Save Our Club

Save MOS, sign the petition, share the link and tweet it. 26th February is decision day. Let’s not lose this great place. Click on the link below:

http://www.ministryofsound.com/saveourclub

saveourclub

Monkey Safari – Hi Life (Ed Did It)

This is a beautiful track, with beautiful lyrics and a beautiful video. The high-quality images and videos capture timely and relative moments throughout, with the piano and vocals taking this track to a new dimension and driving it with some gently rolling minimal tech beats, in true German tech house form.

“I’ve never been so high… I’ve never laughed so loud… Nothing gonna stop me now… I think I’m coming down.”

Listen/watch below and buy at beatport here:

 

 

Baby D – Let Me Be Your Fantasy (Satin Jackets Rework)

The classic got classier. From the wicked sounds of the 90s to the smooth disco house sounds of right now, this is a yes from me. This rework gets better as it progresses and the last few minutes have you locked in the groove. This is a perfectly blended musical cocktail that brings back a well-known classic to give it a sharper edge in a simple upbeat way. A smooth groove of piano-driven beats is always a winner for Beats Continue.

A release date is imminent, please.

Finnebassen – ‘Monday’ (Finnebassen Remake)

This is a regular, yet unique track to start your week. ‘Monday’ takes you on a journey, continually reminding you of the sexy groove, the beautiful dreamy beat and the downright sleazy deepness that has been ruling the House sound so far this year. I’m not normally a fan of female vocals on deep house tracks (not being sexist!) but this works really well. A notable big name this year is this rising House music-maker Finn Peder Wang from Oslo, Norway, better known as Finnebassen. Check out his own remake below:

Please get rid of the fake DJ!

A hot topic for the last few years that has really accelerated recently…’Double O’ is right (except for a couple of points), and unfortunately with the ‘entertainer djs’ it’s all about money, promoting themselves by trying to be better than their fellow artists, instead of supporting them and promoting the music. The overload of commercial festivals has a lot to do with it, bringing DJing to a whole new view of what it delivers. The art of DJing has been lost and for many young music lovers has never been seen because of the ‘entertainer DJ’ getting precedence.

It has more to do with the public appeal…Maybe it’s not that this generation does not care but more so that the people who are in it for the music are far outnumbered by fans of mainstream and commercial dance music that just didn’t exist before this dance music/festival explosion was seen in recent years. Which is why I am more specific about festivals and events I go to. Traditional DJs live forever!

It helps that we know the difference between how music is perceived today compared to when we were the young generation. Not to say some of the new generation don’t see it, it’s more to do with the digital age we live in… We were brought up in the acid house days of Sasha and Digweed, Carl Cox, Judge Jules, Paul Oakenfold and then Nick Warren, Laurent Garnier…the list goes on! These superstar DJs have always constructed these huge sets that build and build, that take you on a true musical journey. I guess people don’t have the patience for that anymore. This is an age where people now live for the quick fix.

The real DJs, fundamentally, are not afraid to take risks in mixing and track selecting. They are not afraid to play a song that they released in 2011, 2010, or 1995 for that matter. They are not afraid to play a new song from an up-and-comer that has the potential to make people ‘go bananas’ and they are not afraid to omit their latest single for once. Real DJs are not afraid to leave us wanting more.

Hopefully, however, people are now realising this (like myself) and are going back to the traditional, organic ways of DJing in its true art form, much like other elements of living such as food, beauty and fashion.

But anyway, read the article below and tell me what you think:

http://www.inthemix.com.au/features/53283/Are_traditional_DJs_a_dying_breed?utm_source=mailbomb&utm_medium=email&utm_campaign=10622-[ITM%20Weekly]%20Big%20Day%20Out,%20Hot%20Chip,%20Stereosonic%20preview,%20Defqon.1

Full Review of The Whitest Boy Alive + support from Cadillac & Mitzi @ The Forum, Melbourne, Wednesday 18th January 2012

Full Review of The Whitest Boy Alive + support from Cadillac & Mitzi @ The Forum, Melbourne, Wednesday 18th January 2012

This was an evening set up for quality live music from start to finish in the beautiful theatre setting of The Forum. With this being The Whitest Boy Alive’s first performance of their Australian Tour, there were two local support acts (both under the Future Classic record label) that were chosen wisely through their similar sound, standard and style. All three artists have no programmed elements to their sound, which is hard to believe when you listen to them! So the stage was set for an exciting display of musical talent…

 

Cadillac, the more local of the two supporting artists – playing in their home city – open the proceedings after the early patient crowd endured a 25-minute delay due to technical issues. The 5-piece band get straight into their groove with their slow burner of sophisticated sultry disco pop, namely ‘Endless Summer’. The 80s-infused synths, dreamy rock guitar notes and lead singer’s tambourine set the tone for Cadillac’s set. The second track brings in a heavier darker beat. The vocals, nevertheless, are lacking in true definition in comparison to the studio sound. The percussion, keys and synths take control and are the real backbone to this track.

