IWTFA is proud to present Cleric (Clergy / Figure / Soma)
The mysterious Mancunian, known as Cleric, has been active since 2012. The young UK producer’s creative output has been most prolific with an extensive amount of releases on labels such as Arts, Figure and his own imprint Clergy. Celebrated for his crisp and atmospherical works, Cleric describes his music as a means to translate emotion to others.
When the French - Chineurs de Techno community asked Cleric about the origins of his name and label identity last year, the artist answered with his philosophy on music. "I like the idea that music is like a religion to people – they each find their own ways to worship it and the club becomes like a church. Therefore ‘Cleric’ was born from the idea of a leader within this religion, and the label ‘Clergy’ reflects a group of leaders."
C L E R G Y welcomed 2018 with the Isolate EP [CRG010], their tenth release featuring a highly anticipated collaboration between Cleric and Setaoc Mass. This 8 track EP features a solid set of dancefloor weapons with prominent hard hitting drums. Since then the label has delivered excellent releases at a steady pulse. Stef Mendesidis | Cyborg EP, Wrong Assessment | Neurotag EP, Kmyle | Hyper Society EP as well as a VA featuring a rising star out of the Netherlands by the name of Remco Beekwilder.
Be sure to check out the links below to get a taste.
9pm - 3am
Purchase Tickets: https://www.eventbrite.com/e/melt-featuring-dousk-bedrockvapourmovement-greece-at-capulet-tickets-52513924562?aff=utm_source=eb_email%26utm_medium=email%26utm_campaign=new_event_email&utm_term=eventurl_text Music Genre: Deep,House,Minimal,Progressive,Tech,Techno Facebook URL: https://www.facebook.com/events/313690949360558/?ti=as Take a Melty journey through the sands of time with Greek progressive legend Dousk (Bedrock/Vapour/Movement), supported by Melt OGs Butterz, Christian Kerr, Apró and Jesse Kuch, plus Eureka supremo MiDium.
Date: December 16, 2018
Theme: Ancient Origins
Purchase Tickets: Music Genre: Deep,House,Minimal,Progressive,Tech,Techno Facebook URL: https://www.facebook.com/events/491348341345428/ Fresh off the back of an array of Festival shows and an East Coast tour Somersault is back in full effect with a fistful of brand new material to let off the leash.
It's no secret he's one of my favourite producers around and it's a pleasure to have him back in the beehive @ Laruche for a special Bassic Records edition of Nightcap? on Sunday 11th of November.
Be sure to get yourself organised and head on down to check it out it's set to be a big one! It's Free Entry all night and we're open until 3am so it's perfect for a sneaky after party if you're also heading to the Sold Out Sasha Day Party @ Capulet for the afternoon. one of the head honchos of Bassic Records, Rogibear will be joining me on the support duties for whats surely going to one for the books! See you there!
Somersault’s music is uncompromising. Heavily influenced by the shuffling rhythms of dark UK garage, atmospheric techno and deep melodic house, Somersault straddles the line between the delirious highs and murky lows, a sound that’s brought his unique sets to some of the most respected outdoor festivals and underground clubs across Australia.
The talented producer has come a long way from session guitarist to forging a signature brand of house, progressive and techno, receiving support from Be Svendsen, Felix Da Housecat, LTJ Bukem, Urmet K, Joseph Capriati, Joris Voorn, Laurent Garnier, Eelke Kleijn, Cid Inc, Max Graham, Oliver Schories, Armin van Buuren... the list goes on and on.
These releases call home a compelling list of Australian labels: Bassic Records, Open Records, Upon Access, Subsonic Music, Ugenius, an impending EP on Unknown Records and imminent second EP on Bassic with a corresponding National Tour.
Somersault’s sizable DJ resume boasts performances at major Australian festivals Subsonic Music, Rabbits Eat Lettuce, Dragon Dreaming and Bohemian Beatfreaks as well as famed Australian club brands S.A.S.H, Revolver Upstairs, My Aeon, Breakfast Club, Circus Sundays, Elsewhere, Capulet, Tramp, Club 77, Something Else, Slyfox and Blueprint.
YET AGAIN, Brisbane is being spoilt for choice as another great artist is set to return to the garden Capulet this weekend. OzClubbers was lucky enough to have a very candid chat with Jody ahead of this weekend's show brought to you by Lemon & Lime.
