Category: house music

New Video: JOVM Mainstay Boys Noize Teams Up With Steven A. Clark on an Industrial Take on Adamski and Seal’s Classic “Killer”

Throughout the course of this site’s eight year history, I’ve written quite a bit about Berlin, Germany-based JOVM mainstay producer, electronic music artist, DJ and Boys Noize Records label head Alex Ridha, best known as Boys Noize. Now it’s been a while since I’ve personally written about Ridha, but he’s been remarkably busy as he’s released 2016’s Mayday and has spent the past couple of years collaborating with a diverse and impressive array of artists including Lady Gaga, 03 Greedo, A$AP Rocky, RL Grime and Steven A. Clark.

Interestingly enough, while working with Clark on his recently released Where Neon Goes to Die, Clark and Ridha bonded over a mutual love and appreciation of Seal and Adamski’s “Killer,” an acid house anthem that dominated European charts in 1989, appeared on Seal’s eponymous 1990 self-titled debut and covered by George Michael in 1993. Clark’s and Ridha’s cover hews closely to the original but with a punchier and harsher, industrial take on the house music classic. It’s subtly 

As Ridha says of the cover, “Being a 90’s kid, I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun, but it turned banging and lit the dancefloors wherever I’d drop it – so here I am sharing my industrial KILLER.”

Directed by long-time collaborator LIL INTERNET, the recently released video is a remake of the original video, shot at Berlin’s c-base, known for being “the mother of all hackspaces,” with the bulk of the video shot in a space referred to the “airlock,” with the members of the c-space crew referring to themselves as a Space Station. 

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New Audio: Acclaimed Duo Silk City Team Up with Dua Lipa on a Sultry Classic Chicago House-Inspired Banger

Born Thomas Wesley Pentz, Diplo is a prolific and acclaimed Los Angeles-based producer, DJ and electronic music artist. As a solo artist, he’s managed to see a fair degree of commercial success with 2013’s Revolution EP, which debuted at #68 on the US Billboard 200 — and the EP’s title track was later featured in a Hyundai ad campaign and on the WWE 2K16 soundtrack. Diplo is also known as the co-founder and lead member of the electronic dancehall project Major Lazer, and one-half of electronic music production and artist duo Jack U with Skrillex. And as a producer, the Los Angeles-based producer, DJ and electronic music artist has collaborated with M.I.A., Gwen Stefani, Die Antwoord, Britney Spears, Madonna, Shakira, Beyonce, No Doubt, Justin Bieber, Usher, Snoop Dogg, Trippie Redd, Chris Brown, CL, and G-Dragon. 

Mark Ronson is a London-born and-based multi-instrumentalist, DJ, singer/songwriter and producer and although his debut effort, 2003’s Here Comes the Fuzz failed to make the charts, his sophomore effort, 2007’s Version landed at number 2 on the UK charts, thanks to the fact that the album had three Top 10 singles — and as a result, he won a Brit Award for Best British Male Solo Artist. Building upon a growing profile, 2010’s Record Collection peaked at #2 on the UK Charts.

Ronson also won Grammy Awards for Producer of the Year, Non Classical, Best Pop Album and Record of the Year for his work on Amy Winehouse’s “Rehab” and Back to Black. He also produced “Cold Shoulder,” off Adele’s critically applauded and commercially successful debut 19. And unless you’ve been living in a remote Tibetan monastery in the Himalayas, Ronson’s first UK and US #1 single was his collaboration with Bruno Mars “Uptown Funk,” and as a result of the single’s massive commercial success, Ronson won the Brit Award for British Single of the Year, as well as Grammy Awards for Record of the Year and Best Pop Duo/Group Performance. The London-born and-based producer, DJ, multi-instrumetanlist and singer/songwriter’s fourth full-length album Uptown Special was his first #1 album in the UK and peaked at #5.

Ronson’s and Diplo’s collaboration together Silk City can trace its origins to the duo’s long-time friendship, a friendship that dates back to the early 2000s. Their debut single “Only Can Get Better,” featuring Daniel Merriweather was released earlier this year, ahead of their Governor’s Ball set, and they’ve already made several other appearances across the international festival circuit with sets at Bestival and Treasure Island Music Festival among others.  The duo’s second single “Feel About You,” a collaboration with Mapei was a slickly produced and soulful track with arpeggiated synths that subtly nods at Robin S’s “Show Me Love” — but with a clean, hyper modern sheen. The acclaimed duo’s latest single “Electricity” find them collaborating with multi-Brit Award-winning Albanian-British singer/songwriter and model Dua Lipa, and The xx’s Romy Madley-Croft and Diana Gordon, who co-wrote and contributed lyrics and melodies, and much like it’s predecessors, “Electricity” is a slickly produced, anthemic banger. However, the piano-led, hook-driven track draws from classic Chicago house, complete with an irresistible sensual ecstasy at its core.