‘Blue Skies’ is up next. It has an echoing cosmic opening, with a noticeably smoother and rounded groove now from the guys through this catchy summer sunset beat. The lyrics take some hold on the overall sound, yet need tightening on quality. For the final two minutes, the keyboard compliments the sweet loveable beat to develop its maximum groove. The most appreciation from the crowd so far is acknowledged on the final notes of the song, as more people make their way towards the stage. ‘Past Midnight’ is their fourth track and is a more meatier, driving padded beat, turning the frequency up and developing even more catchy summer vibes. It is very similar to the previous track ‘Blue Skies’. The lead vocals are still not hitting the potential highs, but I am predicting improvement for this year and beyond, both live and in the studio. About half way through the song, the band delve into harder yet slower beats with the tambourine being brought back in for uplifting effect, culminating in a well-timed rhythmic guitar-led finish.

The penultimate song starts off with swinging sounds being created, allowing more emphasis on instrument solos. This is one of the more finished tracks in terms of refined sound, however they lose the crowd in the middle section slightly, with nobody really knowing where it’s going as it leads on a level track. Not to put a damper on this, as overall it’s a finely produced track. Cadillac’s sixth and final song ‘Dreams’ is a penetrating groove of crashing symbols, building into a flow of cosmic dreamy pop sounds that are blended in heavy, likeable rolling beats. This is their most well-known track, with the vocals being saved as best for last. The fading keys lead their set out as they walk off stage to appreciative applause.

A nice cool set of summer sunset songs that, with a few touches and alterations, have the potential to be a highly successful band. All their tracks boast rhythm along with a continually growing and recognisably cool groove, which is what I loved the most from their set. This is an excellent first warm-up to the show, as I had anticipated.

Mitzi, the other local support and upcoming nu-disco talent, take to the stage soon after at 9:25pm with a bouncy vibrant start, getting stuck into some jamming from the off. The four guys from Brisbane then give us the first of their late 2010 three-track EP ‘Morning Light’ which is full of fun-loving, low beat-shaking disco groove. The cowbell and tambourine are prominent with keeping the all-important rhythm and groove. The vocals are a bit shaky as would be expected live, but the guitar and bass are dominant throughout. It’s not as lively as previous live performances but all for good reason as they are building up nicely for more uplifting tracks and of course the headline act to come.

Mitzi’s new song ‘Care Too Much’ is then revealed to the fast-growing theatre full of indie disco-pop music lovers and it is very ‘Aussie-summer-sounding’ still, through its low key chilled beat. The quick drumming is livelier and infectious, yet there are gaps of drops that sound too long and the overall sound is lacking real flow, unlike their older stuff.

The next track is a surprise as it is Mitzi’s take on a 1983 timeless disco classic ‘I’m Only Shooting Love’ by Time Bandits, which is very similar to the sounds of Mitzi that could be easily mistaken as their own work. The remix is indeed theirs, however, and it shows signs of real flowing nu disco groove. The beats boast cool rhythmic style that have the perfect amount of deftly-timed drops, linking in with the ever-loveable timing of the cowbell. There is an awesome drumming solo, where the bongos are used in addition, with the bass guitarist joining in on the drumming action. The closing repeating of lyrics to the classic remake are contagious as the close-to-full crowd are joining in.

The lead singer makes the announcement that “there are two more songs to go, and then it’s The Whitest Boy Alive”. The last two songs they play are in fact the other two EP tracks Mitzi are most famous for; guitar led from the start, ‘India’ picks up the pace with this well-nurtured and bubbly number. This really is a great song; the quirky discofied sounds combine to great success. ‘All I Heard’ is their last and best track. Along with the longer introduction, it is deep bass driven and meatier than previously heard live. This song has such a cool groove and the scratchy guitar chords are a welcome difference towards the end. Mitzi finish well and they’re set is really tidy.

With the more chilled vibe and lower sound levels by both Cadillac and Mitzi, there is more emphasis on building up for the main headline act The Whitest Boy Alive. The build up is extended for half an hour after Mitzi’s fine set finishes, by which time the audience is now well and truly pumped with excitement for what is to come from the much sought-after 4-piece band from Berlin in Germany.

