Cupe

i moved the thread basically its 8 of the same questions you can bomb on someone if they want a quick interview I call it the ADJF 8ball YOU posted, so do you want the questions?

no do them now

we'll do one more of these today next in second best dressed

respond to pm

tick tock

Whoever posts first gets an 8ball interview up in the interviews section annnnnnnd go

done happy reading ps. we need to stop flogging interviews and do our own, so lets get this shit rolling. i already got DJ's lined up

Binary Finary are back in the scene performing live as well as DJ sets. It's been a while since they were in the spotlight since their smash hit 1998 so with their return an interview was certainly in order so that we could get the scoop on what has been going on in their lives through the years and what we can expect from them in the here and now. We caught up with Stuart Matheson of Binary Finary for a Q & A on the group's behalf. Can you tell us what your live act entails? Well there are 3 members currently. There is Matt Laws and myself who are in the studio writing material for release and for the live set. Sasha joins up as a DJ / Live Performer for Binary Finary LIVE, which is what we go out live under. I've spent a lot of time in the studio to remix some classic tracks, as well as the creation of new material. Its been fun, hard work, frustrating and exhilarating all in one go! Can you describe what equipment you use while performing live on stage? We use 2 MacBook pros, networked up with 2 JazzMutant Lemurs and a keyboard, all plugged into a traditional dj mixer. Clips are triggered live from the Lemur's as well as the control of filters and effects. What does your studio equipment for production consist of? Well over the years it has trimmed down a bit from a hardware perspective; however I'm adding in a few things as we go along. Recently re-purchased a JP800, and it's been lovely getting back to know this old friend. Primarily using software, because you can write on the go without the need to drag round tons of equipment. A Yamaha CS6x and W7 are also used from time to time, along with the trusty JP! How do you decide whether you wish to perform live at a certain venue or a DJ set? Usually this is determined for us; it would be nice to think we had a choice in this! hehe Which style of performing do you anticipate doing more frequently, and why? Well currently we are focusing on the Live side of things. I'm more of a producer than a DJ so it suits me better. However that's where Sasha comes in, as he is primarily a DJ, so we have all basses for live covered. Where does Sasha Vatoff fit in? I joined up with Sasha to take the Binary Finary Live project out. Sasha joined in with the live angle as a DJ and Live Performer. To be honest with you, he was bugging the crap out of me to do a live performance, so after pestering me I told him if he wanted to come along and help out live, then I'd be ok with it. 10 minutes later he had organized a gig! Are you working on any new original productions, and can you tell us a bit more about them? Yes, always working on new productions. Part of the Live set involved the creation of new tracks. We are planning on an album release at some point, and just working on getting a single or two out before then. We've also been writing some chill out music, which might see the light of day at some point. We've done a track with Melbourne's Trent McDermott, called 'Freedom Seekers'. This should be out this year, just working out some details on that now. When do you anticipate your next release? I think I may of answered this above! . Soon… Promise! What activities have you both engaged in since the group took a break in 2000? Well Matt has become husband to Pip, and a father to Archie, and has since moved from England to Ireland. He is enjoying fatherhood, and is gaining a reputation in Ireland for offering good solid advice to young writers and musicians. I've moved myself to Australia lock stock after meeting my now wife whilst travelling to Australia in 2004. We've both constantly been writing music, it's not something we can get away from even if we tried. It's part of our DNA. What are some of your plans to commemorate your return; is there a tour in the works? We've signed on with Fresh DJ Agency, so its fairly early days for us there. There are some ties being made to gigs in Europe and Asia, so we'll have to wait and see. From the outside looking in, what are some of the notable changes that you have witness in the music business and in the Electronic Music scene since 2000 up till now? I think the music industry in general has changed dramatically over the last 10 years. It isn't really even recognizable from what it was. Obviously the rise in software and the Internet have changed the ball game considerably. I still don't believe the music industry has really caught up with the Internets emergence, and is still fire fighting to see where it fits. How have your styles changed over the years? That's a great question, one I am not sure of. Ha. We really just write music we like, and like to hear played out. It's not pre-determined, so if you start off wanting to make a trance monster, but it ends up as chill out electronica, then so be it. Are you currently signed to a label or are you releasing tracks on various labels at the moment? We aren't signed on to a label, we are looking to release tracks as they come on various labels and also some releases ourselves. We were one of the first groups in the UK to release an album digitally on our own, so we are more than happy to go that route on a few releases. Do you feel that 1998 will always be your biggest hit or do you aspire to break your own record? 1998 was released in a very different time than we are in now. I wouldn't put the pressure on anyone to break any records; it's just about having some fun with everything. Since 2000 so many different sub-genres of trance have emerged. If you had to classify the current sound of Binary Finary, which sub-genre of Trance would you choose? I think that's a difficult question, because we aren't writing for a particular style. I'm not sure I totally follow the idea of being put into a specific pigeonhole of style/genre. I know that makes sense for the listeners out there, dependent upon their tastes, but I would just say 'Trance'. Can you share any other information about upcoming projects? As mentioned we have a chill out project we are working on, along with an artist album. We are also looking at doing a compilation containing remixed tracks. All in all, that keeps us very, very busy. Do you have any additional comments for your fans? Yes, thank you to all who have come along to our shows and given us great feedback via email and on the web. We wouldn't be doing what we are now if it wasn't for you all. Also would like to thank everyone for supporting the 1998 re-release. It's been great to be a part of this track again. So a big heart felt thanks to everyone who has supported us, and we hope to bring your beautiful ears some great live music and releases shortly.