Directed by production duo Bradley and Pablo, the recently released video for “Electricity” is set during the Blackout of 2003 and stars Dua Lipa, who hosts a loft party that contains so much sexual energy that it keeps the lights on in the apartment. Of course, two of the guests — guess who, y’all? — wind up being stuck in an elevator and completely missing the party. 
 

 

 

 

 

 

Rotterdam, The Netherlands-based electronic music production and artist act The Policy is comprised of two of the region’s most accomplished producers and musicians , Pierre Hagelaar and Thiamin Hoebink, both of whom have lengthy experience as members of local bands and as producers — and those experiences have provided the duo with a unique and unconventoinal perspective and take on electronic music and the club scene. Interestingly, the duo have made a name for themselves with some attention grabbing remixes for JOVM mainstays Ten Fe, as well as J. Bernardt and Editors.

Sonically, the members of The Policy have developed a reputation for a sound that’s centered around electronic and organic instrumentation — and with their first original single “Das Lebenslied,” the duo pair arpeggiated Juno 106 synth chords, sitar and vocoder-fed vocals to create a sound that’s club friendly but with psychedelic textures —  while nodding at Come With Us-era Chemical Brothers and Kraftwerk.

 

New Audio: Diplo and Mark Ronson Team Up For Soulful and Slickly Produced House Music

Born Thomas Wesley Pentz, Diplo is a prolific and acclaimed Los Angeles-based producer, DJ and electronic music artist. As a solo artist, he’s managed to see a fair degree of commercial success with 2013’s Revolution EP, which debuted at #68 on the US Billboard 200 — and the EP’s title track was later featured in a Hyundai ad campaign and on the WWE 2K16 soundtrack. Diplo is also known as the co-founder and lead member of the electronic dancehall project Major Lazer, and one-half of electronic music production and artist duo Jack U with Skrillex. And as a producer, the Los Angeles-based producer, DJ and electronic music artist has collaborated with M.I.A., Gwen Stefani, Die Antwoord, Britney Spears, Madonna, Shakira, Beyonce, No Doubt, Justin Bieber, Usher, Snoop Dogg, Tripe Redd, Chris Brown, CL. G-Dragon and Madonna. 

Mark Ronson is a London-born and-based multi-instrumentalist, DJ, singer/songwriter and producer and although his debut effort, 2003’s Here Comes the Fuzz failed to make the charts, his sophomore effort, 2007’s Version landed at number 2 on the UK charts, thanks to the fact that the album had three Top 10 singles — and as a result, he won a Brit Award for Best British Male Solo Artist. Building upon a growing profile, 2010’s Record Collection peaked at #2 on the UK Charts.

Ronson also won Grammy Awards for Producer of the Year, Non Classical, Best Pop Album and Record of the Year for his work on Amy Winehouse’s “Rehab” and Back to Black. He also produced “Cold Shoulder,” off Adele’s critically applauded and commercially successful debut 19. Now, unless you’ve been living in a remote Tibetan monastery in the Himalayas, Ronson’s first UK and US #1 single was his collaboration with Bruno Mars “Uptown Funk,” and as a result of the single’s massive commercial success, Ronson won the Brit Award for British Single of the Year, and Grammy Awards for Record of the Year and Best Pop Duo/Group Performance. The London-born and-based producer, DJ, multi-instrumetanlist and singer/songwriter’s fourth full-length album Uptown Special was his first #1 album in the UK and peaked at #5. 

Ronson’s and Diplo’s collaboration together Silk City can trace its origins to the duo’s long-time friendship, a friendship that dates back to the early 2000s. Their debut single “Only Can Get Better,” featuring Daniel Merriweather was released earlier this year, ahead of their Governor’s Ball set, and they’ll be making several other appearances across the international festival circuit with sets at Bestival and Treasure Island Music Festival among others.  The duo’s second single “Feel About You,” which features Mapei is a slickly produced and soulful track with arpeggiated synths that subtly nods at Robin S’s “Show Me Love” — but with a clean, hyper modern sheen. 

