Jump to content
×
  • Can you help us?

    If you have some serious passion for your local scene, and are interested in helping us build Australia's newest electronic music community, hit on the Apply Now button below to become an Ozclubbers contributor!

    Apply Now

     

Add Your Event for FREE
Invite A Friend


  • Similar Content

    • OzClubbers
      By OzClubbers
      Even though it’s getting darker by the day, we now have something to look forward to already for the moment that the sun is starting to shine brightly again. Rebirth Festival has announced it’s line-up for the forthcoming edition. With over 100 artists divided over the 5 stages and 2 days, the 10th anniversary of the event will definitely be celebrated big time. Check out the full line-up down below.
      Over the years it has become a tradition to start the festival season at Rebirth Festival, where visitors can go back outside for two days after a winter full of indoor parties. This year it has five different stages, including everything from hardstyle to freestyle, classics to raw and much more. Day 1 is packed with harder styles artist. Besides that the guys from B-Freqz are hosting the mainstage on Sunday, there’s also hardcore making it’s debut at the festival on that same day. “Let’s kick off the festival season!”
      Rebirth Festival 2018 – 10 Years Ceremony
      The festival season will begin at Rebirth Festival on Saturday the 7th & Sunday the 8th of April 2018. Tickets for the event are now available at the official website of the event.
      This is the Rebirth Festival line-up
      The post Rebirth Festival introduces line-up for 10 Year Anniversary is visible on Hard News.
      Source: Hard News NL
    • OzClubbers
      By OzClubbers
      Factory 93 has once again completely transformed a stereotypical Los Angeles venue into an underground oasis for music lovers in the heart of Hollywood. Saturday the quickly growing Insomniac brand specifically for House and Techno music aficionados took over the Hollywood Palladium, one of the oldest and most well known performances venues in Los Angeles. This venue, which opened in 1940, has featured artists like: the Tommy Dorsey band featuring Frank Sinatra, who performed the night the venue first opened its doors; iconic rock artists including The Who and Led Zeppelin; more recent pop artists like Justin Timberlake; and, this past weekend it played host to house music legends Solomun and his +1 Hot Since 82. Only a huge brand like Insomniac could pull an event like this off while also completely changing a well known concert venue into a living and breathing nightclub atmosphere where the social environment is as important as the music.
      From its forays at EDC to the collaboration with Exchange LA, a nightclub housed in the former stock market downtown, to the warehouse renovation in order to give Factory 93 a home in Los Angeles: the Insomniac brand has always understood the concept of the social requirements of electronic music. We go out to see certain artists and to dance, that is a givien; however, we go out to see and experience each other too. Initially I was slightly disappointed such a huge event as a Solomun+1 show would be happening at the Palladium, no matter how iconic it is. This venue is a concert venue and organized for fans to watch a show. Yes, dance music artists have played there before, but the set up does not encourage the interactive dancing and social atmosphere which a nightclub inherently has.
      However, upon walking in I immediately realized that for a Factory 93 event one will never get simply what they expect. The production team had completely reoriented the space and transformed the giant venue into a oblong nightclub. They built their own stage on the far left side rather than use the stage to the front of the entrance. It was fully equipped with lasers and led panels completed by a disco ball covering the crowd in prismatic glitter. They put in extra bars along where the stage normally sits which enhanced the nightclub atmosphere and reduced wait times to grab a drink. The entire venue was a bar and the entire bar was the dance floor.
      Hot Since 82 came on and enticed the crowd into a dance. However, the atmosphere created allowed for the chatting one can expect at the beginning of the night out in any city. As his set continued the white noise began to dissipate as his tone became a little deeper leading in perfectly to Solomun himself. The sets merged together seamlessly. I had not seen Solomun in action before and it was truly mesmerizing. The Factory 93 team had perfectly designed the visuals to enhance his music without being too distracting. The lasers hit at just the right moments and certain drops brought a flood of light allowing the smiles from across the room to be shared by all. Fans dancers waved brought a touch of a breeze to us all as we sweat together and danced the night away. They ended with a b2b set which tapered off every so slightly from the depth Solomun had brought us into and allowed us to make our way out and back into reality again.
      The only odd thing about the whole setup was that the VIP area was directly above the stage. People who had paid more money for a table or VIP access had no view of the DJs or stage itself. They did, however, have access to an exclusive bar and bathroom without a line. Also, there was no reason they couldn’t go downstairs and merge with the rest of the crowd. I can see how some people may have been put off; but, the venue was more of a nightclub than a concert venue. I think it may have forced more interaction than would have been the case on a normal night in Hollywood. Hollywood is a city where people love to feel exclusive. The show brought out an interesting mix of the Hollywood norm of bandage dresses and heels alongside bros wearing Factory 93 snapbacks and girls in glitter and combat boots. It was an amalgamation on Hollywood and the dance music community and Factory 93 created the perfect space for mixing without overemphasizing exclusivity. The change put everyone on more equal footing and the rearrangement made the dance floor large enough to accommodate a large crown without overcrowding.