Christopher Lawrence just released his new compilation on Moist music entitled Rush Hour. The official release date was just yesterday, June 22nd, 2010 so we reached out to Christopher for comment to find out more about this new release. You recently performed with Judge Jules at Pacha on April 23rd, 2010. Would you like to share some of the highlights with us? Pacha with Jules was a fantastic night. It was amazing to see such packed and rocking dance floor for underground trance in NYC. I am excited by the support that Pacha is giving to a trance night. It proves that if you play it the people will fans will come. Playing with Jules is always a great time. I had just played several dates with Judge Jules at the WMC in Miami including the AM Only party and Jules own Judgement Wednesdays. I like the energy that Jules brings to the party. He is a quality DJ and has great interaction with the audience. Where will the remainder of your North American tour take you throughout the rest of the year? Pretty much everywhere. I am just now heading to Buffalo, Detroit, Vancouver, Phoenix, Los Angeles and Miami. I am also playing three dates in Los Angles and San Diego with Sara, my wife, as Mr. & Mrs. Smith. Then I have more solo dates in Chicago and Las Vegas. Where did you have the most fun during your stay in Miami for WMC? There were so any amazing adventures. But the best time was probably playing at Nikki Beach on the final Saturday at sunset as Mr. & Mrs. Smith with Judge Jules and Sandra Collins. How are things progressing with the Mr. & Mrs. Smith project? The Mr. & Mrs. Smith project is really picking up steam. We have a unique sound that is a tough underground electro sound but influenced by my years of experience demonstrating that gimmicky music never satisfies. What people want is tough body music and Sara has an uncanny ability to pick out sexy body music that packs the floor with girls! I hear that you are starting a new compilation series on Moist Music. Would you like to tell us more about it? The new compilation series on Moist Music is called Rush Hour after my monthly radio show of the same name. The Rush Hour series will feature the best tracks from the recent sets of the radio show as well as a few new surprises. I am really excites about this series as the tracks to choose from are proven winners and newly road tested floor fillers. What sparked the idea for you to start the Rush Hour compilation series? I can't take complete credit for the idea of the Rush Hour series. I was planning to release another CD for Moist Music but had not given much thought as to the concept. It was Victor at Moist and Sara, my manager, that came up with the idea of merging the Radio Show and the compilation series. When it was presented to me I knew it was the perfect choice. The name Rush Hour has a long history beginning with my first UK top ten charting record. What is the official release date? The official release date June 22. In regards to the Rush Hour radio show broadcasts, approximately how many listeners do you have on an average basis? I don't know as it goes out on over a hundred FM stations worldwide, Digitally Imported and other on-line stations, as well as being a podcast for download. There is really no way of knowing, but it is a lot because every city I go to I meet people that listen regularly to Rush Hour. And those are just the people at the clubs. There are thousands of people that just listen at wok, in the car or on their iPods. Can you tell us how DJ rankings affect an artist? They really don't make that much of a difference. If it anything it can help reinforce to sponsors of events that a DJ is a recognized DJ. Sponsors don't want to invest money in a party in which a promoter has just hired his roommate to DJ for the first time. Do you listen to other genres of music besides EDM; and if so can you name a few bands or artists? I really don't get much time to listen to bands outside EDM. It is pretty much my life. However, I do like Iron Weazel. You have a beautiful family, you should be very proud! Are Damian and Lola already studying to follow in your footsteps? I am very proud of my family and they are proud of me. My son, Damian has already decided that he wants to be a DJ. Lola prefers to listen to my music in the back seat of the car and express her very discerning opinion as to which songs are good and which are “junk”. What has been the hardest part of arriving at this point in your career and all of your accomplishments? The hardest part is that I am working harder now than ever before and trying to balance time with my family. It used to be enough just to be a good DJ but not anymore. Now you have to be a DJ, producer, remixer, and radio show host. Do you have any other major projects in mind for this year? I am still trying to finish my new artist album. Do you have any other comments for our readers? Thank you for all the support over the years and I'll see you on the dance floor.