There is a huge roar that echoes around the beautifully decorated theatre as the four highly talented musicians of The Whitest Boy Alive walk out on stage. They go straight into their first track ‘Keep a Secret’ from their 2009 album Rules, and during their longer live-alternate introduction, the Norwegian front man and brains behind the band – Erlend Øye – announces: “We are The Whitest Boy Alive from Berlin” to which the crowd respond with positive uplifting acknowledgement. The timing of each instrument is hugely recognised and there is a feeling of relief around the theatre as the overdue wait for this excellent band is now over! The live effect has each of the four band members displaying smooth touches of brilliance. Half way through they make it more down beat and then super slow mo it down to a stop…making everyone think it was just a snippet of their opening song…before restarting again, getting everyone grooving and bopping away once more, and finishing with some cool jamming.

High on the heels’ brings the goose bumps out as the song creates some cool suspense. There is an extension of building guitar chords, echoing a profusion of dirty grimy synths around the high-ceiling theatre. Listening to them live, the upbeat and heavier bass is noticeably likeable, more so than anytime listening to them before. With the different livelier approach, they give us a quirky and cool finish.

The bass guitar’s first chords for the next track are instantly recognised and cheered for, as by the sounds of it, everyone in there knows the bass line for ‘Timebomb’. This time the band makes it really meaty and thrashy, proving that they bridge the gap between pop and rock in fine style. Bassist Marcin Öz’ skills are a real highlight here. There are some cool synth sounds added by Daniel Nentwig on rhodes and crumar (synthesised keyboards) and he gets the crowd to join in with a 5-clap sequence, all creating the unique live effect. There is a real bond of audience and band interaction going on here.

The bass line is similar to ‘Golden Cage’ and that is what they mix so smoothly into, in fact, as they delve into their most popular song from the Dreams album from 2006. It is one of the most beautiful songs by the band; mesmeric and grooved up with the bass and the keys much fuller and louder live. The guys start jamming again mid way, this time it’s more jazzed up. There is an effortlessly slow build up that comes after the jam with Sebastian Maschat leading it on drums, increasing the pace and bounce. It gathers into a really deep and uplifting techno sound that moves elegantly towards a sweet little mix into ‘Island’. This is The Whitest Boy Alive’s most upbeat track and it shows in the following five minutes. The amazing effects used with the sweetest bass groove are a real moment maker. It is at this point that the most consideration should be mentioned for the bassist – Marcin Öz – who has been on fire so far and really brings the ultimately unique and uplifting deep, groovy and rhythmic techno side into it (he formed the band with Erlend Øye when he was techno DJ Highfish in Berlin). Once again, there is a slow build up during another quality jam that is raised higher with more of the crowd’s involvement through some intense clapping. It culminates into an almighty high with unified jumping and bopping for all those standing.

With the crescendo reached, the guys slow it right down and they do some talking, mainly by Erlend Øye, who then starts singing a slow song he must have written on the tour as it involves experiences in Melbourne. With the band giving it their unique backing sound, after about a minute they then move onto ‘Intentions’, a beautiful track that oozes a swaying bohemian style, while bringing out a different edge when Erlend portrays a ‘jazz hand in the air’ moment to bring the crowd’s reaction to the forefront. This track is so laid back and groovy. Sebastian Maschat gets the maracas in his hand while drumming to give a successfully varied approach to what the listening viewers are normally used to. To finish, Daniel’s keys give a piano extension that is highly appreciated.

One of my favourite songs of theirs, ‘Gravity’, brings the upbeat style back again, allowing the pace to pick up as the song goes on. The reasons behind the favourite-tag are down to its techier cosmic disco style that is so driving and jumpy, combined with the coolest and most intelligent lyrics. Marcin gets the song underway again with that killer bass line! He really is on top form as the bass and percussion become dominant, although not forgetting, by no means, the awesome strings and 80s keys combo by Erlend and Daniel towards the end. They are playing seriously cool music.

With the ‘Dreams’ album being much more chilled than the latter ‘Rules’ album, there is only one more song from the earlier 2006 album that they end up playing and it’s one of their best; ‘Burning’ is another beautifully patient, guitar-led masterpiece that starts off with the familiarly unique drumming sequence that only Sebastian can make happen. Daniel then entertains the crowd with his maracas and the interesting positions he shakes them in! Going into the jam section, Erlend counts down from 8 to 1 and is really proving how well this phenomenal band can put on a show.

Half way through their gig now, Erlend introduces their new song – ‘Upside Down’ – which, despite being a very catchy song with the words ‘Upside Down’ featuring regularly, I found the melody to be quite airy fairy and very much like The Little Mermaid’s ‘Under The Sea’ with a kind of strange mix of Caribbean reggae folk in a new age bohemian-like way. However, with their signified touch it is has a quirky cool catchy beat, but I’m not a fan I’ve got to say. The vocals are weak in comparison to their well known older stuff. When you think they’ve finished the song, it is Daniel’s turn to talk to the audience and he starts off by stating: “I would like to introduce the fifth member…you! Guys will sing ‘Upside Down’ low [pitched], while the girls will sing ‘Upside Down’ high [pitched].” This was not as successful as planned I don’t think, or maybe I wasn’t the only one not feeling it.