As always with OzClubbers we like to keep it local and ask questions that the fans themselves want to know. This Q&A was developed in collaboration with our very own Anjuna Brisbane crew! Big ups to A.B.C Crew Admin Jason Whyte and crew member Riley Keatch.
Artist Name: Jody Wisternoff
What’ve you got planned for us here in Brisbane on September 16?
Gonna be road testing a lot of new material from Anjunadeep10 which is nearing completion, a few new JW remixes, some classic WOW and just a bunch of hot shit basically! It’s gonna be a day to remember!
You’ve been to Brisbane a few times – what do you like about?
The parties are always daytime which I’m a huge fan of. This is a concept we’ve really embraced with the Anjunadeep open air events this summer! Capulet is such a fun spot to play, super intimate and a lovely friendly crowd. I usually end up getting kidnapped and going out afterwards too.
How do you prepare for a set when you’re travelling?
By listening to new music with my ears lol. But seriously, decent noise cancelling headphones are essential (BOSE) and a lot of planning in Rekordbox and Ableton. I generally like to map out my sets beforehand, although things usually change in the heat of the moment…
Any thoughts on the progressive scene at the moment?
In its broadest sense ie. including deep house/melodic techno/desert music etc, I think the scene is super healthy at the moment, worldwide! Our Anjunadeep parties are starting to get booked at some of the best venues in the world. Printworks in London coming up for example. The show we did at Mirage in Brooklyn in the summer sold more tickets than a lot of the super trendy hipster parties around at that time. Asia seems to be an expanding market for our sound right now too. So all in all I feel things are rocking at the moment!
How is the progressive scene different to other crowds? Eg a techno or EDM crowd.
I don’t really go to many techno parties and I know the EDM crowd is mostly very young. What I can say about the crowds we seem to pull is that people are generally extremely friendly and really care about the music. We get quite a few young ones (recent converts from trance) a few old ravers and everything in between - plus a good female to male ratio!
Our scene here is relatively small - as a DJ do you have any thoughts on keeping the scene alive?
Of course, because the scene is my livelihood pretty much. I can only do my bit really, a small cog in a big wheel.
You got into music at the early age. What’s around these days that parents could show their kids to get them interested in making electronic music?
I would suggest FL Studio (fruity loops) or garage band as an entry point. However, I did recently install FL Studio on my daughter’s laptop as an attempt to train her up as my young padwan but she only seems interested in playing Simms lol.
Any work started on Anjunadeep 10?
It’s nearing completion and I’ll be road testing some of it at the Brisbane show.
Who’s your favourite producer?
What do you listen to in your downtime?
A lot of oldskool hiphop (1986 - 1990) and Rave (1990 – 1991) eg. before the BPM’s went crazy and it all got corny. Not much country music, although I do love the soundtrack to Crazy Heart!
For more information
Check out his latest promo mix here:
Tickets are on final release so if haven't got a ticket for the show this Sunday 16th September get in quick!
At first glance, Brisbane DJ DefWill appears to be going from strength to strength, balancing university studies, events management roles for festivals like Splendour in the Grass, Rabbits Eat Lettuce and Live Large, DJing some of the deepest techno rhythms at some of the primest techno parties on the east coast of Oz and also that he has never let the fact that he is deaf hold him back. Though if one takes the time to look (and talk) a little deeper it becomes clear that he, like many of us, carries burdens that are well beyond his control and the weight of which has been known to bring even the strongest of us down.
New OzClubbers writer Dastardly Kuts gets deep with DefWill.
Dastardly Kuts: Now you truly are a well-known person in the Brisbane Electronic music scene, whether as a DJ, events manager or punter but what a lot of our readers may not know is that you are the only industry DJ in Australia that also has the word “deaf” in their bio. Can you give us your thoughts on how it is possible for someone who can’t hear to be a successful DJ?
DefWill: First of the key elements of being a successful artist (Generally) is how you market yourself and where you fit yourself in the competition positioning map to other business models or genres, which is the same deal for winemakers or coffee beans. That’s why Starbucks failed! However, in relation to DJing, it’s all about how you position yourself to educate the audience, from the music you play thru to the experiences you provide and for me personally, is about telling a narrative to express my internal love of music and share that with others by taking them on an emotional journey.