If your very first single sells over 10,000 copies, you know you're right on target. In just over 2 years, Audiojack has firmly established itself as a successful outfit in the field of beefy house beats. Their first single Robot skyrocketed the boys to worldwide praise, profiling the duo as 'one to watch' among dance freaks the world over. With remixes and releases for the likes of Underworld, Renaissance and 2020Vision and gig at the infamous Fuji Rocks festival in Japan last year, Audiojack is without any doubt one of the fastest rising acts in the scene today. Next month sees the release of their long awaited album Radio on 2020Vision on which the outfit displays their unique sound of roof-raising beats, nifty percussion structures and dirty, dirty bass-lines (expect a review soon!). We recently teamed up with Audiojack's James Rial and Richard Burkinshaw for a little chit-chat on their album and their career thus far... First of all, how's life? Pretty cool thanks, we're just finishing some new tracks and getting ready to go on tour to Brazil at the moment which is always exciting in carnival season! Can you tell us something about when and how you guys started? We met in Ibiza where we were both hanging out for the summer in 2002. When we got back to England we ended up sharing a house together then started making music around 2004/5. We literally locked ourselves away in the studio for a year only seeing daylight to restock the fridge, until we got something we were happy with and that got signed, which was our first record Robot. You're about to release your debut album Radio. How long have you been working on the album? We started around December 2007 so it's taken us just over a year although because were touring almost every weekend it was made in stops and starts. We moved house and studio during this time which took us down for about 3 months until we got the acoustics right in the new place. We had a 2 week break from gigs and literally half the album was made in this time. Can you tell us something about the production process? Do you handle a specific division of tasks in the studio? We share all responsibilities and come together with ideas that we think will sound good. Of course there are certain aspects that one of us is better than the other at but we tend to use these to our advantage and both know our strengths and weaknesses. For our remixes we tend to take the sounds that have been provided by the original artist, chew them up and throw them back out in our own way but for the album tracks we've recorded lots of live automation using a midi keyboard so we can play the tracks live. Our live show is still very much in its infancy though and won't be ready for a while. How would you define your sound? We've always said we aim to make music to make people dance, although with the album we tried to produce something which could be enjoyed in a club, at home, in a car, on the beach etc. Our sound has changed a lot since we first started making music and hopefully will continue to do so as we learn and experience more but we'll always stick to our ethos that we want to make music that works on the dance floor. What is your most favourite tool to use in the studio and why? We've just bought a couple of new plugins that have some really nice live instrument sounds, so keyboard or sax solos can be played by midi keyboard over the top of a bass-line and sound really authentic. In what way does your live act differ from the sound of your album? We aren't ready to deliver our live act yet in terms of instruments, laptops and keyboards so when we perform out we do back to back DJ sets featuring a mixture of our own productions and those of other producers we like. They differ in some ways because the album was intended to be a piece of music which you can listen to from start to finish. Unfortunately in the digital world some people will undoubtedly pull out the tracks they want for their own DJ sets rather than listen to the album as a piece, which is the way it was made and intended. The album features lots of interludes and we also tried to join the tracks in interesting ways in the studio which makes the full piece more interesting to hear. Our DJ sets feature some album tracks but because we tour across the world in different venues to different ears they can be completely different tracks from one week to the next. We still buy a lot of other peoples music spanning through house and techno and are more interested in which of the many tracks we've got will work best for 'this' specific crowd than what we necessarily want to play. If they're in our box we put them there so it's not really a musical compromise. The crowd definitely comes first. Since 2006, you've been playing at some of the planet's most acclaimed festivals, released remixes on famed labels and played a whopping 250 gigs across 30 countries. After having achieved so much in such a short period of time, what other goals do you have? Loads! We've already started work on some original productions for our next album, we'd like to do a remix album where we rework some of our favourite electronic tracks, there are still dozens of countries and amazing festivals we haven't played so although we've done a lot in 3 years we could still pack out another 10 years and have things we won't have done. 2020Vision claims that you have the potential to grow out to the size of acts such as Underworld and Daft Punk. A bold statement... Yes, that is a bold statement and obviously very flattering. I think the key word there is 'grow'! Were both still in our 20s and although we've done a lot in a short space of time we are developing our sound at an equally rapid rate. Whether we can reach that kind of level won't really be known until we've got our live show together and seen it work on many a big stage. Also to attain that kind of level would probably involve some kind of commercialism which we're not bothered about. Daft Punk and Underworld are two of a very small handful of extremely talented music acts who have managed to hit those heights whilst retaining their credibility as electronic recording artists. Ask us again in 5 years! What more can we expect from you this year? Were working on more original productions at the moment along with a couple of remixes which should see light of day during the summer… we've got quite a heavy touring schedule until April with Brazil, USA, Mexico and Australia all in our agenda so we'll be focusing on keeping our DJ sets up to scratch through until then. We've just moved to Sasha's booking agency, Excession which we're excited about so hopefully we'll be getting involved in some of the big summer festivals. Studio wise were taking it month by month at the moment but were still spending most of our free time there and intend to all year so there should be plenty more output. How do you see yourself in 20 years from now? Get a time machine?! What do you do to relax? Any hobbies? Whenever were not in the studio or on tour we try to see our friends and family as much as possible, we've got a really close group of friends and it's always great to hangout when possible. Aside from that we both like cooking, watching comedy, trying to keep a bit fit etc. Is there anything else that you want to say to our readers? Well if they've got this far thanks for reading!