Their other new song ‘Bad Conscience’ came next. This is more like their true sound, in terms of the instrumentals. The first sounds to it are awesome and, after introducing the rhodes and crumar, the rhythmic guitar chords and drums float you along happily, while the keys keep you upbeat. I wasn’t a big fan of the lyrics or the way Erlend sang them (or shouted them on occasions, but I guess when he got the crowd to join in on the easy “ba da da da, da da da da” ending chorus, he wanted them to sound like he did!). Overall, however, this new song has a genuine groove to the complete sound and the raw, free-flowing guitar is driven with a cool beat to move to.

After telling us a funny story about how they should have gone to the Australian Open tennis after a bar incident, Erlend moves us back to their beautiful music once more and ‘Courage’ takes us into a welcoming deep array of meaty, glitchy techno awesomeness. More emphasis is on the instruments than when they are in the studio, which results in giving out a bouncier, raw vibe for the crowd to jump up and down to and head bop in a mellow chilled way. The deep tech glitches come into full effect half way through. This cosmic disco power that they create is just like the ‘Future Classic’ sound that brought them out here by Sydney’s leading underground electronic music label.

Once more, another track from the Rules album with ‘Fireworks’ that keeps the upbeat vibe going from the off through their techno, beat-bouncing, upbeat crashing percussion live version. As the song moves through the motions grooving into gentle beats, a surprise but very short rendition of the 80s smash hit – ‘Wicked Game’ by Chris Isaak – suddenly emerges in the smoothest transition and the crowd pick up on it as soon as Erlend sings the first line “The world was on fire and no one could save me but you”. They then incorporate the 80s feel and Daniel gets all electro 80s in outstanding fashion.


The final song ‘1517’ is another truly upbeat, ‘hands in the air’ moment tune. There is a really amazing blend of added sounds and elements they have put into the show that makes this a quality live track. There is so much groove going on and after a long applause while the band bring it to a finish and stay completely motionless, they then bring it back with a reprise that is slowed down with some improvised words to allow the audience to carry on them and see them out. As they take their bow and walk off, the immediate sounds of “one more song” and stomping and banging on the floors echoes increasingly around The Forum, culminating in the band returning under a minute later to the exciting anticipation that has been created in front of them.

They give us an amusing version of a popular, yet surprising choice due to its genre and original style, and that is R Kelly’s ‘Ignition’. Keeping it shorter than the original at around the two-minute mark, this is a cool laid-back take that gives the crowd more chance to interact at the same time as seeing what else they can do, which is fully appreciated. The encore continues as Daniel starts off another familiar sounding opening of a classic on the keyboard synths, which is ‘Show Me Love’ by Robin S. Immensely upbeat, with keys and vocals prominent and recognisable, the guys then turn up the heat with richly raw texture and bounce with all four of the guys and their instruments giving their own magic to us happy people dancing away. Daniel then appears to have problems with his rhodes and crumar. However, whether that was the case remains a mystery because, despite there being a short pause of no music, you could be wise to think it was planned down to the way Erlend suddenly jumps in and decides to get his magic fingers on those keys and finish the raw 80s electro sounds to much applause. It wasn’t the only time Daniel had made a mistake in their set. In fact, I think Marcin was the only one of the four who didn’t! I would like to think it was actually a staged plan of theirs, in true German fashion. But nevertheless, whichever way, it was highly enjoyable and the crowd were in raptures at the finish of it!

 

As they take their final bow and then walk off, I realise I’ve just seen one of my favourite bands in the world playing some of the finest music in the world. Special mention goes to the two in the middle on guitars, Erlend and Marcin, but most notably Marcin for his flawless overall performance. The Whitest Boy Alive are one of the best live bands alive.

Parallel Dance Ensemble – Shopping Cart (Maxxi Soundsystem Remix)

Parallel Dance Ensemble – Shopping Cart (Maxxi Soundsystem Remix)

Current number 1 on the Beatport indie/disco chart…and deservedly so.

I love the journey of this remix, with the layering of some really great sounds at different sections, particularly the latter part, where the deep funked up beats get deeper and more grounding, with an underlying cool bubbly disco bass line taking the original to greater heights. The final part introduces that beautiful-linking sound of the cow bell to much applaud.

This is a hot remix.

 

Buy here / play below: