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  1. Basement Jaxx LIVE on stage, magically re-imagined with a full Orchestra & their legendary singers TEG Dainty and Nice Events are excited to announce that esteemed electronic music duo Basement Jaxx will bring their orchestral live show to Australia in April 2019. The tour opens up in Melbourne on Saturday 13 April and moves on to Sydney on Sunday 14 April before winding up in Brisbane on Thursday 18 April. Tickets go on sale at 10am local time on Friday 14 December for the three-city tour. Felix Buxton & Simon Ratcliffe (better known as Basement Jaxx) are double BRIT and GRAMMY award winning artists who have graced the biggest stages across the world, including: headlining the main stage at Glastonbury Festival, Hyde Park in London and The Hollywood Bowl. Following on from their ground-breaking 2011 album collaboration with The Metropole Orkest and the now seminal LIVE shows that accompanied it in London & the Netherlands, Basement Jaxx will unveil a new and updated version of the project as they creatively collide LIVE on stage with Sydney’s The Metropolitan Orchestra at the iconic Sydney Opera House, as well as stops in Melbourne & Brisbane. Comprising magical re-interpretations of all the Basement Jaxx floor-fillers, as well as specially commissioned new work and a few surprises along the way, the show will also feature legendary Jaxx singers Vula & Sharlene Hector on powerhouse vocal duties. Basement Jaxx are no strangers to Aussie shores and have thrilled audiences over the years with their massive hit records including: ‘Red Alert,’ ‘Rendez-Vu,’ ‘Jump N Shout,’ ‘Bingo Bango,’ ‘Romeo,’ ‘Where’s Your Head At,’ ‘Do Your Thing,’ ‘Good Luck,’ ‘Oh My Gosh,’ ‘Hush Boy’ & many more! They’ve collaborated with the likes of: Robyn, Sam Sparro, Dizzee Rascal and have remixed for the likes of Pet Shop Boys, Daft Punk, Justin Timberlake, Adele, Mary J Blige and more. Landing in Australia in 2019, these shows promise to be a remarkable re-imagining of one of dance music’s most influential recording artists, in an extraordinary classical & contemporary re-boot of their original LIVE show. Catch Basement Jaxx Vs. The Metropolitan Orchestra LIVE on stage in Australia this coming April. “A meeting of expertly crafted pop songs, dynamic arrangements and an orchestra that fizzes with vigour, this might just be the best thing Basement Jaxx have put their minds to” - London Evening Standard “Sparkling, rich, witty & fun” – The Daily Telegraph, UK “This isn’t the simple orchestration of a few old hits, but their transformation into a theatrical revue of cinematic sweep that leaves everyone grinning. What a show.” – The Independent, UK TOUR DATES: MELBOURNE - Saturday 13 April – Margaret Court Arena SYDNEY - Sunday 14 April – Sydney Opera House BRISBANE - Thursday 18 April – QPAC General public tickets on-sale date: 10am local time on Friday 14 December from: www.tegdainty.com
  2. The ultimate New Year’s Day Disco, combined with laid-back Byron Bay vibes & lake views, is back for 2019! Grab the squad, come down to the green, join the Greenfields team and the Brunch Affairs crews and see out the first day of 2019 off with a bang! If you like your music funky, then come and check out the House Master’s in the mix: DJ Spen // Dr Packer // BOOGS + more! Sunset Safari New Year’s Day 2019 - Greenfields Albert Park, Melbourne When: Tuesday 1st January (NYD) Time: 1pm – 1am Where: Greenfields, Albert Park – Corner Lakeside Drive & Queens Road, Albert Park Tickets: Facebook Event: https://www.facebook.com/events/269052340624628/ Eventbrite Tickets: https://www.eventbrite.com.au/e/new-years-day-at-greenfields-albert-park-sunset-safari-tickets-52515211411 Line-Up: DJ SPEN (Quantize Recordings) Dr Packer (Glitterbox | Defected) BOOGS (Thick As Thieves) Simon Digby Brad Sassman Mark John Agent 86 Greg Sara Rob Anthony Jay Ramon HOOPS Lana Casey Leaver Pete Tran Sean Marchetti ( LIVE ) + more Also, a limited amount of Booths will be available on the day for $2500 which