      Solomun+1 was a huge success and I think perfectly highlights what Insomniac is seeking to do with the Factory 93 brand: bring together underground music lovers in safe spaces to share and experience music and culture. They never settle to simply use a venue the way it is but transform it to perfectly fit the artists and fans they bring into the space. It felt like I was in a new nightclub event though the Palladium has been around since the Golden Age of Hollywood. It shows Factory 93’s understanding of underground culture and I am excited for more collaborations with artists and venues to come in 2018.
      /*noinspection ALL*/ .dynamic_css { border: 0px solid #000000 !important; border-radius: 0px !important; -moz-border-radius: 0px !important; -webkit-border-radius: 0px !important; -khtml-border-radius: 0px !important; -o-border-radius: 0px !important; } p:empty { margin :0px !important; } .dynamic_css img { margin: 0 !important; padding: 0 !important; border: 0 !important; } .dynamic_css p { margin :0px !important; } .thumbnail_width8214 { width: 160px !important; height: 120px !important; box-sizing: border-box !important; } .images-in-row_8214 a, .widget-images-in-row_8214 a { border-bottom: none !important; } .images-in-row_8214 p, .widget-images-in-row_8214 p { margin :0px !important; } /*noinspection ALL*/ .imgLiquidFill { width: 160px !important; box-sizing: border-box !important; height: 120px !important; } .images-in-row_8214 { height: 270px !important; width: 850px !important; clear: both; } .images-in-row_8214 a { text-decoration:none !important; } .margin_thumbs { margin-right: 5px !important; margin-bottom: 5px !important; } .gallery-bank-filter-categories a { text-decoration: none !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act:first-child { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important;; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act:last-child { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter-categories a:hover { color: #2a83ed !important; } /*noinspection ALL*/ .imgFilmstripFill { width: 90px; height: 75px; } ul#thumb_8214 { list-style: none !important; padding: 0 !important; margin: 10px 0 0 !important; display: inline-block; width: 610px !important; } div.img8214 img { width: 600px !important; box-sizing: border-box !important; } div.img8214 > div.filmstrip_description_black { width: 600px !important; bottom : 5px !important; margin-left : 0px !important; } div.img8214 > div.filmstrip_description_black > h5 { padding: 5px !important; margin: 5px !important; margin-left:0px !important; line-height: 1.5em !important; direction: inherit; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 16px !important; } div.img8214 > div.filmstrip_description_black > p { padding: 10px 10px 0 10px !important; margin-left:0px !important; margin-bottom:0px !important; line-height: 1.5em !important; direction: inherit; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 12px !important; } /*noinspection ALL*/ .opactiy_thumbs { opacity: 1 !important; -moz-opacity: 1 !important; -khtml-opacity: 1 !important; } /*noinspection ALL*/ .shutter-gb-img-wrap { margin-right: 5px !important; margin-bottom: 5px !important; } .overlay_text > h5 { margin-top:10px !important; padding: 0 10px 0 10px !important; line-height: 1.5em !important; direction: inherit !important; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 16px !important; } .overlay_text > p { padding: 10px 10px 0 10px !important; line-height: 1.5em !important; direction: inherit !important; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 12px !important; } .pp_pic_holder.pp_default { background-color: #ffffff; } div.pp_overlay { background-color: #000000 !important; opacity: 0.6 !important; -moz-opacity: 0.6 !important; filter: alpha(opacity=0.6); } .pp_description p { direction: inherit !important; color: #ffffff !important; text-align: left !important; font-family: Helvetica !important; font-size: 12px !important; } .pp_description h5 { direction: inherit !important; color: #ffffff !important; text-align: left !important; font-family: Helvetica !important; font-size: 16px !important; } .ppt { display: none !important; } div.pp_pic_holder { border: 5px solid #ffffff !important; border-radius: 5px !important; -moz-border-radius: 5px !important; -webkit-border-radius: 5px !important; -khtml-border-radius: 5px !important; -o-border-radius: 5px !important; } Photo Credit: Jake West for Insomniac
      The post Factory 93 Creates The Perfect Atmosphere For Solumun+1 In Los Angeles appeared first on Deep House Amsterdam.
      Source: Deep House Amsterdam
    • OzClubbers
      By OzClubbers
      New Parisian imprint Lost On You is the first electronic record label and benefit program to donate all money raised from album sales.
      The label is a platform for talent, where talent becomes a way to help alleviate some of the toughest problems faced around the world, in this case, the fight against malnutrition, hunger and sanitary problems in the poorest parts of Africa.
      For it’s debut release, Several Definitions, steps in with a pearl of evocative on an expertly produced EP, “Sierra,” only fitting that such a refreshingly progressive label.
      “Sierra” is available 15 January on Lost on You

