Actress for his “lo-fi’ elements. High praise indeed Actress!

Opinion dividing and often controversial musical maverick Zomby has confirmed his return to the album format with a spectacularly long 33 track 2 disc LP entitled With Love which will dropping this summer via independent record label 4AD as stated on datatransmission.co.uk The anonymous after mask wearing producer has billed the upcoming effort as being able to "move seamlessly between the dancefloor and after-hours emotional introspection, serving as a love letter to the soulful dance music of his past." No tracklist has yet been provided for With Love although Zomby has unveiled the artwork of the upcoming release alongside a fresh cut in ‘Solioquy’ to tantalize fans of the other 31 new tracks after sharing ‘WITHLOVE’ earlier in the month. You can stream ‘Solioquy’ beneath.

After revealing the other day that they had in fact released a series of mystery 12” singles for record store day that could be connected together for a fresh release Boards Of Canada with the first effort being found in New York, fans went into overdrive trying to decipher the clues as to where else the remaining pieces could be found. Well wonder no more for the second piece of the Willy Wonka-esque jigsaw has been found in trendy East London record shop Rough Trade East as confirmed by the music outlets twitter yesterday. The single was picked up by an eagle eyed customer after being found hidden amongst the racks in the same manner as the first part found in NY’s Other Music. The single was then played once over the Rough Trade counter but has yet to be uploaded for the rest of us to listen to. For more clues head to the 2020k blog where the worlds biggest BoC obsessive’s continue to put the hours in trying the locate the remaining pieces of the puzzle. Good luck! From datatransmission.co.uk

Facebook event created. The Official ADJF Meet 2014 https://www.facebook.com/events/451213358295870/

Born and raised in one of Australia’s most vibrant electronic precincts Melbourne, Reece Low has quickly emerged from bedroom banger to one of the country’s most promising DJ/producers. With a childhood spent strumming the guitar, the musical knowledge he learnt allowed him to quickly adapt to the electronic scene; in particular production. Spending the last 4 years perfecting his craft Reece has now firmly established himself as a key player calling venues such as Billboards, Motel Rooftop, Fishbowl, Korova, Fabrique, Glacier, Daveys, Huha, Shakers Lounge, Room 680, Hurleys Bar, Suite, Wah Wah Lounge, OMG, Roxanne Parlour, Toast Nightclub & many more home base. Reece’s undeniable passion and work ethic has seen him deliver an enormous amount of production work, collaborating with the likes of T-Rek, Uberjak’d, Joel Fletcher, J-Trick, Heath Renata, Deorro (formally known as TON!C), Boo, Nick James, The Sleepover, Meltek, Mykoe, Orgy to name but a few, released on the likes of Club Cartel Records, Shabang Records, ElektroShok Records, Freakshow Disco, Minicoffee Records, Phethouse Records, PandaFunk Records & Big Alliance Records. A rather impressive cast of TJR, Peace Treaty, Porter Robinson, Deorro, Lazy Rich, Mobin Master, Chardy, Uberjakd, and a heap more all are certified followers and supporters of Reece’s productions. Looking towards 2013, the stage is now set for this phenomenal young talent to take the lead role. With a lethal combination of DJ prowess, A-game production and a ferocious hunger to succeed that is second to none… Reece Low is a name you won’t forget. https://www.facebook.com/shabangrecords