includes: 10x Tickets & 1L Belvedere vodka. Contact: hello@greenfieldsalbertpark.com.au for more details DJ SPEN: US house icon DJ Spen first laid his hand on the decks at the age of thirteen while growing up in his native city of Baltimore - he hasn’t looked back since. Also known as Sean Spencer, the talented DJ and producer began his illustrious career in the mid-’80s as a hip-hop radio DJ making beats under the moniker Numarx, responsible for writing and recording 'Girl You Know It’s True,' later covered and made into a smash hit by Milli Vanilli. The years that followed saw DJ Spen move away from hip-hop and towards the classic Chicago house sound that would define his productions for years to come, after joining forces with famed production collective The Basement Boys. Working under the name Jasper Street Co., DJ Spen released his first 12″ through Basement Boys Records in 1995, the energetic gospel house cut ‘A Feeling.’ This was the first in a lauded series of releases for the label that brought Spen commercial and dancefloor success over the next decade, earning him international recognition as a house music pioneer. In 2004, DJ Spen split from Basement Boys, releasing through Black Vinyl Records and his own label Code Red before founding his second imprint Quantize Recordings, which has since become a regular outlet for his music. Alongside his own productions, DJ Spen has built a reputation as a talented and prolific remix artist, putting his own unique stamp on pop anthems from Diana Ross, Michael Jackson, Everything but the Girl, Toni Braxton and more. If that isn’t enough, he’s still spinning eclectic and soulful jams in clubs across the globe, further establishing his status as an eminent figure in house music, both past and present. DR PACKER: Dr Packer is an alias of West Australian DJ/Producer Greg Packer, set up for Remixes & Edits of mainly retro music such as 70’s, 80’s, 90’s Soul, Disco, Funk, Hip Hop & Reggae. Greg although known more for ‘Liquid Drum & Bass’ regularly plays sets of ‘Old School Funk, Disco & Hip Hop. Greg purchased his first record in 1982 at the age of 10. That record was ‘Grandmaster Flash – The Message’! Greg grew up in Northampton in the UK, frequently listening to his mother’s disco records (to which he says he had no choice!). In the 70’s it wasn’t uncommon to hear music such as ‘Ain’t No Stoppin’ Us Now’ or ‘And The Beat Goes On’ played in the house, so the disco thing really was his first introduction to music, records became his life and he has collected 25,000+ over the years. Dr Packer has quickly become a mainstay in the sets of some of the biggest names in the disco world with the likes of Greg Wilson, Hot Toddy, Fingerman, Joey Negro and Norman Jay regularly featuring his edits in their performances. All of this support helped Dr Packer to be voted #1 in the Traxsource Top 20 Nu Disco Artists midway through 2015. At the end of the year Dr Packer came in at #4 in the Top 100 Disco Artists BOOGS: Boogs is one of the true leaders of Melbourne’s underground club scene. Supremely talented, original and never reliant on trends, fads or visiting international DJs, his 7am residency at Revolver Sundays is one of the most celebrated, unique and infamous gigs in town. His three-hour sets attract a vibrant, loyal and seriously up-for-it crowd each and every week. Combining his incredible technical skills with an ear for the best new music, Boogs has consistently maintained a standard in excellence that sets him apart as a truly gifted DJ, inspiring both young and old generations alike. Always visionary and ahead of the pack with the freshest sounds, his reign over the Melbourne club scene spans almost 15 years and his influence stretches across Australia and beyond. The hugely popular Boogs’ Podcast is helping to develop a whole new legion of fans as more and more people discover his music online. As Boogs continues to inspire and entertain, the talent and vision that cemented his place at the top of Melbourne club culture is now more prominent than ever.