From a disabilities perspective…. It is a lot harder than people think, behind closed doors and having all the mental and physiological challenges of peer pressure, as well as the internal and external negative gearing within the communication barriers, it can sometimes be very difficult. These kinds of issues were established as a growing concern recently at the Ibiza Music Summit 2018 and it was a topic that was spoken about at length.
DK: I’m sure most of our readers would agree that issues of mental health being discussed at places like IMS 2018 by high profile artists such as Pete Tong and a plethora of others in the dance music scene is a positive thing. From your unique perspective, how do you think it relates to people with disabilities?
DW: In many ways to be honest and it’s a growing concern among families and friends, however, this epidemic is affecting everyone, from both the mainstream and disabilities demographic. I actually just handed in a case study to Jane Slingo (EMC Organiser) addressing how people with disabilities are more susceptible and infused with mental health challenges, and that there is growing evidence to suggest that people may actually suffer from the mental battle scares (Genetically) of our ancestry, passed down thru generations. So, if one of your descendants was a victim of violence, or worse still executed, any time from B.C. to 1800 A.D. then you could very well be more prone to mental illness, potentially thousands of years later.
Take me for example, I grew up with a mother who also had a high degree of disabilities that she suffered because of the physical damage of brain injuries and which resulted in her being harshly bullied, not only by the people around her but also by her family. I believe that this damage control was infused in me and I, therefore, had to deal with these genetic challenges that were further exacerbated by rejection throughout my life and the fact that I was removed from my family by the “old fashion” government – DOC’s, during the early period of my life. Though in 2018, society is much more aware of the challenges faced by people with disabilities and mental health problems, it was not that long ago when decisions regarding parents who had disabilities or who had worked in combat being unfit to raise children could likely be considered reasonable grounds for tearing families apart, which in truth may have unknown consequences for generations to come.
DK: You have taken on a lot of important management roles within a number of high profile festivals over the last couple of years, in your opinion what are the current challenges faced in the management of disabilities, for artists, venues, and customers that want to enhance the nightlife or festival scene in their community?
DW: I’m just glad that disabilities festivals are becoming more of a demographic hub these days because they are a great way to help educate people from many different cultures and demographics. Festivals such as AccessFest in Melbourne (run by the Dylan Alcott Foundation) and the Live Large Festival here in Brisbane (organized by CPL and the Treasury Casino) really helped open up my eyes to the large scale of the live and electronic music loving community here in Australia.
With these festivals showcasing accessibility in all areas and that cater for all physical requirements by using business management techniques that reflect an inclusiveness for EVERYBODY, it’s not that hard to imagine translating this to smaller venues and clubs. With small adjustments, these businesses could cater to the growing population of people with disabilities, not only into the future but right now, today.
There have been major callouts in the London electronic scene of late, with the need for re-education of all stakeholders and staff (security, venue management, promoters, artist management and so on) that deals with customer service roles within events management. This highlights that though things are improving, there is still a lot of work to be done and I’m not saying completely overhaul things, just re-adjustments on how we manage things like risk assessment and management as well as communication, because people with challenges don’t want to be seen as third-class citizens or victims of everyone’s problems. Like everyone else they just want to have a good time.
DK: Having supported some stellar talent from the electronic music scene such as Bass Kleph, Steve Ward, Jamie Stevens, Dylan Griffith, Makumba/Darkshire, and Hefty, you have obviously been a part of some epic shows both as a DJ and behind the scenes with your event brand La Vibrations, what has been some of the highlights for you?
DW: My experience in events management has brought me a deep level of satisfaction as I know I have helped to change perceptions on how people with challenges are viewed in taking on these higher roles. I have really enjoyed working as Artist manager with James Anderson (Dark Forest Festival), as well as playing my part at Rabbits Eat Lettuce (All-rounder/Stage Management) and Splendour in the Grass (All Rounder) not only due to them being top quality festivals, but also because I was given the chance to see my influence on the events crew and how it made people work more professionally and calmer, to find other ways to communicate and get the task done.
As for the DJ side of my life, I just recently warmed up for RAXON at Le Froth and I’m still helping out with Dragonfruit (Capulet) and Bass Swag Entertainment, but my highlight has to be…………… too many, they all have their own unique emotional vibes and engagement.
