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[021 BulletCast] DESIGNERZ La Rumba Mix

[021 BulletCast] DESIGNERZ La Rumba Mix

Joining us on episode [021 BulletCast] is the producer duo, DESIGNERZ. Through this fully audio podcast, they tell us how Dropbox allows them to create music from different states and about Stefano Noferini recently supporting their upcoming EP, La Rumba

iii Points: Art, Music and Technology Braves Hurricane Threats

iii Points: Art, Music and Technology Braves Hurricane Threats

Review of the stage experiences at the Miami-based iii Points Music, Art & Technology Festival

David Gtronic: Atlanta Welcomes a True Talent

It's the beginning of the weekend, and even though Shaky Knees has used up some of the city's energy, the house and techno community of Atlanta still manages to keep it moving late into the night. Early on at the Alley Cat Music Club, support from Koba and Attila stirs upstairs. More and more people, building up an initially intimate crowd, which sets things off to a nice start. David Gtronic begins his set around 1:00 a.m. firmly grounded in house.

Immediately, there is a definite jump in level of complexity and intensity. Hard, round bass and fat, cutting hi-hats are still bouncy somehow. This, coupled with lots of spacey tech sounds and an often swinging feel, fuels the feet and delights the imagination, an impressive balance to strike, no doubt. Bringing things back down to earth for a bit and then building back up with a harder approach to techno, he finishes the night out strong.

Before his set, David agreed to speak with us about his life in the world of dance music.

You recently played New York and Miami back to back. How were your experiences there?

New York for me is one of the most special cities. I really love the fast-paced lifestyle of the city. There’s so much diversity and different styles of music. I really like the Brooklyn scene. You get a lot of underground warehouse parties. New York and Miami are the two key cities in the United States to come and play. I do it every chance I get to. Miami is always special because I grew up there. Every time I play in Miami, and this is the third time I’ve done it, I do open to close sets. I start at 11 p.m. and end at 5 a.m. It’s really nice, because (I see) people that I grew up with in high school come, who I haven’t seen in five years. It’s nice that they come to support me. I’ve always gotten a lot of really good support from Miami, so it’s always really special for me to play there.

What event do you consider the most pivotal in launching your career as a dj/producer?

I wouldn’t say an event, but when I made the move from America to Ibiza in 2013, it changed everything for me. I already had my name growing slowly from releasing music, and I was lucky enough to get support from some of the big guys like Marco Carola, Loco Dice and Dubfire. All these guys were playing my music in 2011 and 2012, before I really had a chance to get out there. In 2013, I finished my sound engineering degree and moved to Ibiza. I just bought a one way flight thinking that I was gonna come back at the end of the season. I met so many people. I ended up living in Berlin. I never came back home, technically. Just to visit.

Of all your various residencies, which has been your favorite and why?

Right now I’m with the Vatos Locos crew, which is Hector, my friends from back home, Randall M, Chad Andrews, my roommate in Berlin, Sece. It started last year, but this summer it’s kicking off a little more. We’re doing a residency in Club Der Visionaere. We have one party each month for the next four months. This place is, I will say, one of my favorites in the world. Some people will laugh at me because it’s a small bar for 150 people, but the vibe that it creates is just incredible. People go there on a nice summer day, have a beer, hangout with their friends, and maybe go to panorama bar after. If you really want to keep partying there you can. Ricardo Villalobos plays there every other month. It’s a special place where people want to come and play. It’s not about the money or anything. People actually pay their own flights to come and play at this place. Have you seen it before?  It’s just next to a river and in the summer it’s beautiful.

The Terrace Podcast has over a million downloads. What do you attribute this success to?

It’s funny. I started this podcast when I was sixteen. Back in the day, I used to listen to Tiesto’s podcast. I listened to it every week so I could see how he presented the podcast. I wanted to do something like this. Growing up in Miami, you can’t go out to clubs until you are 21. I managed to get a fake I.D. when I was 16. I was going to the terrace in Space and I was obsessed with this music and the after hours. That’s why I named my podcast the Terrace Podcast to resemble after-hours music and underground music. The funny thing was, people started thinking that it was the official podcast from Space’s terrace. I got a lot of traffic from that, but eventually they realized that it had nothing to do with Space. They liked what they heard, so they kept listening and more people came.