No computers or pre-programmed stuff here, the set is all improvised using the freshest new slabs It's been 15 years since Lee Rous and Andy Gardner formed PLUMP DJS together, producing and performing music all over the world. Having just released their Dirty Weekender compilation, the English duo is hitting up Australia for a tour, taking in a show at Trinity Bar in April. The guys say they are in top condition, having played some unbelievable shows, including the A38 in Budapest, which takes places on an old war ship on the Danube. ‘That was crazy,’ says the duo. ‘It was an amazing sound system and the crowd was amazing. We also were at the legendary Snowbombing festival last weekend in Mayerhofen, Austria, and closed the festival with an incredible set. We brought our A-game and the crowd just wanted more and more. We played three encores to shouts of “One more tune!”. Absolute magic.’ The Plump DJs have also been getting a lot of support from their DJing peers, including Fake Blood, MELE, The Loops of Fury and Tommy Sunshine. They are clearly excited about coming back to Australia, citing Australia's honesty, food, countryside and nature. ‘Your wine is first rate and your weather, being the opposite of ours, is magic. Your fashion and your music is really kicking up some goodness of late too. We respect your great sporting achievements hugely; given the number of people in your country, your sporting success is incredible!’ Their latest tour will be comprised of straight up, party-starting DJing, with a four-deck live DJ show that the duo says they have been honing for six years. ‘No computers or pre-programmed stuff here, the set is all improvised using the freshest new slabs to display our Grand Hotel Records sound, plus Plump DJs classics and recent music for the fans.’ Traditionally pioneers of the breakbeat scene, with releases such as Eargasm, are Plump DJs excited by some of the newer sounds such as future jungle or psybreaks? ‘We really don't care for genre reflection and never have. We love our breaks as much as we love our house and techno,’ they say. ‘We have always played varied sets and will continue to do so for as long as we are plumps. Our music has been embraced cross-genre since we started things back in 1998. We like to think that our music in not genre-specific. Scenes have a shelf life, unfortunately, and we hope not to by retaining this attitude.’ The DJs reflect that people should just get into the music and not pigeonhole things too much, although they do laugh when ‘some cool club kids call breaks “dancy dubstep”.’ In all, they are just excited to spend some good time in what they call their 'home from home’. ‘We have 15 years of experience making humans dance, so this tour is going to hit the bullseye, for sure.’ From bmamag.com

Like a child who demands only food they have enjoyed previously, the listener whose hearing has regressed can respond only to a repetition of what they had heard before.. Have you ever been out in a club and wondered if anyone is actually listening to the music? Dancing along? Sure. Talking over the top? Always plenty of that. But really listening to the song being played? In the world of electronic music, it seems to be a luxury reserved for home-listening techno nerds and their audiophile-approved headphones and lavish soundsystems. Even the term IDM, or ‘intelligent dance music’, has fallen out of favour and seems to hark back to ‘90s experimental electronica like Aphex Twin and Boards of Canada. Replace that initial ‘I’ with an ‘E’ for ‘electronic’ and you have the homogenised, watered-down mess that dominates our airwaves. True appreciators of electronica generally have to tide themselves over with occasional well-curated events. Happily, there’s one just around the corner, and what a treat it’s shaping up to be. Called simply SENSE, it’s an afternoon and evening ‘spanning multiple artforms, from piano to poetry to electronica’, says event manager David Caffery. ‘We’re converting a contemporary gallery with natural light and gardens into a concert venue – the bar, food, surround sound system, projectors and installations are all designed specifically for the event.’ Event co-producer Yohan Iddawela says a lot of the inspiration behind the event came from a previous event called Synthesis he helped organise at Transit Bar last year. ‘We really wanted to focus on providing a communal experience at a nightclub. Most nightclubs are quite sterile and alienating – the music is usually overwhelmingly loud, and people are so loaded on amphetamines that it becomes quite an individualistic and isolating experience. ‘The main objective of Sense is to subvert and reconfigure traditional dance music events,’ continues Iddawela. ‘There appears to be an absence of any underlying logic or thought process in relation to why these events are put on, let alone their aesthetic dimensions or the way they are structured.’ It’s not often that chatting to the event organisers yields insight just as fascinating as that of the artists themselves. But, on the other hand, when said organisers claim ‘a bunch of dead philosophers’ as their primary inspiration, you know it’s going to be a well thought-out production. Iddawela explains, ‘Whilst Dave is really into his post-subjectivist philosophy, I think I’ve been influenced to some extent by Theodor Adorno’s aesthetic philosophy and musicology. The commercialisation of dance music has encouraged a greater range of homogenous, standardised music geared towards to the masses. Adorno talks about how this may lead to a “regression of listening”; like a child who demands only food they have enjoyed previously, the listener whose hearing has regressed can respond only to a repetition of what they had heard before. And what Sense is really trying to do is reach out and support those artists who are doing something new and different.’ Caffery agrees. ‘It's about getting some really quality music that a lot of people don't see in Canberra. Max Cooper hasn't played here before. Hypnagog's only played here in the city [in a club environment]. If he’s not playing in a club, he’s generally playing at a festival out in the bush somewhere. I think a lot of people are interested to see a more ‘urban’ take on some of the music he’s playing, without it being in a club setting. So it will definitely give a different context. [Cooper] as well is someone who has proven time and time again that he can play much more than just club music.’ ‘More than just club music’ is a bit of an understatement. As one of the most versatile producers in electronic music today, the Australian-born, UK-based Cooper is known for his deft balance between melody and glitch. He’s equally skilled as a remixer, having applied his singular touch to everything from Hot Chip to Portishead, as well as avant-garde types such as Michael Nyman and Nils Frahm. Although Cooper is the event headliner, he’ll be playing in the afternoon – giving him the chance to play a less dancefloor-focused set, explains Caffery. Instead, closing the night will be psychedelic sound-sorceror Hypnagog, aka Felix Greenlees. He’s a well-known and well-loved figure in the outdoor electronic festival scene, performing as both Hypnagog and the more psytrance-focused Terrafractyl. ‘I loved goa and psytrance from the moment I heard it,’ remembers Greenlees. ‘But when I tried to write it, I discovered there is a real skill in writing music that propels you to move, and they are quite different skills to the ones required to write music for the head. Generally though, I strive to try and find a balance. I’ve always wanted to make music that you can sit down, close your eyes and listen to, but then in another time and place maybe it will make you want to jump around and dance.’ Greenless says a more traditional musical upbringing enabled him to bridge the gap between psytrance and Tchaikovsky. ‘My classical music background gave me a great head start when it came to writing music to tickle the brain. Actually, it’s pretty much integral to the way I write music. When I don’t feel like [writing music] I spend a lot of time improvising what I would call classical music, as well as jazz, on the piano in my studio. This is where I come up with many of my melodic ideas. But then again, I also find good classical music to be the most psychedelic of all!’ Aside from the musical side of the event, other artforms such as poetry and visual art will be represented. In addition to various art installations in the gallery, Caffery says, there’s will also be live visual collaboration between a VJ and sculptor/painter. ‘They’ve developed a project using broken instruments, glass and other objects which are moved around on a board and filmed. The VJ runs symmetry and other effects over the footage and streams it live to the screens and projectors. The effect is a moving, pulsing kaleidoscope of these objects, and both artists will be clearly viewable in order to show the making of the visuals. It’s a nice fusion of handmade and electronic.’ In another example of this fusion, Greenlees says he plans to bring his homemade modular analogue synthesiser along for the event. ‘I’ve only ever used a few times in a live set,’ he explains, ‘but it can add some really amazing sounds. Also, I don’t often get a chance to play three-hour sets. This really allows you to do some storytelling with your music, as well as playing more experimental music. At my usual sets and gigs, the focus is nearly entirely on the dancefloor and the reactions that are created there. Of course I love doing this, but I also have plenty of music that I’ve really written to create a headspace of certain feelings and emotions, rather than just propel you to dance. I think this will be a perfect opportunity to play this kind of music.’ From bmamag.com