However, with the love of being authentic and seeing the techno scene getting supported by IWTFA, Lemon & Lime, Le Froth, Bass Swag Ent, SHADES and Flux here in Brissy, whilst Melbourne (The city that never sleeps or known as city of benders of the ARTS) and Sydney both hosting a strong and diverse mix of genres, my biggest highlight would be that it appears the Australian techno scene is growing into a peaceful musical hub akin to that of the European scene.
DK: As well as DJing and event production you are also currently studying at the Queensland University of Technology and majoring in Entertainment Industries, what are your thoughts on university life and the challenges people with disabilities may face to achieve success in both the entertainment and university fields?
DW: I THINK IT F****N GREAT! Seriously, it is due to a number of reasons like Steph Dower, who did a master’s degree in Script Writing at QUT and countless others that are doing what they love to achieve their dreams. In this way, universities are putting more weight behind the less abled individuals and are supporting in the rise of role models for people with disabilities, which is sure to have a big import on future generations.
I would also like to mention that this been an interesting year for the whole disabilities world, which I see as a strong turning point on how people see us as human beings and not just third-class objects from the history of scars and conflict within (like the cold war inflicted on people’s psyche). Due to more artist and high-profile people speaking about the unbreakable silence and the conflict within ourselves, it is clear that we as a society need to stop and educate people, to make it clear that everyone suffering thru these kinds of challenges just want to lead a normal life as well, and to learn. Even though it may take us a long time to acknowledge the task of requirements and how we are going to grow our creative ideas, the results are often times worth the wait.
DK: In relation to the last question, do you have any personal experiences you’d like to share?
DW: Well there is one experience that I hope others can get inspiration from and it is that even with my primary education being at Special School and that after attending two high schools, I dropped out in year 11 (mainstream after 14 schools) but I still went on to do studies at TAFE and am now in the end stages of completing a university degree. A degree that has seen me having an influence on the whole entertainment department of QUT and given me the knowledge to achieve success in this industry. If I can do it, you can do it too! If you believe in yourself and are willing to take a few risks.
DK: How do you manage to juggle university life with that of a career in the entertainment industry, especially considering your disability?
DW: Basically, just living on the edge of a sword but keeping motivations going with a flexibility of time management.
DK: In the knowledge that nearly everyone that reads this interview will likely have the ability to listen to music, how would you best describe your approach and method of DJing to people that have no idea what it is like to be deaf?
DW: Everyone refers to me as the guy in the movie “Its All Gone Pete Tong” or compare me to Robbie Wild (Scratch DJ/USA). In all honesty, you can take it either way.
1/ Fill your ear with wool and try to DJ with them in your ear,
2/ use the coin perspective, where everyone is on heads because they can hear and for people like me, we are on tails because we are more in depths of vibrations from all parts of the body where the information channels.
DK: I have heard that you would like to see “It’s All Gone Pete Tong” remade, what’s that all about?
DW: Yes, that is true, I have actually been talking to a lot of people about doing it here in Australia but there is still no movement at the moment. I got hold of Pete Tong and the director to put in the pitch proposal, however even though the movie has most of the elements and challenges we face, I think that it’s a bit of a laugh overall as it is still fictional and I’m of the opinion that it’s time for a realistic version to be made.
DK: With science and technology so rapidly improving, do you think that the majority of people with disabilities who choose a life in the entertainment sector will be helped or hindered by the meteoric rise of tech?
DW: It can be a huge help, but it is dependent on how we all socialize and communicate on the topic, due to some high-profile people with disabilities being addicted to greed, wanting more things for free and being catered to by the mainstream who find them complex. I believe things are getting better but that it’s only a matter of time before we see how the cards play out towards the river card, that hopefully shifts things from a political to economic perspective.
DK: To finish things off, tell us what’s in store for Defwill fans over the next few months?
DW: Well I have two gigs in Melbourne on the 3rd and 4th of August, playing at Renegade (Top Floor) at My Aeon on Friday and Eat The Beat on Saturday at New Guernica, which sees me on closing duties both nights and means I will be bringing out the raw material for what will be an emotional journey. This will be my fourth time playing in Melbourne and I have loved every moment down there.
I’ve also got a special event coming up with an interstate headliner that recently did a collaboration track with Citizen Kain and that a lot of people who caught the set at Elements music festival last year will definitely remember. Then early next year we are taking things to another level, showcasing equality and diversity for large and long going project planning but at the moment things are still a little “hush-hush” so stay tuned!