Slated for an August 3, 2018 release through Phantasy SoundPhysical is the full-length solo debut from Factory Floor‘s co-founder Gabe Gurnsey, and from “Eyes Out,” the album’s first single, the album’s material is a decided change in sonic direction and approach from his work with Factory Floor; instead of the icy, no wave electronica and industrial techno he’s best known for, Physical’s first single was sensual Chicago-styled house music-inspired sound centered around layers of arpeggiated synths, tweeter and woofer rocking beats and enormous crowd pleasing hooks. Arguably, it’s among the most straightforward and club-friendly material Gurnsey has ever written or recorded — while sonically bearing a resemblance to Octo Octa’s impressive Between Two Selves. “What I wanted to get into with Physical had to do with exploring songwriting and structure,” Gurnsey explains in press notes. “The album is very escapist in one sense even though I don’t want to escape from Factory Floor but what I do on my own has to be separate and it has to explore new avenues.”  As for the new single, Gurnsey says “I wanted to use the vehicle of a 4/4 track to set up a simulated night club. To communicate the feeling that comes when we are losing ourselves in that love/lust- filled situation.

“Harder Rhythm,” Physical‘s second and latest single is a sensual, primal, lust-filled track centered around layers of arpeggiated synths, thumping beats — but unlike it’s predecessor it finds Gurnsey leaning a bit more towards industrial house, with the track sounding as though it were inspired by Yaz‘s “Situation” and New Order‘s “Blue Monday.” As Gurnsey explains, “When writing ‘Harder Rhythm’ I was drawing from the two very connected basic primal instincts of sexual attraction and our instilled affinity with rhythm. It’s a straight up celebration of both and the associated feelings of euphoria and tension. A love for the very first drum machine beat I ever heard on Michael Jackson‘s ‘Wanna Be Startin’ Somethin” definitely made its way in.”

Unsurprisingly, the album’s material is based around a larger narrative in which the album’s material is meant to evoke a night out from start to finish. “It’s a record about clubbing, even more than it’s a record to played in clubs,” Gurney says. “Getting ready to go out, driving into town, arriving at the club, being on the dance floor, how you get home afterwards, early the next morning . . . even when you step outside to get some air, when you’re outside at 3am having a cigarette . . . even that is represented here.”

Gurnsey will be opening for Nine Inch Nails for three dates, during part of their Midwestern tour. Check out the tour dates below:

Tour Dates:
10/22/2018 – Detroit, MI @ Fox Theater
10/23/2018 – Detroit, MI @ Fox Theater
10/25/2018 – Chicago, IL @ Aragon Ballroom

Slated for an August 3, 2018 release through Phantasy SoundPhysical is the full-length solo debut from Factory Floor‘s co-founder Gabe Gurnsey, and the album will be a decided change in sonic direction and approach from his Factory Floor — instead of the chilly, no wave electronica and industrial techno, he’s best known for, the album’s material, as you’ll hear on album single “Eyes Out”  finds Gurnsey  leaning towards a  sensual, Chicago-styled house music-inspired sound centered around layers of arpeggiated synths, tweeter and woofer rocking beats and enormous crowd pleasing hooks. Arguably, it’s among the most straightforward and club-friendly material Gurnsey has ever written or recorded — while sonically bearing a resemblance to Octo Octa’s impressive Between Two Selves. “What I wanted to get into with Physical had to do with exploring songwriting and structure,” Gurnsey explains in press notes. “The album is very escapist in one sense even though I don’t want to escape from Factory Floor but what I do on my own has to be separate and it has to explore new avenues.”  As for the new single, Gurnsey says “I wanted to use the vehicle of a 4/4 track to set up a simulated night club. To communicate the feeling that comes when we are losing ourselves in that love / lust- filled situation.”

Unsurprisingly, the album’s material is based around a larger narrative in which the album’s material is meant to evoke a night out from start to finish. “It’s a record about clubbing, even more than it’s a record to played in clubs,” Gurney says. “Getting ready to go out, driving into town, arriving at the club, being on the dance floor, how you get home afterwards, early the next morning . . . even when you step outside to get some air, when you’re outside at 3am having a cigarette . . . even that is represented here.”

Gurnsey will be opening for Nine Inch Nails for three dates, during part of their Midwestern tour. Check out the tour dates below:

Tour Dates:
10/22/2018 – Detroit, MI @ Fox Theater
10/23/2018 – Detroit, MI @ Fox Theater
10/25/2018 – Chicago, IL @ Aragon Ballroom

New Video: Introducing the Sensual and Club-Banging House of Up-and-Coming Italian Producer Matthew S.