The great thing about it is I never put any marketing behind it. I never promoted it, and I don’t post about it. I just create the podcast, make the artwork, release it and it just promotes itself. It’s a really cool project. I personally like to think about it as my little musical diary. I love collecting a lot of music, even though I don’t get to play more than half of it. When you come to play in the United States you have to bring something stronger. They are not too open for these weird minimal sounds, but in the podcast I get to do this and express myself in another way that I couldn’t do in the club. That’s what I like about it the most.

Your collaboration with Lilith, Lagrimas Del Sol, reached new heights of musical sophistication. What was your inspiration behind this work?

The title of the EP, Lagrimas Del Sol, means tears on the sun. This was during a really hard period for me economically wise. I was going to school, and I had to choose between working and having some money, or just going to school full-time and making my music on the side. I chose making my music on the side. A lot of the times I was without money and it was very difficult

I met Lilith. She had released under Monique Musique, which is a label that I worked with before.  I started messaging her, saying I really like her music. We met and had a Skype conversation for five hours. We decided to try some music together. She is the same as me in that she is very sensitive and expresses her emotions through music. We didn’t really have a plan, but we wanted to combine, I wouldn’t say classical music, but something like that with techno. She had a friend from Amsterdam who plays the cello amazingly. She recorded a bunch of cello recordings and we had a few piano recordings, and there’s also one track where we have a tango. We grabbed little elements from normal music that we liked, and made it into a techno production.

Do you foresee creating more techno session musicians?

Yes, for sure. I actually have a new record with Lilith coming out that’s called Cello and it’s a twelve minute track with a cello throughout the whole track. This was the first track I made when I arrived in Berlin. It always reminds me of that moment when I was struggling to make the transition to a new city. We definitely will do that more. I love classical music. When I travel, that’s all I listen to - the piano, Eric Satie, Beethoven. I love really abstract piano sessions. I definitely want to keep doing that in the future.

What do you enjoy most about performing at tINI & the Gang, Ibiza?

I haven’t worked with her for the last year or two, but when I did, the most magical thing was being on the beach in Ibiza with all your friends and watching the sunset in front of you. I remember the last time I played was back to back with Chad Andrews. We played right before tINI, so we had the sunset set, and the sunset was directly ahead of us. We were playing and the people were screaming and dancing, watching the sun go down. It was really a special gig. Even Resident Advisor wrote an article about it. That’s the most special part about tINI & the Gang. It’s a free party. People don’t have to worry about paying 40 to 60 euros like they do at Amnesia. You already come with a chill state of mind – have some beers, hang out on the beach with your friends. listen to good music and to new upcoming artists you’ve never heard of before. That’s the good thing about tINI. She always gives new DJs a chance to come and play. That’s something you need to do for the newer generation. You can’t be so egocentric. You have to open the platform for new guys and give them an opportunity. Just how she and I got an opportunity. It’s important to do that.

What are you most looking forward to in the near future?

I’ve never been that type of guy to plan ahead, but I’m really excited for this season in Ibiza. I want to focus more on studio work, and every time I go to Ibiza it’s impossible to get work done out there. One time I even brought my equipment and everything and I didn’t even use it one time. I already know when I go to Ibiza I do some networking, a little partying, a little raving, but I can’t make music over there. This summer I want to focus, staying in Berlin working in the studio not getting distracted that much. I’ll spend June and September in Ibiza like I usually do, but take July to focus in the studio. I’ll be coming back to America at the end of July for one week, and maybe do a gig in New York and L. A. and Denver, and then back to Europe for the rest of the summer.

[Interview] Oscar G: Marathon Man of the DJ World.