  3. Following on from his epic EP release Crossing Borders Pt 2 and single, The Green earlier this year, Mike Mago returns with the perfectly captivating Always On My Mind. Enlisting the rising Dog Collective alongside him, Always On My Mind is out now via the esteemed Spinnin’ label. Always On My Mind marks Mike Mago’s journey of new sound exploration and evolution, with catchy pop vocals that leads into a fun, funk filled breakdown. With its infectious melodies and dazzling riffs, this tune is definitely one to remember as it sets to have you whistling along in no time, enchanting the minds of fans world-wide. Here’s what the revered artist had to say on the release: "Always On My Mind’ is a feel good song that aims to catch the hearts of many, yet is unique in its own way. I feel originality and pop is a rare combination these days within dance music. My entire musical development is based on connecting people with positive energy through the music that I make without losing my authenticity." Dutch DJ and producer, Mike Mago is a truly respected name on the dance circuit, having become the best example of an artist who’s diverse range of material spans the whole of the electronic music scene, from the realms of underground house to the mainstream hit sounds. A musical archive that goes back to 2014 with his breakthrough release Outlines that amassed 25 million Spotify plays, Mike Mago is undeniably one of the biggest DJs on the scene, now lending his remix skills to the likes of Ellie Goulding, Avicii, Clean Bandit, Years and Years, Bastille and many others. Able to work an underground dancefloor but also rock a mainstage slot, Mike Mago has performed all over from Tomorrowland to the Ibiza isle. Continuing to perfect his mainstage performances and release uplifting tune that raise expectations, it looks like Mike Mago is continuing to reach the higher levels amongst his peers. Mike Mago X The Dog Collective – Always On My Mind is out now via Spinnin’. https://www.facebook.com/mikemago/ https://twitter.com/mikemago https://www.instagram.com/mikemago/ Listen: https://www.youtube.com/watch?v=Rvikr0TaPCU Buy: https://spinninrecords.release.link/always-on-my-mind
  4. Following on from epic originals and impeccable remixes earlier this year, you’d think Benson had already reached the pinnacle of 2018. Yet as we move into the latter part, his next release featuring Stace Cadet and Yeah Boy continues to see Benson rise above the ranks. Releasing on his own esteemed Medium Rare label, check out heavenly collaboration – Faith. Glorious chords and an impelling vocal graces the track with ethereal touches whilst the euphoric bass line ascends this psalm into clubbers paradise, making Faith a moving piece of house music fortified with saintly credibility. A club ready anthem as well as a peak time track, Benson is set to reach listeners of biblical proportion. Having already had an exceptional year, Benson’s career continues to skyrocket. The Australian producer has accumulated millions of streams with the likes of originals including Hold Out and a remix of Stace Cadet’s High. Not stopping there, Benson is also dominating our airwaves with national airplay whilst securing an in demand residency slot with triple J. Gig-wise, Benson impressively launched a sold-out headline tour, clearly demonstrating himself as an artist of prominence we can’t wait to see where Benson takes us next on his musical journey. Benson – Faith ft. Stace Cadet and Yeah Boy is out now via Medium Rare Recordings. Links: https://mrr.lnk.to/Faith https://twitter.com/BensonAUS https://www.instagram.com/bensonaus/ https://www.facebook.com/BensonAus/
  5. Nordic-By-Nature


    OzClubbers Feature ICARUS - Man of the Land (feat. Real Lies) Release date: Friday 2nd November Their last track ‘Echoes’ hit #3 on the BBC Radio 1 Dance Chart Annie Mac has been a long-term admirer, not only picking four consecutive singles as her Hottest Record but also booking them for her Lost & Found Festival. Currently the duo are on tour Rüfüs Du Sol for North American shows which culminates with three nights at New York’s Terminal 5, and then are also special guests at various UK shows. “The Bristol-based brotherly duo have established themselves as out of the box thinkers.” – Mixmag “Clearly illustrates why the duo is being heralded as one of the UK's most promising talents at the moment.” – Earmilk Fresh from releasing their latest track ‘Echoes’ which hit #3 on the BBC Radio 1 Dance Chart, Bristol’s innovative crossover production duo Icarus have teamed up with London trio Real Lies for their new single ‘Man of the Land’. Both ‘Man of the Land’ and ‘Echoes’ feature on Icarus’s new EP ‘This Must Be The Place’ which follows on November 30th. The EP represents Icarus’s latest longer form conceptual project after releasing the ‘In The