      Soundcloud Label Page
      The post New Parisian Philanthropic Imprint LOST ON YOU Launches With 100% Album Profits For Charity appeared first on Deep House Amsterdam.
      Source: Deep House Amsterdam
    • OzClubbers
      By OzClubbers
      Spotify’s Discover Weekly playlist could soon account for user preference.
      Discover Weekly relies on an algorithm to compile a list of songs that would likely appeal to the listener, given the Spotify user’s listening history. The playlist refreshes each Monday, routinely offering new recommendations for streamers.
      The playlist’s weekly renewal is favorable for the Spotify users that find their Discover Weekly collection to be irreflective of their tastes, but if Spotify moves ahead with its latest trial feature, listeners will be able to have more input in the formation of their Discover Weekly playlist. Spotify is accordingly testing a like/dislike feature to be used in conjunction with Discover Weekly. The like/dislike function is comparable to that of Spotify’s Daily Mix, which allows users to up-vote or down-vote a track, effectively reshaping the algorithm used to create the mix via vote. To like a song, Spotify users need only to click the heart button representative of “like.” To dislike a track, users can click the blocked sign button, indicating that one does not like the tune.
      The like/dislike button for the Discover Weekly playlist currently appears to be randomly distributed among Spotify accounts, as some patrons of the streaming service have reported that they do not in fact have the ability to like or dislike songs from the weekly compilation. Spotify has not announced when the feature will become uniformly applied across Spotify accounts.
      H/T: Mashable
      Read More:
      Spotify submits $43.4-million-dollar settlement in class action lawsuit
      Spotify acquires cloud based collaborative DAW
      New Spotify data shows sharp increase in listening time, artist diversity
      Source: Dancing Astonaut
    • OzClubbers
      By OzClubbers
      In a age where most are playing “live” with laptops Stevio is one of the few guys out there doing live techno with modular synths. Great to see live and a real techno iconoclast. This interview reposted from  junodownload.com
      It’s not easy for an artist to maintain a genuine independent ethic in this day and age. Amid the drudgery of internet exposure, whether it be shameless self-promotion or carefully marketed anonymity, there are not many who choose to make and share their music in a truly independent way. Some of Steevio’s working practices, such as making his music without a computer, are actually quite en vogue these days, but for the Sunderland-born, North Wales-dwelling techno producer this approach has been a way of life since before the dawn of house music.
      A quick look at a long-neglected Discogs entry mentions his involvement in one of the UKs first electro-funk clubs, The Sidewalk, and he’ll happily recount the days spent playing guitar for acid rock outfit Dead Flowers before the first strains of techno seduced him – and all of his mates – in the space of about two months. After a number of years spent throwing free parties in Newcastle with fellow cohorts in the Roost Records acid techno collective, a crackdown in the policing of raves meant a change of scenery was needed, and Steevio and his partner Suzybee relocated to the pastoral climes of North Wales, and the Mindtours label was born.
      After meeting Tom and Joe Ellis and Leif on the outdoor party circuit in the area, he nurtured their unique production talents while also steering his own music away from 130-140 bpm techno into a slower, more intricate 2-step minimalism. As a loose-limbed scene of sorts started to form around the pockets of artistry hidden out in those rolling hills, so was born the Freerotation festival.
      Beginning as a 300-strong gathering in 2007 (bar one fabled test-run at an Outdoor Activity Centre in the hills), in five years the event has become one of the most highly regarded electronic music festivals in the world. The line-up is certainly niche, appealing to deeper, more experimental shades of house, techno and dubstep, but of equal importance is the atmosphere the event inspires. Held in a mansion with the Brecon Beacons as a backdrop, the weekend is the pinnacle for meaningful dance music.
      Understandably, the commitments of Freerotation have meant that Steevio’s music has been sharing headspace with the logistics of a three-day festival, and so it’s been a while since a new Steevio release emerged. As of Spring this year, a new four-track Mindtours release emerged under the no-nonsense banner of Modular Techno Vol. 1, yielding the first publicly available results of his decision to switch to a modular studio set up.
      “Every day I record at least three hours of what comes into my head at that moment, so I’ve got absolutely tons of material,” Steevio explains when pressed on the origins of the material onModular Techno Vol. 1. “I thought I’d put out the stuff I’ve done last year, because if I don’t it’ll just disappear and I’ll never use it. It’s slightly dated compared to the stuff I’m doing now, but I just wanted to put it out.”