Miami native and a marathon runner of the DJ world, Oscar G. is no stranger to the scene, nor is he afraid of a challenge. His time producing as part of the Murk Boys allowed him to hit several Billboard number ones, and many of the tracks he has written have become ageless club favorites. An undeniably talented producer, his true passion and joy comes from his time on the decks, DJing to a crowd of music-hungry souls. A respectable love for his music, and sheer determination, has lead to infamous ten hour sets and set him apart from many of his peers.

His new album, dropping mid-May, will consist of 20 original tracks, ranging from vocal and melody based bangers to tracks immersed with percussion elements. To be released on Nervous Records, the album will feature appearances from the likes of Kenny Dope, DJ Sneak and Pablo Fierro, just to name a few.

What went into the production of some of your most played tracks like "Some Lovin" and "Together"? Are there any stories behind them?

Those were only our second and third releases on the Murk label. We were very inspired at the time and completely in love with house music. The vocal on "Some Lovin" is by Bebe Dozier. I heard her singing the National Anthem at one of my brother's high school basketball games. She was dope, and I got her contact info. The vocalist on "Together" is a good friend of ours, Marck Michel. We were just young kids hanging out making music. We never imagined we'd soon be touring all over the world DJing and him performing the song.

You are a world-renowned DJ, respected for your talents. What does DJing mean to you? What sets you apart?

DJing for me is a childhood passion that became a life-long career. I started playing parties in my neighborhood when I was twelve-years-old. I never really had a plan or future career path. There were no "superstar DJs" at that time. It is just something I fell in love with doing and put a lot of time and energy into. I hope what sets me apart is originality and a unique sound.
 

When was the first time you played internationally? 

I think the first time was a Murk show in Sheffield, U.K. We did a few cities in England on that first trip. 
 

You've been know known to play ten hour sets at venues like Space in Miami. How did you keep up your energy and your feel for the crowd for that long?

Adrenaline is a great help. Even then, it does become a bit tiring, but it usually doesn't really hit you until you are done. When you play that long it is almost more mentally exhausting than physical. As far as reading the crowd, that's just what I do. That is the focus.
 

Who or what, were some of your biggest influences growing up that started you down the path of electronic music?

Arthur Baker, Jellybean Benitez, Vince Clarke, Mantronik and Pretty Tony Butler were some of my biggest influences, along with bands like Kraftwerk, New Order, Depeche Mode and Yellow. I was also influenced by the major music pioneers like Michael Jackson, Prince, Bob Marley and so many more. I could go on and on.
 

Throughout your years as a DJ, and playing at big clubs throughout the world, are there any moments or venues that stand out to you?

My decade long residency at Space in Miami always stands out. It was such a unique opportunity to do what I love every week, in my hometown, in the best possible venue/environment. I also was lucky to have played at the legendary Haçienda in Manchester, U.K. a few times. More currently, I played at Output in Brooklyn for ten hours last New Year's Eve. Output is pretty perfect and playing for my friends in NYC is always special.
 

Do you have any upcoming projects or goals you can share with us?

My new double album "BEEP my BOOM" drops May 20th on Nervous Records!
Other than that, I will just continue to make and play music that I love, and be grateful for the opportunity to do it.

[Interview] Hoj keeps us on our toes with a night of mischief and genre melting mastery.

By Kristin Gray

Photos by Teddy Williams

The Alley Cat I had known up to this point has transformed since their grand opening with Simon Baker. Now their headliners perform upstairs. It’s dark, minimal and sweaty. It is exactly the underground venue you go to if you want to just absorb the music and dance your cares away. The sound reverberates off the exposed brick walls as Vince Lin and Ian James start us off with chill vibes that smoothly escalate to a late night house set. An industrial fan is set up for those of us a bit more vigorous in our dancing or faint of heart in the heat.