Dark’ EP earlier this year. ‘Man of the Land’ represents the darker, cinematic extreme of Icarus’s sonic spectrum. The hypnotic beat captures the feeling of pounding the city streets late at night before the drop accentuates its dramatic feel. It’s a track which finds Icarus strengthening the evocative atmospheric qualities of past tracks such as ‘No Sleep’ and ‘Hiding’. Real Lies’ lyrics delve into the experiences of a transient character whose solitary life on the capital’s empty streets is set against the contrast of its hectic late night bars. It captures a feeling of urban anxiety that could only be nocturnal London. As the song’s narrator notes, “I come from Cally Road, not California.” Widely praised for their self-titled debut album, Noisey summarised Real Lies’ approach by stating, “Although an echo chamber of past influences mixed with the contemporary ambience of Burial or Jamie xx, their defining factor is the thoroughly modern ennui that infects their lyrics.” Icarus explain the EP’s concept: “The theme of this EP is based around always moving from one place to the next, or running away – as well as the thoughts, feelings and emotions which come from living this way. There are moments of feeling free from being tied down and having endless possibilities. But there’s also a loneliness and anxiety that comes from simply moving on rather than addressing your problems. It’s not about making a judgment on people who are in that situation, it’s just an exploration of a yin-and-yang lifestyle.” Since debuting in 2015 with the ‘Don’t Cry Wolf’ EP, ICARUS have progressed from being a hotly-tipped name to become a regular fixture on daytime radio. Annie Mac has been a long-term admirer, not only picking four consecutive singles as her Hottest Record (‘Love Has Come Around’,‘King Kong’, ‘Trouble’ and ‘No Sleep’) but also booking them for her Lost & Found Festival. ICARUS’s other radio highlights include a sun-scorched set at Radio 1 Live in Ibiza and contributing an Essential Mix for Pete Tong. In addition to Annie Mac, their other supporters at radio have included Pete Tong, Phil Taggart, Danny Howard, MistaJam, Monki and Alice Levine. Their wide-ranging list of fans also includes Pendulum, who invited them to remix their classic track ‘Tarantula’ from their all-star collabs album ‘The Reworks’. Earlier this year, ICARUS debuted their full live band show which they then took on a headline tour and then to the South West Four Weekender. They’re now poised to hit the road with Australia's own Rüfüs Du Sol on their ‘Solace’ tour: first with a run of North American shows which culminates with three nights at New York’s Terminal 5, and then as special guests at various UK shows. Buy/stream: https://sweatitout.lnk.to/MOTL Soundcloud: https://soundcloud.com/thisisicarus/man-of-the-land-feat-real-lies
  6. The entertainment stakes continue to rise for the 2018 Melbourne Cup Carnival, with one of the world’s biggest dance music festival brands, Ultra Australia, to join Flemington’s iconic Birdcage Enclosure. The Ultra Australia marquee will feature on the front row of the Birdcage on both AAMI Victoria Derby Day, Saturday 3 November and Seppelt Wines Stakes Day, Saturday 10 November. Victoria Racing Club (VRC) Chief Executive Officer Neil Wilson said the Club was pleased to welcome Ultra Australia to its impressive stable of invitation-only marquees: “This is the first time a music and festival brand has featured in the Birdcage and we’re delighted to have Ultra Australia add to the party atmosphere at Australia’s biggest party, Cup Week.” The marquee, themed by Ultra, will feature some of the hottest Australian and international DJs, celebrities, fashionistas and music lovers. Travis Grech from Ultra Australia said it will be a taste of the Ultra Australia Music Festival to be held at Flemington Racecourse in February next year: “Ultra Australia is very excited about having our very own facility inside the Birdcage during the Melbourne Cup Carnival. We will be launching the Ultra Australia Music Festival in style with our own decor, theming and entertainment to create a dance music festival atmosphere trackside,” Mr Grech said. The VRC lifts the Melbourne Cup Carnival curtain on AAMI Victoria Derby Day on 3 November, followed by Lexus Melbourne Cup Day on Tuesday 6 November, Kennedy Oaks Day on Thursday 8 November and Seppelt Wines Stakes Day on Saturday 10 November. Tickets and hospitality packages can be purchased from flemington.com.au. @FlemingtonVRC @UltraAustralia #MelbCupCarnival #UltraAustralia The full-scale Ultra Australia event will take place in Melbourne at Flemington Racecourse – 23rd February 2019 and Sydney at Parramatta – 24 February 2019 - http://www.ultraaustralia.com. About Ultra Music Festival: Ultra Music Festival is an annual outdoor electronic music festival that