Welcome Nice to see you tell us to check the track out and vote if we like it, instead of like some wankers that just yell VOTE FOR ME without anyone even knowing what music they're talking about Enjoy your stay

Just post the article and credit the author in your post

A few years ago, ‘Do you like dubstep?’ is not a question you’d expect to hear from Ed Banger boss Busy P. From the basements of South London to the mainstage at Australia’s national Parklife festival in 2010, it’s been a rapid (and contentious) trajectory. So where is dubstep at right now? How is it faring down under? And with its ever-widening fan-club on both sides of the DJ booth, can all growth be seen as good? For our final Year In Review feature, we’ve pulled together opinions of those in the know about dance music’s biggest talking point in 2010. For Chris Pfeiffer, the man behind Adelaide’s weekly dubstep night Subsects, it’s no surprise the sound has spread like wildfire. “It’s heartbeat music; it’s perfect,” he says. “It would also have a lot to do with the fact that dubstep is more of a medium than a genre. It’s an artist’s palette. There’s very few rules to follow. There’s obviously those who are just jumping on the bandwagon, but good on ‘em. They’re helping to evolve the sound and push it in different directions.” So-called ‘bandwagon jumping’ is a recurring theme in dance music, but nowhere has it been more fiercely debated than in dubstep. Philadelphia bass-lover Diplo is a natural convert to the sound, and in a recent interview with inthemix he raged against the perception that it’s sacred territory. “People want control, but that’s not what dubstep is about. Dubstep is bigger than just these nerdy white dudes sitting at home in Liverpool talking about how the wobbles used to be bigger in 2009. This is about dudes making music all over the world. For me, the dubstep scene is a real motivator and inspiration.” When Diplo’s label Mad Decent presented their own dubstep primer earlier this year with the Blow Your Head compilation he was prepared for the response from some circles, with Diplo saying that “people hate it because they want that scene for themselves.” In North America, Diplo says, dubstep has now usurped the popularity throne from the brash electro sounds of Justice and company. “You can’t even listen to electro-house now that dubstep is here, it’s for fucking babies now. Playing a Justice record in a club now would like playing a fucking nursery rhyme compared to the dubstep that’s going on. They love it because it’s so hardcore and it’s angry and American kids love to attach themselves to something represents them. It’s dirty, it’s underground, it’s futuristic, it’s techno; dubstep’s such a huge opener for a lot of kids’ minds.” Closer to home, a more ‘underground’ take on dubstep has been the focus of parties like Void in Sydney, White Rhino in Brisbane and Too Much in Melbourne for several years. It hasn’t always been an easy sell, either. “Ask anyone who promotes underground music in this city; it’s fucking tough,” says White Rhino’s Richard Buck. “We’ve lost money on 60 maybe 70 percent of the events we’ve done. Other crews are in the same boat, if not worse.” In Adelaide, a shift has begun, says Subsects’ Chris Pfeiffer. “The parties are getting bigger and bigger and with that more intense,” he enthuses. “I haven’t seen anything like this since the early ‘90s and the days of raves. The festivals aren’t cutting it for a lot of people anymore and they’re coming back to the clubs, and it seems dubstep is the sound that’s drawing them back.” One thing that’s certain is that with all its growth and mutations, the term ‘dubstep’ is becoming less definitive. To some people it can mean the mainstage-filling wobble of Rusko while to others it’s the deeper strains of Scuba or Shackleton. Or something else entirely. “The term ‘dubstep’ now references the half-step wobble sound, which is something we have never really championed,” says Buck. “You’ve got artists like Shackleton, Mount Kimbie, Rustie, James Blake, Rammadanman, Untold and FaltyDL taking the idea of ‘heavy bass’ and navigating it through unchartered territory, with none of them sounding anything like each other. Yet through their emphasis on bass, they are all still loosely connected.” For Damien Abicic, whose Void night has been consumed in bass music since 2007, ‘dubstep’ as a tag has attracted some unwanted attention. “As can be expected, many artists, DJs and promoters have chosen to capatalise financially on the artistic and cultural value the sound has produced,” he argues. “Those artists with genuine ambitions and