Hoj takes to the decks and I swear watching him was almost as mesmerizing as listening to his music. It's as if the relationship he has with his music will forever remain in the sweet honeymoon phase of love and never-ending excitement. Each new track he seems completely enthralled by, and even though he knows the upcoming selection, his face lights up with each new phase in. Then there was the music. His style I would describe as both figuratively and literally keeping us on our toes. Switching from house to techno and back again, the energy was an ever changing flow that kept up an air of intrigue and seduction. Prior to his set we were able to weave our way onto the outdoor patio where we sat, relaxed, enjoyed the fresh air and chatted about Burning Man, his musical journey and ice cream.

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You recently finished a stint in Miami and Playa Del Carmen, where you got to play alongside some great talent, including a few long time fellow collaborators. Can you tell us about that?

Everywhere I go to play, I am surrounded by friends in one way or another. Whether I’m playing with Lee {Burridge} or any of the All Day I Dream guys, or Behrouz...or anybody, it’s always kind of amazing to go play when you know the other DJ’s. You’ve hung out with them, you’ve been to their houses and they’ve been to your house, and you know you have similar sensibilities. It’s always nice musically too because you know what they’re gonna do and they know what you’re gonna do.

What is the story of you becoming one of the founders of Opulent Temple at Burning Man?

Oh, that’s a long time ago. The story is that I had never been to Burning Man, and I was a resident for Opel Productions at the time in San Francisco. We threw parties in San Francisco and Opel was run by Syd Gris. Syd had been to Burning Man a bunch and had done some sound camps, and wanted to start his own. He had a meeting at his house with me and a guy called Rich who did metal art installations. Basically, Syd told us he wanted to go to Burning Man and start Opulent Temple, and {asked} did we want to come help out? So I said, "Yeah, I’d never been before." We brought a bunch of wood and Rich built what we called the “O-Pod,” that shot fire out of the top of the roof. It was small, it just had one DJ booth, but we worked our asses off so over the years it grew and each year they would add stuff. And now it’s a pretty big sound camp. This started about thirteen or fourteen years ago.

What inspired your creation of the deep and mischievous music you are so well known for?

I just want to play something that’s true to my personality, and I like to cause a little trouble when I can. Also, I started going to raves in San Francisco when I was really young, like fourteen or fifteen years old. Back then, they were playing funky house and deep house and there were guys like DJ Dan. Those were the cats I grew up with and we would just go to dance. I was in a break dancing crew, we’d go in with cardboard and duct tape and we’d do a dance in a circle all night. I always wanted to keep it danceable when I moved on to make music of my own. And that’s where it partly comes from. And the mischievous part comes from my personality. I like to get into a little trouble. Not too much, but a little bit.

Can you describe what your journey has been like, from your discovery of your love for music to where you are now?

The best way to describe it is to talk to anybody that’s close to me. If I don’t listen to music pretty much on a daily basis, or I am away from it for a while, I kinda turn into a grumpy ass hole. And people will tell me ‘you need to go listen to some music’. For me, the journey has always been that music is a really huge part of my life, and without it I turn into a grumpy old guy. The journey has been feeding that beast as much as I can. Now it’s grown with All Day I Dream and we’re getting to play a lot of the music we love to play. It’s really been a pleasure.

Last year you were on tour with fellow Listed Productions DJ and long time friend, Atish. What were some of your fondest memories along your European tour?

Oh, so many! We had fun everywhere we went. I called him my DJ wife, and he called me his DJ husband. We will still text or call if we’re traveling a lot just to check in to see what we’re doing. But the tour, man, Beirut was amazing. There is a lot of down time when you’re touring, you’re playing Friday and Saturday so then you’re in a random place from Sunday to Thursday. You’re lucky enough to have really good locals to hang out with and show you around. Everywhere we were… Istanbul and Beirut… we got to really learn a lot about the culture and see how they lived and partied. You’re really comfortable when you’re there with one of your closest friends. And we ate a lot of ice cream.

(So then I had to ask as a fellow ice cream lover) What’s your favorite flavor?

That’s a really good question. Persian ice cream is the best ice cream that there is. It’s saffron and rose flavored. It’s the only flavor they have, if you go to get Persian ice cream in Tehran, there is that one flavor. And we actually did a photo shoot with DJ's dressed all in black but with ice cream cones. Then every city we went to we got an ice cream and posted it to Instagram. People still come up to me at clubs and ask me if I want an ice cream.