takes place during March in the city of Miami, Florida. The festival was founded in 1999 by Russell Faibisch and Alex Omes and is named after the 1997 Depeche Mode album, Ultra. Ultra Music Festival is held in Downtown Miami at Bayfront Park. It was a one-day festival from 1999 to 2006, then grew into a two-day weekend event from 2007 to 2010. Since 2011, Ultra has taken place across three days (Friday through Sunday) during the month of March. In 2012, a record attendance of 155,000 people attended the festival. In 2013, for the first time in Ultra’s history, the festival took place across two consecutive weekends welcoming a combined attendance of 330,000 people. In 2014, the festival returned to its original one weekend format, selling out pre-sale tickets in under five minutes. The most recent edition of Ultra, in 2017, welcomed 165,000 people to the festival. As of 2016, Ultra Music Festival is home to seven stages that span the picturesque Bayfront Park which include the Main Stage, the Live stage, the MegaStructure, the Worldwide stage, the UMF Radio stage, the Resistance stage, and the Oasis stage. Other Ultra Worldwide festivals and events take place across the world in locations like: Cape Town & Johannesburg, South Africa; Seoul, Korea; Singapore, Singapore; Tokyo, Japan; Hvar and Split, Croatia; Mexico City, Mexico; Rio de Janeiro, Brazil; Bogotá, Colombia; and many other destinations. At the end of Ultra Music Festival 2017, it added two more countries: India and Australia. The twentieth edition of Ultra Music Festival took place March 23–25, 2018. About the Victoria Racing Club and Melbourne Cup Carnival Host of the Melbourne Cup Carnival, the Victoria Racing Club at Flemington was founded in 1864 and is the world’s largest member-based racing club, with more than 30,000 members. Regarded as the world’s most vibrant racing event, the Melbourne Cup Carnival is a uniquely Australian celebration of sport, fashion, food and wine and culture, attracting more than 310,000 racegoers to Flemington Racecourse over four magical racedays each year and injecting more than $444 million into the Victorian economy. The jewel in the Melbourne Cup Carnival crown is the Lexus Melbourne Cup, a 3200m Group 1 staying race, one of the world’s richest, offering $7.3 million in prize money and held on the first Tuesday in November. For more info on Ultra Australia, go to: http://www.ultraaustralia.com https://www.facebook.com/ultraaustralia https://twitter.com/ultraaustralia https://www.instagram.com/ultraaustralia
  7. Faithless have sold in excess of 15 million records worldwide and have played live to millions across the globe Hits include: Insomnia // God is a DJ // Salva Mea // We Come 1 One of the Pioneers of the dance music world: Sister Bliss from Faithless, will be touching down in Sydney this December for the first time in 10 years. Currently playing in some of the world’s hottest clubs, Sister Bliss will excite her Aussie fans with an exclusive Faithless DJ set. As the musical force behind Faithless, world-renowned DJ and record producer Sister Bliss needs no introduction. Together with iconic front-man Maxi Jazz and producer Rollo Armstrong (brother of Dido), she formed Faithless: one of the most successful electronic acts with a career spanning 20 years, including 7 albums (two at number 1) and six top 10 singles. To date, Faithless have sold in excess of 15 million records worldwide and have played live to millions across the world. Inspired by her love for discovering new music, Sister Bliss launched her own label: Junkdog Records. An outlet for signing new music she believes in, Junkdog has been championing the freshest of alternative music. Between her label duties and a busy schedule of upcoming releases, she continues to DJ & play to fans across the world. She also broadcasts a weekly radio show, 'Sister Bliss in Session' currently syndicated to 40 countries globally. 2015 marked the 20-year milestone in Faithless’ illustrious career and to celebrate the band curated a special remix album, ‘Faithless 2.0’, calling on the great and the good of electronic music to remix their catalogue; Avicii, Tiësto, Flux Pavilion, Above & Beyond, Booka Shade, Claptone, High Contrast, Eric Prydz, Purple Disco Machine and Armin Van Buuren. An artistic retrospective and testament to one of the most influential bands of a generation and as revered today as when their journey began two decades ago, 'Faithless 2.0’ was released in October and went straight in at No. 1. Following this success, the band will continue to tour their iconic show, as well as working on brand new material with more to come!! Faithless DJ Set Saturday 1st December – The Court, Perth Buy Tickets: http://bit.ly/OneFineDay2018 Sunday 2nd December - ivy courtyard, Sydney (Rodd Richards presents) Buy Tickets: https://bit.ly/2MplyHs Thursday 6th December – San Fran Bath House, Wellington (SOLD OUT) Friday 7th December – Studio, Auckland (SOLD OUT) Saturday 9th December – Revolver, Melbourne Buy Tickets: http://revolverupstairs.com.au For more info, go to: Rodd Richards Presents: https://www.facebook.com/RoddRichardsPresents https://www.instagram.com/roddrichardspresents Faithless Facebook: https://www.facebook.com/Faithless Faithless Instagram: https://www.instagram.com/faithlessofficial Faithless Twitter: https://twitter.com/faithless Sister Bliss Facebook: https://www.facebook.com/thesisterbliss Sister Bliss Instagram: https://www.instagram.com/thesisterbliss Sister Bliss Twitter: https://twitter.com/thesisterbliss