      There’s an undeniable rawness to the tracks on the record, which comes not least as a result of the live ethic Steevio places on his production process. All his tracks are recorded in one take straight from the hardware, as he tweaks the elements and triggers the patterns on the fly. Much of this approach is spurred on by the modular equipment he uses; in essence a self-built performance device tailored specifically to your own individual needs.
      “It’s really about control over the way that the patterns come together,” Steevio explains. “I’m using similar sounds to the ones I’ve always used, but with a modular you don’t arrange the music. It’s basically different trigger patterns and fractalised sequences looping and interacting in complex ways. Everything happens in the moment, so it’s about getting as many controls in front of you as possible to do as many things as possible.”
      It’s been a slow process of learning and developing for Steevio, when he had been sequencing his tracks on his computer, but the purpose of this re-shuffled work practice seems clear. “It’s about how you wire it all up so that in a live situation you think ‘oh I wouldn’t mind hearing that happen’ and you just reach out and turn the knob and it happens.”
      It’s certainly a brave move to uproot your way of making music, not least for an artist who had already carved a clear sound for himself. The defining characteristic of Steevio’s music, at least for the past decade, has been intricate, inter-locking drum patterns with a pronounced funk to them, while the melodic elements come in equally lean and fluid forms. “I got bored of hearing the same 4/4 motifs like snare drums and claps on the beats 2 and 4, which is the common house method of punctuating the rhythm,” Steevio states. “I just sat down and said I’ll never ever use those things, so it leaves it open to me mixing different polyrhythms together to make new rhythms.”
      Polyrhythms take average beat programming into a more complex realm, arguably made much simpler if you have a timeline sequencer on a screen to map the patterns out on. “When I went to the modular, the first thing I tried to do was keep that approach but it had to be slimmed down a bit,” Steevio admits, having ditched software sequencing and resigning his computer to a glorified tape recorder. “My tracks aren’t as complex as before, but that’s OK. I quite like the fact that it has made everything a little bit sparser. It makes you get the best out of what you’ve got.”
      Steevio sits on the reams of recorded material he generates, as his understanding of the modular way develops, letting months pass by until revisiting the results and whittling them down to workable tracks. With an ever-strengthening command over his music in the instant that it’s being produced and moving away from laborious arranging and editing, it’s palpable to see the correlation with his rock band roots. “It’s just like practicing on an instrument,” Steevio enthuses. “When you first start you’re a bit clumsy. You haven’t quite got the control, but as you go along you get slicker and slicker.”
      It’s safe to say there aren’t many artists producing tracks quite like Steevio at the moment, and he’s the first to acknowledge that it’s difficult at times to see where his brand of bumping, complex techno fits in at a time when Ostgut Ton and Sandwell District rule the day. In some ways the Freerotation line-ups reflect Steevio’s quandry about the lack of music that delivers what the experimental principles of techno promise.