 

We just got to see Lee Burridge for his set in Atlanta, can you tell us the experiences of getting to play alongside such a masterful DJ?

Lee Burridge is my favorite DJ. And over the years we’ve become close. I’ve gotten to play with him and before him and after him, all of those. It’s always effortless. He brings the best out of you and you’re also standing next to your favorite DJ. You kind of elevate your game but without the pressure. And he’s so open and very much believes in you and wants you to play whatever it is you want. I never got a sense that he was uncomfortable, and it’s a very warm, open experience. I consider myself one of the luckiest guys alive.

What was involved in your latest mix Alpha, and the process that went into it’s creation?

I always try to do mixes as kind of a whatever I’m feeling at the time. Sometimes they come together, but there’s a lot of mixes that don’t, and I’ll just scrap them after a while and you tell yourself that this mix isn’t happening today. Alpha was one of those where I was touring quite a bit, and after you’re touring and playing every week you get to learn of a lot of good music. Alpha was literally, I was in a hotel room and had just gotten back from a gig, and instead of sleeping I just started to program the mix, and it kind of put itself together in a very quick amount of time. I barely even thought about it. It was what I was feeling, and they were the tracks that if I were to play a set at the moment, those were the ones I would have played.

Any upcoming projects or releases we can be expecting from you?

I like to do the mixes a lot, so I think in the next few weeks after the Winter Music Conference I’ll probably put out a new mix. And there’s some original productions that I’ve been working on, so we’ll see what happens with those.

[Interview] Patrice Baumel, M.E.N.U, and Project B. switch things up for a dark and enduring experience.

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By Frank Duke

Patrice Baumel is known as a Kompakt Records front-runner. He is a humble, non-fussy guy, that shares his thoughts with the world musically, emotionally, and insightfully. M.E.N.U, who is a dear Macedonian friend of Bobi Stevkovski (Project B.), is an accomplished producer, genius DJ, and an all around lighthearted guy.

Earlier in the day, I had been talking with my sister, who has just moved to Atlanta from Chicago about Patrice Baumel, M.E.N.U, Bobi, Project B., and The Music Room. She has never been to anything like this. I thought to myself, “what better way for her to see what Atlanta is all about?!” She’s really into music, festivals, and dancing the night away. After discussing with her she agreed to join me for a bit of booze and dance moves.

We arrive to The Music Room a bit early so that I could have a chance to show her the fantastic Bone Lick BBQ, grab a fresh cocktail from the Edgewood Speakeasy, and get her acclimated to a venue that I spend a lot of time at. We walk down the staircase, underneath an old drum set on display, to make our way into The Music Room.

We grab a chair at the bar, a few drinks, and make conversation amongst the bartenders.

We sit back, relax, and listen to Bobi Stevkovski start warming up the room with an easy going, laid back, dark, and percussive track selection. Shortly after we sit down, I see a tall, bald-headed, smiling man, walk down the staircase. I thought to myself, “this has to be Patrice.” I turn to my sister telling her I’d be back in a moment, and go up to introduce myself. We walk back up the staircase out to the street side curb, sit down on a broken plastic power supply, make some homeless friends, and begin discussing his music career.

You’re on your Balance Series tour right now. Tell us a bit about how the touring has been so far.

It has just started actually. I love the work I do and am grateful for every gig I get to play, regardless whether it’s just one person dancing in front of me or 1,000. I want to bring people together and give them a great time. 

patrice baumel 2
patrice baumel 2

Getting to work on the Balance Series compilation has got to be an exciting project to be presented. How did you approach your track selection, mixing, and the concept you wanted to convey?

Printing something on CD is kind of permanent, so I had to put together music that would stand the test of time. It took me a while to figure out the whole concept. I compiled a list of 100 of my all-time favorite tracks, then tried to find interesting combinations between them. I just went with the flow of what worked and felt right to me. Then 70 minutes later, I kind of came out at the other end of the tunnel. I had my mix CD. With anything creative that I do, it never really feels like it’s coming from me personally. I’m just a conductor or a medium for the music. It just happens.