motivations have taken that same value and used it new ways.” triple j’s Saturday night dance figure-head and club-hopping DJ in her own right Nina Las Vegas backs up those claims forecasting the tipping point for the overblown side of the dubstep coin. “I think the genre will pass…purely because it’s already getting abused by bedroom producers,” she offered. “Some of the worst remixes I’ve hear this year have been featured with an ‘in brackets’ Dubstep Remix to the right. I think what makes the sound so identifiable is what will ultimately lead us to move on from it.” “One thing that is incredible about it is that there are so many different sounds encapsulated within it, but it’s still called dubstep,” says Pfeiffer of the divergent strains of the scene. “It hasn’t spawned any sub-genres in the 10 or so years since its inception. That in itself is just amazing. There’s still a lot of great producers making the original minimal style, and then there are those that are taking it to the next level, but both still have the same critical elements that make it what it is. And as far as diluting the scene; no way! Its connecting people from everywhere, bringing people together worldwide, young and old, and doing what music is supposed to do, make us feel good.” The sentiment is echoed by UK-bred, Australian-based bass fiend Mark Pritchard, whose many projects include Harmonic 313, Afrika Hi-Tech and Global Communication with Tom Middleton. He believes that acts like dubstep ‘supergroup’ Magnetic Man sharing top billing at mega-festivals can only be a good thing. ” Skream, Benga and Artwork took their Magnetic Man project to the mainstream and it was great to see them crossover,” he says. “Some purists moaned, but fuck them. Let people make the music they want to make; those guys are still more than capable of underground killers and will continue to do those I’m sure.” Moaning was a sure-bet when Onelove, a local club brand with its roots in electro, announced its plans for the Dubstep Invasion compilation. Sydney stalwart Kid Kenobi, who mixed the second disc, spoke to ITM. “I knew a lot of ‘purists’ would shoot down the comp via the old cliche of a so-called ‘big’ label commercialising ‘the scene’,” he says. “But seriously, thank fuck in 2011 we finally have a good local comp that is not filled with the best of commercial dance and electro. The Australian scene is suffering under the weight of commercial clubs and music. Why would anyone want to shoot down one of the first commercially available compilations of underground music to come out in ages?” For such a fire-starting scene, it’s no surprise that this round-table of sorts offered up so many disparate takes on dubstep at the end of its biggest year yet. So where to from here? Our crystal ball seems far too foggy on that one but we’ll march into 2011 with eyes glued to the movement to see if it evolves and fractures further or if it burns out like White Rhino’s Richard Buck forewarns. “[Dubstep’s popularity] has a shelf life of about one-to-two years max and then “dubstep” will become a dirty word just like “breaks” and “electro house” did, and they will all move on to the next hype. The most important thing for us is to focus on the artists that are musically pushing things forward and exploring new and exciting territory within the context of dance music, and that’s all you really can do.”

interview section is back up just moving all the threads back now

just getting offers that we need to take up we've done a few interviews already, maybe i'll bring back the interviews section

thanks lads

haven't had time to start

Looking to put a team together who has actual interviewing skills and can apply themselves to get something properly researched and written up on a deadline for DJ's to respond to. You'll be interviewing anyone from Robbo at Emerald Tavern to international touring DJ's. Serious responses only, please; don't troll or be a nub. Ask any questions here. If you're accepted and your consistent work is good, and you're not already in VIP, then you'll probably get an invite. Cheers

elaborate?

all the way from Mars to little old Aus...

missed it

I know cunts want their shit heard, but fucken hell Does anyone else get all this 'Hey I just done a new track and ablah blah balh listen to it blah etc' all the time? Pretty un-pro

st150 will be old news soon

I've only listened to the start but this is a fucking intense journey. sit your drink down somewhere safe cause you won't be fucking sitting down for a while dude this mix would get the crowd screaming at all the shit they think they've heard before over and over