Matthew S is an up-and-coming Vicenza, Italy-based electronic music producer, sound designer, and electronic music artist, who emerged in the European electronic music scene with his 2006 debut EP with helped him establish a reputation for a genre-defying sound and an wildly experimental approach that includes samples and other manipulated samples, as well as the use of Ableton Push and Livid DS1. As a sound designer, he has collaborated with web magazine like Espresso and thIS, which resulted in the release of an experimental album with fashion designer Von Felthen, Call Me By Your Name an effort that was centered by a mix of downtempo electronic music and ambient music and featured a series of manipulated and sampled sounds; in fact, the effort was so forward-thinking, that in 2016 it caught the attention of MTV Italy’s New Generation, which he won that year. 

Since then, the Vicenza-based producer, sound engineer and electronic music artist has been very busy: he’s currently, a Production Professor of Ableton Live at the Instituto Musicale Veneto of Thiene — and he’s been building up a fanbase, while further developing and refining his sound. “Touch” the sinuous and sensual first single off his much-anticipated full-length debut is the result of several years working on his sound and its centered around pulsating and arpeggiated synths, tweeter and woofer rocking beats and Leiner Riflessi’s sultry vocals. It’s big, club-rocking house with a sensual thump reminiscent of Giorgio Moroder and Octo Octa’s Between Two Selves. 

Edited by Daniele Sciolla, the recently released video features alternating light colors, dark colors and shadows with each person taking a variety of colored pills, and the result is a video that emphasizes the song’s sensual and undulating textures. 

I’ve written quite a bit about the acclaimed, New York-based electro pop duo Sofi Tukker over the past handful of years, and as you may recall with the release of their debut EP Soft Animals and a lengthy list of blogosphere dominating singles, including “Awoo,” a mischievous collaboration with vocalist Betta Lemme; as well as recently released singles “Energia,” “Fuck They,” international smash hit “Best Friend,” which received a Grammy nomination and was featured in an ad campaign for the iPhone X; and Baby I’m a Queen,” which they performed on Conan

Building on a growing internationally recognized profile, the duo comprised of  Sophie Hawley-Weld and Tucker Halpern will be releasing their highly-anticipated full-length debut, Treehouse next week, and interestingly the album’s latest single “Batshit” finds Halpern taking up lead vocal duties within a swaggering house music production, which features tweeter and woofer rocking beats, blasts of disco-tinged guitar, subtle hints of tribal percussion and heavily arpeggiated synths — and while the song is a sinuous and seductive, it furthers the duo’s reputation for mischievous club bangers; but at the same time, the track finds Halpern introducing himself to the world as being absolutely out of his gourd. 

Along with the release of the album’s latest single, the duo announced the first part of their world tour to support their full-length debut, and the tour includes a sold out April 21, 2018 stop at Brooklyn Steel. Check out the rest of the tour dates below.

Tour Dates:
4/18: Washington, DC @ 9:30 Club
4/19: Philadelphia, PA @ Union Transfer
4/21: Brooklyn, NY @ Brooklyn Steel (SOLD OUT)
4/21: Brooklyn, NY @ Schimanski (DJ SET)
4/23: Providence, RI @ The Met
4/25: Cambridge, MA @ The Sinclair (SOLD OUT)
4/26: Cambridge, MA @ The Sinclair (SOLD OUT)
4/27: Montreal, QC @ Théâtre Corona (SOLD OUT)
4/27: Montreal, QC @ Newspeak (DJ SET)
4/28: Toronto, ON @ The Danforth Music Hall (SOLD OUT)
4/30: Cleveland, OH @ Grog Shop
5/1: Detroit, MI @ El Club
5/2: Chicago, IL @ Metro
5/4: Minneapolis, MN @ Fine Line Music Café
5/5: Kansas City, MO @ The Riot Room
5/7: Houston, TX @ White Oak Music Hall (Upstairs)
5/8: Dallas, TX @ House of Blues (SOLD OUT)
5/9: Austin, TX @ Vulcan Gas Co
5/11: Denver, CO @ Gothic Theatre
5/12: Santa Fe, NM @ Meow Wolf
5/14: Phoenix, AZ @ Crescent Ballroom
5/16: Los Angeles, CA @ The Fonda Theatre (SOLD OUT)
5/17: Los Angeles, CA @ The Fonda Theatre
5/18: Oakland, CA @ Fox Theater
5/20: Seattle, WA @ The Showbox
5/21: Portland, OR @ Wonder Ballroom
5/22: Vancouver, BC @ Commodore Ballroom
5/23-5/28: Bradley, CA @ Lightning in a Bottle Festival
5/26 Las Vegas, NV @ Brooklyn Bowl
5/27: San Diego, CA @ Observatory North Park
6/7: Tel Aviv, Israel @ Hangar 11
6/8-6/9: Kaltenberg, Germany @ PULS Open Air
6/29: St. Gallen, Switzerland @ OpenAir Festival
7/11-7/14: Bern, Switzerland @ Gurtenfestival
7/13: Madrid, Spain @ Mad Cool Festival
7/27: Moscow, Russia @ Park Live Festival
8/11: Budapest, Hungary @Sziget Festival
8/11-8/12: Buftea, Romania @ Summerwell Festival
8/17: Kiewet, Belgium @ Pukkelpop Festival
8/17-8/19: Biddinghuizen, Netherlands @ Lowlands Festival
9/8: Berlin, Germany @ Lollapalooza
9/21-9/22: Ithaca, NY @ Cayuga Sound Festival