Your record label EX is known to give artistic freedom, a level playing field, while all being distributed for free. It seems as though your focus has been shifted to other projects. Can you tell us a bit about the current state of EX - past and future?

EX is an experiment. EX meaning outside of the ordinary. I just wanted to learn how the music industry really works with a couple releases just to test the waters. I realized that If I used labels that are more established and have a larger following I would be able reach a lot more people. I put EX on the ice for a while to focus on my upcoming releases on Kompakt, other select releases on some labels I believe in, and some remixes of artist that I like as well.

You’re currently living in Amsterdam after growing up in Dresden, Germany. You have discussed prior that the first year of this move was a difficult one for you. What inspired this move in the first place? What about Holland was calling you from Germany?

East Germany, at the time, felt to me a bit like a hopeless place. After the wall came down in ’89, things really changed in a lot of ways. There was a lot of frustration and a hardcore right-wing movement going on. Being a son of a white mother and African-American father, it wasn’t the safest place to be. I wanted to get rid of that feeling of discomfort and unsafe atmosphere of just walking down the street. Dresden and East Germany, really didn’t feel like a town that was going anywhere. There was no opportunity. It felt like a dead end. I wanted to go somewhere that was growing, booming, bustling, and that was international. Amsterdam was the perfect mix of these things. It’s one of those places that feels extremely connected to the world geographically. Almost every culture and nationality is represented in Amsterdam. It felt like a happy place. People were smiling, enjoying life, greeting you, and there was a feeling of community. There was an air of optimism that really attracted me. It was the obvious choice.

You are well known for a live rendition of Steve Reich’s “Drumming." I grew up listening to a lot of minimalistic classical music. I would love to hear about what inspired your live rendition of that track?

At the time, Trouw Club was looking to expand it’s horizons and work with other cultural institutions in Amsterdam. One of them was Stedelijk, which is a modern art museum of Amsterdam. There was another institution that Trouw worked with called The Concertgebouw, which is the equivalent of Carnegie Hall in NYC or Royal Webster Hall in London. Concertgebouw approached Trouw in 2013 to do something together for the Amsterdam Dance Event (ADE).

The team at Trouw thought this would be something good for me, since I had already been DJing at this concept called “Yellow Lounge” , which is an event where the worlds of classical and electronic music would come together for an evening. They would have the classical musicians do a performance for half an hour or so, then I would do half an hour, and then keep repeating this process. Once this collaboration between Trouw and Concertgebouw was presented to me, I was asked to do something bigger. I thought, “what could I do?” Steve Reich was the perfect crossroad between classical music and electronic music.

I searched for a musician that could actually play Steve Reich live. I found Dominique Vleeshouwers, who is a world class marimba player. Then we just started working on the show. He would play rudimentary Steve Reich patterns from “Drumming”, and I would loop them, sample them, re-loop them, improvise on top of them into infinity. Then we would keep playing new loops and repeat this process. It was a free and open format translation of an original Steve Reich piece.

How were you introduced to Steve Reich’s music and what was going on in your life when you got that first connection with his music.

My uncle gave me a Steve Reich CD many years before the ADE experience with Trouw and Concertgebouw. I immediately liked the repetitive, stripped down nature of Reich's compositions. Many years later, when I was asked to do the “Yellow Lounge” concept, and DJ at a classical music event, I was forced to acquaint myself with classical music better, and I rediscovered Steve Reich. I thought to myself, “If I were to DJ classical music, what would I play? What would my voice be?” Steve Reich and minimalist music was the obvious answer because it shares the same DNA with techno music. I properly listened through Reich's whole repertoire. It was extremely rich and close to my own musical understanding. It was the starting point to building a bridge between electronic music and classical music.

What are your plans for the rest of 2016 in the studio and on the road?

For the studio, the big next step is to make an album for Kompakt Records. It’s still in the early stages. I’m defining a sound for the album currently. Once I have it locked down, I can roll out different variations. Through this method the album will have a consistent feel to it. Other than that, there will be plenty of touring ahead.

 

We both walk back down into the basement, the club is fairly still empty. Everyone must have still been sleeping. Patrice and I continue to discuss music, Amsterdam, Miami Music Week, and life in general as we get acclimated with Bobi’s musical selection. The venue was very dark light all night. No gimmicks for this event. Just the Artist, the crowd, the dance floor, and the extra immense speaker setup the Project B. team brought into the venue.

The DJ booth was different this time. It was an makeshift work horse table, with a piece of plywood and two blue construction style stands. The artwork on the walls were covered with black sheets to ensure that the room had no distractions from the music. Patrice tells me that he would like to go sift through some music to ensure great vibes for us the rest of the evening.

M.E.N.U played briefly, at least I think. Maybe they were playing back to back. It was honestly hard to see with how dark the space was. Either way, the music being played portrayed a more driving and dark tech house selection. Not too long after, the dance floor was quite full, and Patrice made his way to the stage.

He came in seamlessly carrying on what was said musically between Bobi and Marco. Patrice Baumel played to the dark space and the crowd was loving it. There wasn't much socializing going on at this point in the room, the music was too pristine and perfect to even think about trying to talk. He took the music a little darker, melodic, and heavy. I was lost in the space, the music he pieced together truly took me away. And no, this wasn't the booze, or anything else talking. I was completely there, but not at the same time. Bliss.

I walked up to the booth, made myself comfortable in a corner off to the side, and watched his technique a bit. Patrice was extremely focused on his track selection. He then played a track that I hold very dear to my heart. "The Fog (Cid Inc Remix)" by Quivver, is a melodic driving tech house masterpiece that will give you a brief glimpse of what this evening sounded like.  

The crowd was all still there till the very end. Nobody wanted to leave. Patrice plays his final statements, and everyone begins to clear out of the venue. I walk in a foggy haze out of the venue, smiling from ear to ear, with my sister, co-journalist James McDaniel, and we were off unto our next adventure.

Project B.’s vision is always coming more and more to light. Bobi and his team are running with full force to offer something unique, forward thinking, and constantly evolving. I am looking forward watching his vision, passion, and work continually shine in the city of Atlanta and beyond.

[Video] Mr. Nice Guy's Jesse Perez

By Liz Turcotte

Video by Carbon Film Studios

Mr. Nice Guy label boss, Jesse Perez, sat down with me Barbara Walters style before the label showcase at The Music Room back in January. We chatted about quite a few topics including the phonies in the underground scene, being a DJ Dad, and how he found his signature sound, Bump N Grind.

 
 
 
 

Next Up with Ralo

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ralo1

Raul illegally referred to as Ralo is a music producer from Miami, Cuba or Havana, Florida for that matter. Vicing in the South-side of the map, he arranged beats for money, initially in the realm of rap and hip-hop when emerging from the ‘90s bass music movement. Hip-hop wasn’t dead but it certainly felt like it was time to flip the page. For him, it was time to speed up the tempo.

What is your background? Cuban American

How do you think that shaped who you are today? I’m proud of where I come from. I realize how fortunate I am and do my best never to take anything for granted. In this country, we all have the opportunity to be whoever we want. My grandfather came to Miami with nothing but the clothes on his back. He started from the bottom, provided for our family and took the time to remind us that anything you want in life is possible. I lived with my grandparents for a while growing up. My mom and I moved around a lot when I was young. I always hated moving away from the friends I would make. Although no matter where we went it was easy for me to make new friends, probably because I’m outgoing and, unlike everyone else, I enjoy small talk. I constantly got into trouble at school for talking too much.