Brisbane fused a wealth of talent in duo Slop Rock. For Mitch and Tomy the evolution from chunky band material to the leading electronic approach encouraged a musical virtuoso. Heavy on the electro and progressive tips, this finely tuned duo sets a standard worth taking your earplugs out for. 2009 broke dawn when the duo fluxed and the Slop Rock onslaught emerged drawing inspiration from the years passed, with modern dance music icons Zedd, Swanky Tunes, Denzal Park and local hero Tommy Trash. Regularly frolicking with raw live sounds and dance floor beats it’s without a doubt the product exuded is nothing short of epic. Signed to Velcro, Sweat It Out, CR2 & Central Station Records Slop Rock are too pushing their own empire Shabang and Hi-Tech Records aligning artists like TJR, Deorro (AKA Ton!c), Stupid Fresh and Oliver Twizt. They have perfected the art of a solid beat. Its Shabang’s releases that have taken this pair from band to Beatport dropping in on charts globally, as too local ARIA recognition with features on international labels CR2 and Ministry of Sound’s compilations which paved the way to them hosting their own stage at Future Music Festival Australia. Consistently sitting on the charts, Slop Rock has seen remixes for MYNC, PeaceTreaty and chart topper Danny T take up to 4th spot while paragons like Hero and Revolution have all embarked on Beatport and ARIA Chart raids. Outside of the charts Slop Rock aren’t shy of a play on national radio while fellow Aussies The Stafford Brothers and Tommy Trash feel the inclination to drop a SR bomb on the festival stage too! The adrenaline of these artists boils up a ruckus in consoles throughout hometown Brisbane with The Met residency, clubs around Oz and last but not least bangin’ festivals Blah Blah Blah, Future Music, Stereosonic and Parklife…with a few more bill spots on the way. It’s these shows that tease the norm supporting the likes of Hard Rock Sofa, The Loops of Fury, Firebeatz, Boys Noize and prized opening sets for Steve Aoki, Tommy Trash & Dada Life. With their roaring single featuring the vocal styling of American smooth liner Whiskey Pete 'Super Dope' earning a staggering #4 spot in the ARIA Charts, a barricade of studio requests and bills to headline a nation, Slop Rock are bound for a takeover. https://www.facebook.com/shabangrecords https://www.facebook.com/sloprockmusic

Champs

Or you're a complete moron

Can't do a DL Just plug some headphones in to lappy

Always give my mixes names, they most of the time have meanings but every cunt doesn't know what they are. Hence (Dubstep mix)

Re-upping this again for old times sake https://soundcloud.com/bullrush/bullrush-charm-1

Re-upping this again for old times sake https://soundcloud.com/bullrush/bullrush-wolfgang

Edited your post with soundcloud tags

The incorrect youtube tagging was cutting off everything beyond it (which included your text and the second clip)

lol at Pop

There’s another couple of weeks to go until Daft Punk release their new album “Random Access Memories”, but you know they’ve already aced the campaign of the year. What the French duo and their team did with “Get Lucky” over the last couple of weeks was a masterclass in creating marketing tease, manipulating a buzz and then actually delivering a whopper. Every step of the process was perfectly finetuned and calibrated. Not only do Daft Punk know what their audience want, but they also knew they’d a tune to justify such a silky, immersive campaign. That’s the thing about “Get Lucky”: you just can’t stop playing the damn thing. It doesn’t matter if you come up with the best marketing push of all time unless you have something to ack it up. Once “Get Lucky” stops, you want to put it back on again. When was the last time a tune you heard pumping from the radio made you want to do that? You certainly wouldn’t do it with Passenger, for instance, another awful singer-songwriter that Irish radio audiences have taken to their heart. But we digress and that discussion about Irish radio’s penchant for the same old same old versus cutting-edge pop is for another day. Back to “Get Lucky”. It puts Pharrell Williams and Nile Rodgers in the same frame and makes perfect use of their talents. A decade ago, Williams and his Neptunes’ buddy Chad Hugo produced 43 per cent of the tunes played on US radio. Rodgers, as we know all too well from his biography and interviews, was king of the funky pop tune, a producer and guitarist with the golden touch. Put ‘em into the mix with Daft Punk’s elan and you’ve a masterplan. When Rodgers talked about working with Daft Punk at Banter last summer, he was genuinely excited and you can now understand why. This was a bit of a gamechanger for him and all involved. But this wasn’t about getting lucky, this really was “Get Lucky”. You should be dancing? Oh yes. What the tune also does is perfectly tees up expectations for the album. Let’s be honest, we really hope in our heart of hearts that Daft Punk are returning to the blue streak with albums that they had with “Homework” or “Discovery” all those years ago. We don’t want another “Human After All”. We want “Random Access Memories” to bring us back to the good old days, to turn a new generation of pop and club kids onto Daft Punk’s chic. We’re buzzing about “Get Lucky”, but we have our fingers cross for “Random Access Memories”. A sublime pop single is one thing, but an album which matches that velocity is something else entirely. It will be interesting too if the smart campaign also extends to how the band push the album. Album campaigns are all about the hard sell, all about being in your face whether you want the damn thing to be in your face or not. We can take it that Daft Punk won’t be doing phone interviews with everyone who wants one and there seems to be little sign of a tour (well, unless you want to get to Wee Waa) so how this goes is down to how the album is positioned and, most important of all, how it sounds. An album chockablock with instant smash hits like “Get Lucky” would be quite the thing. From irishtimes.com

I fixed your first post l2youtubetag

oi Everyone with twitter, PLEASE retweet 'Looking to get more exposure for your mixes and track releases?.......' etc http://twitter.com/ausdjforums Help spread the good word.

I'd love to fuck around with it more, but the track is only meant to be 2-3 mins for the assignment and I'm already 45 secs over that. We'll see how much free time I get to bring it out as a proper production one day.

Updated OP with assignment file