 

 

 

New Video: Benin City Returns with a Thumping, House Music-Inspired, Club Banger

Comprised of Joshua Idehen (vocals, spoken word), Shanaz Dorsett (vocals) and multi-instrumentalist Tom Leaper, the London-based trio Benin City have received both national and international attention for a sound that meshes Afro-pop, hip-hop, spoken word and electronica in a seamless, club banging fashion. The trio’s forthcoming sophomore effort Last Night is slated for a April 6, 2018 release through Moshi Moshi Records, and the album reportedly is an ode to London’s nightlife and club scenes with the trio commenting on what their hometown’s nightlife scene has meant to them while expressing anger, frustration and weariness over a rapidly disappearing scene.

For countless people across the world, especially those in a city like New York, the disappearance of beloved clubs, bars and music venues create much larger, universal questions: What does it mean for your town and its culture? What does it mean socioeconomically? With nightlife being both an escape from the soulsucking horrors of the daily grind and a way for weird kids passionate about dance, music, art and fashion to find a supportive loving alternate family, where do these kids go to find that kind of support and love? What happens to them if they never find the support and love they needed? Where do they find a sense of belonging and purpose? And if they have found all of that in a beloved club or bar, what happens when that spot closes?

Interestingly, each individual member of Benin City has spent the past decade in London’s nightlife scene in a variety of roles including artists, ravers, bartenders, bouncers, bar backs, scenesters, drinkers, partiers and weekend warriors, and as a result the album’s material emphasizes a deep, inconsolable sense of loss. As the trio’s Joshua Idehen explains, “London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.”

Towards the end of last year, I wrote about album single “All Smoke, No Fire” a track that featured a minimalist yet propulsive and club rocking production consisting of stuttering beats, an eerily repetitive and chiming synth line and an enormous yet sinuous hook over which Idehen and Dorsett rhyme about prototypical club situations — while noting that those who engage in and love nightlife culture need it to survive with their dignity and sanity intact, even if the bouncer is a no-neck having asshole or if someone spilled their drink over that dope new outfit you brought just for that one night of freedom; but underneath it all is a subtle and undeniable sense of loss and unease over your personal headquarters disappearing — forever.

Last Night’s latest single “Final Form” is a thumping and sinuous house track production featuring arpeggiated synths, tweeter and woofer rocking beats, chiming percussion paired with a rousing and anthemic hook — and in some way,  the song strikes me as a swaggering and modern synthesis of Snap!’s “Rhythm is a Dancer,” and Stardust’s club classic “Music Sounds Better With You” but with an ecstatic yet deeply personal bent. As the British act’s Joshua Idehen explains, the song was inspired by a night at Zoo Bar, “I once went to Zoo Bar in the West End with a poet I really fancied. It was a Saturday night, and neither of us drank but we felt like dancing. They were playing soulful house (this was back in the noughties). Spurring and daring each other on, we started with the running man and ended up at last orders, dripping in the worst sweat, making up entirely new dance moves, downing large glasses of tap water. She, a Dragonball Z fan, kept saying ‘nah, you haven’t seen my Final Form. Next song I will be over 9000.’ Obviously, that stuck with me.”

As for the video treatment, Idehen explains, “Our last video for “All Smoke, No Fire” was in memory of all the clubs that have shut in the last five years, so we wanted our next video to celebrate the mainstream and alternative scenes still thriving in London. Working with George Bushaway, we crafted a narrative of two clubbers working up the courage to lose themselves in three very different dancefloors: Lindy hopping with Swing Patrol in Holborn, Jungle/Garage raving in Fire down [in] Vauxhall, and a soca night at Ruby Blue, Leicester Square.” The video focuses on these two lonely men, feeling self-conscious, awkward and as though they couldn’t possible belong — that is until they figure out a way to let go, and embrace the moment, absorbing the joy, ecstasy and community of the room they’re in, while being authentic to themselves.