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[Interview] Ralo Fires Up Alchemy Burn

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It was a chilly and damp Saturday night at Cherokee Farms. The gorgeous property is nestled in the North Georgia mountains and each year during the first weekend in October around 3,500 beautiful souls gather for Alchemy Burn. I was feeling right at home in the midst of the woods, hippies and house music when I sat down by the fire to talk with one of Atlanta's hottest producers, Ralo. He wore a black top hat with steampunk goggles and a grey feather fastened to the strap. His hajj scarf draped over his head (a gift from fellow burner, Ramzi) and the red and blue elephants danced around his retro shirt.

Have you managed to stay dry this weekend? 

Barely, but has anyone?

You're outfit is perfect for the occasion, where did you get all of this?

It's is a combination of pieces from a thrift shop in Little 5 Points, Rag-O-Rama, and Amazon. I've always been into the steampunk look. It's the perfect mixture of mechanical and Victorian style. When I wear this it makes me feel, like me.

What enticed you to experience Alchemy?

I always heard about Alchemy from people I've met along the way of my travels over the last couple of years. Like most people here I hope to attend Burning Man at some point and had to see what this was all about. This is my first burn, I've been to several festivals. The love and energy here is created organically, no money driven productions.

Is there a story from this weekend you can't wait to tell people? 

The group I'm here camping with planned a "birthday flash mob" for an unsuspecting victim who's birthday it wasn't. Long story short, we all sang happy birthday, handed out cupcakes, noisemakers and gave our fellow burner a birthday present and card which he read out loud. Then we all calmly walked away.

Ralo
Ralo

What is one word you would use to describe Alchemy?

Lovely.

Do you have any upcoming shows back in the real world?

Yes. I'm doing a label showcase with Digital Delight owner Sishi Rosch on November 6 at Music Room in Atlanta. It's perfect timing for the release of my upcoming EP on the label.

Are there any other upcoming projects you want your fans to know about?

I recently collaborated with one of my good friends from Miami, Strada, on a three-track EP coming out on Mr. Nice Guy Records. There's no release date just yet

Top 5 Underground DJs at TomorrowWorld

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At TomorrowWorld, you create your own destiny. There are three forces at work to generate an unimaginable festival experience. 1) The vibes of your crew, 2) energy of the crowd, and 3) uncommonly skilled artists.  If you're not looking to spend your weekend at main stage these are the underground shows you don't want to miss.

1. jackLNDN

When you follow jackLNDN on Instagram it's obvious he is one of the most humble dudes in the scene. Although, he has a lot to brag about considering he warmed up Red Rocks for Bassnectar back in May. If you think disco is dead jackLNDN is here to revive your doubts.

Sunday, 27 September

2:30PM-3:30PM

Mythical Frames

2. Shiba San

Music maestro. Get ready for Dirtybird Records' own deep/ghetto house golden child. Shiba San's set is assured to make dat booty pop. Be prepared for some heavy bass and funky, hip hop infused tunes.

Saturday, 26 September

4:15PM-5:45PM

Mythical Frames

3. Alan Fitzpatrick

It's official, the techno crown has been claimed. Producer/DJ Alan Fiztpatrick keeps proving he's unstoppable by releasing tracks on Hotflush Recordings, Drumcode and Figure this past year. If you're looking to get weird, this is the place to do it.

Friday, 25 September

6:30PM-8:00PM

Drumcode

4. Patrick Topping

Hailing from the UK, Patrick Topping is known for his rise to the top under the wing of Hot Creations head honcho Jamie Jones. Miami, New York and San Francisco are just a few of the cities who've recently had the pleasure of hosting one of the most sought after names in dance music. His set will be a cherry on the top of your weekend.

Sunday, 27 September

3:00PM-5:00PM

Paradise

5. Claptone

Hidden under the golden mask stands a true artist eager to captivate audiences. Claptone is an accomplished producer with a recent No.1 remix on Beatport. Dance your worries away with carefree electronic and deep house jams.

Sunday, 27 September

4:30PM-6:00PM

Mythical Frames

Honorable Mention: Bakermat

One reason. This track is the shit.

Sunday, 27 September

7:00PM-8:30PM

Terminal West LIVE