      There’s a spread to the styles to be found at Freerotation, from deep house through to a more jacking Chicago style, from hypnotic techno to tough minimalist bangers, from wild dubstep variations to ambient soundscapes. However all those elements have a common thread running through them which knits the whole weekend together. Whether it would be classed as “techno” or not, all the music played embodies that spirit, that dance music can mean more than just a soundtrack to a night out.
      “I find it very difficult to programme techno people at Freerotation,” Steevio reveals, “because there’s been quite a lot of house people on over the last few years and it’s started to get that sort of reputation for being a bit more house-y than techno-y.” Be that as it may, with Detroit’s DJ Bone and Tresor mainstay Pacou prominent on the bill this year, it’s not as though proper ballsy techno isn’t being catered for. However it doesn’t detract from the fact that Steevio is still struggling to find many people meeting his expectation of what techno should be able to do.
      “I’d really like to find some good techno,” he says hopefully. “Most of it’s just really formulaic, I’m wanting to hear something fresh. For me, our resident Sam Watson has got that sort of techno that I’m quite into. The deeper, more hypnotic, tripped-out sort of stuff.”
      As with many parties, an aspect of Freerotation that sometimes gets overlooked by the crowd is the residents. Not so much the likes of Move D, Portable and Soulphiction who feature heavily each year, but the core collective of DJs and producers from Wales who together help steer the festival. As well as Sam’s particular brand of techno, Steevio also talks emphatically about the selector talents of Joe Ellis. “I just think ‘why is this guy not a famous DJ?’ He just seems to see through the music, and sees what a lot of other people can’t see.”
      As well as Sam and Joe, the crew of musicians includes the more established likes of Tom Demac, Tom Ellis and Leif. Steevio has had a guiding hand in all of their production careers, from helping to master and release Tom Ellis and Leif’s first vinyl appearance, to inviting Tom Demac to bolster some of his early releases in the Mindtours studio. Even with individual careers, everyone from this close-knit group of friends remains a part of the loosely-formed Freerotation Collective. However the festival itself doesn’t always provide the best platform to fully appreciate the combination of their sounds as a unit, what with all the peaks and troughs of the rest of the weekend in between. Now though additional events are planned for later in the year, and the sonic identity of the collective has a real chance to establish itself.
      First up will be Freerotation Tenerife 2012, which is taking place on the last weekend in September. While the Canary Islands might seem an unlikely destination after Wales, the opportunity has come about through an old friend of Steevio and Suze’s who lives on the island. After years spent talking about it, a site was found and a 24-hour party has been planned, running from the Saturday afternoon to the Sunday afternoon with a pre-party the Thursday before. “It’s starting off modest and we’ll see how it goes,” Steevio explains. “The site’s out in the country, and it’s good for a big party, so if it works out this year we could make it into a proper Freerotation.”

      The party will be a collaboration between Freerotation and Mazaribah, a local cultural organisation. As such, the Freerotation-curated acts will be bolstered by some local artists too. “Obviously we had to vet it a little bit,” says Steevio. “We didn’t want just anyone to turn up and play something, so we had a little listen. At the same time we didn’t want to just come steaming in going ‘here’s Freerotation’, we wanted to try and make it a collaboration.”
      Keeping up the tendency of the event to choose unconventional locations, the next stop for Freerotation will be Blackpool in December. One Of These Days is being billed as “the festival of festivals”, bringing a wealth of successful leftfield bashes such as Bloc and Primavera together for a weekend in the Winter Gardens complex on the North West coast. Instantly it’s clear this is quite a move for an event such as Freerotation, which has kept itself relatively off the radar over the years, so it wasn’t without negotiation that the collaboration came about.
      “I wasn’t going to do it at first, it seemed too far removed from our underground leanings,” says Steevio of the initial proposal. “I sent an email out to all the guys in the collective and everyone wanted to do it, so I talked to the organisers a bit more about our concerns about it being a sponsored event. They’ve been really reasonable the whole time. There wont be any sponsorship signs in our room, so I’ve made sure that it’s Freerotation-friendly before I agreed to do it.”
      With just twelve hours to play with at the event, the line-up for the room needs to be kept quite streamlined, and as with Tenerife, most of the artists will be from the collective, providing a platform for them to operate more closely. There will of course be some choice guests included, but the intention is to let the residents do their thing.
      As for Steevio’s own musical endeavours, there’s plenty of material ready to be pored over and fashioned into a release, but still his main focus has been developing his modular set up. From its previous appearances at Freerotation, the sheer scale of the machinery made it seem nigh on impossible for a gigging situation, and yet Steevio’s entire approach is geared towards the music being made in the immediate moment.
      “Before it was taking me an hour and a half to set everything up,” he says, “but now I’ve bought a multi-core it’s gonna take twenty minutes. I am working towards it being an actual live show.” Due to the fragile nature of the equipment, flying is out of the question for any gigs Steevio and Suze get for their audio-visual show, although opportunities await them across Europe and as far as Japan. However a plan is being hatched to get a van and traverse the continent, once again harking back to Steevio’s earliest musical explorations.
      “Some of the best fun I ever had was in the bands,” he recalls. “We chucked the gear in the van and drove around Europe, slept on floors and met loads of people. You tend to get to know people better that way. Sometimes I think the whole flying around, going and staying in a hotel, it’s a little bit unfriendly and cold.”
      It’s just another prime example of the independent approach that typifies Steevio’s attitude to what he does. While the music he makes and that he’s most connected with is relatively critical, there’s no air of pretension to be found anywhere. After all you wouldn’t work this hard for it for this long if you weren’t in it for the right reasons.
      Words: Oli Warwick
      Main image: Tasha Park
      Reposted from junodownload.com
      Share this


      Hide Sites Source: Techno Music News
×

Important Information

By using this site, you agree to our Terms of Use. Privacy Policy, and Guidelines