  8. Sydney’s global dance export, Go Freek, have just produced their catchiest tune to date. ‘Love Is The Weapon’, steps in an exciting new direction for the electronic heavyweights as they blend their signature offensive bass lines and tech-house percussion with a truly addictive topline. After spending quite some time in the U.S. smashing stages at the likes of EDC and Nocturnal Wonderland and playing European boat parties with artists such Detlef and Latmun, they’ve finally managed to find some time between drinks to get in the studio and deliver this sure hit, out today on Sweat It Out. "When you work on something long enough you become emotionally attached and your art becomes a part of you. In the case of ‘Love Is The Weapon’, it was in the works for over 8 months. It grew from an idea that was almost thrown away, and has now become our most unique and exciting record to date. I remember having a moment of hysterical laughter and tears when we wrapped up the final mixdown. My mum complained that after first listen she had an earworm for days to follow. We are so proud of this record." Go Freek. And proud as punch they should be after the career successes these boys have achieved over the years. With multiple ARIA Club Chart Top 10s, including their record breaking #1 collaboration with Dom Dolla on ‘Define’ and #2 on ‘Call Out’ and ‘Put It Down’ in 2016 and 2017 respectively. It comes as no surprise then that Go Freek have been given the nod of approval from some of the biggest names in dance, including Claude VonStroke, Camelphat, A-Trak, Don Diablo, Anna Lunoe, Claptone and most recently support from arguably the most popular DJ of 2018, FISHER, on their previous single, ‘Time’. With a 12 date national tour around the corner, there is no doubt ‘Love Is The Weapon’ will earworm it’s way into every aspect of your life. Be sure to send this one to your mum. ‘Love Is The Weapon’ is out now via Sweat It Out.
  9. Continuing our artist of the week series, we would like to introduce you to Frisson Records' artist Lifestream Artist Name: Lifestream Label: Nil Tell us about yourself Solar-powered house enthusiast passionate about bringing underground and emotive sounds to scene. What genre/styles do you play? House/Tech House/Techno Your specific genre of music? Tech House Where are you from? Toowoomba Where are you now? Brisbane What got you into the scene/dj’ing/producing? I really fell in love with the house/deep house sound when I first started hearing it out in clubs around 2012 and just began clubbing regularly since that time. I remember purchasing a dj controller online and playing around with it in my bedroom several years ago now. Ever sicne that time my interest in DJing began. I eventually downloaded Ableton and did a little bit of producing at home but nothing too serious. Things really began to take form when I entered the YOURSHOT international DJ competition in 2017 and placed as runner up on my stage. Shortly after the competition I had my first club set at one of the biggest clubs in Brisbane “The Met” and supported Bag Raiders amongst other international artists. Who has influenced you musically? After attending the infamous nightclub Revolver in Melbourne it really influenced and changed the direction of my sound. I have had a massive influence from many Melbourne DJ’s including Brian Fantana, Boogs, Spacey Space and Jordan Brando to name a few. What are you currently working on? Was very happy to put out my debut single “I Gotta Know” last month which had a fantastic response. I am currently working on several projects which will be seeing the light of day very soon. What can we expect in the future from Lifestream? Strive to provide listeners with the best experience possible by creating memorable sets, tunes and moments. Who have you enjoyed working with/hated the most? I have had the pleasure with working with the guys at Frisson Records/Eden. They put on absolutely fantastic events and I have been able to play at their last 2 label parties in Brisbane which have both blown away my expectations. What’s your day job? I work on the clinical team at headspace (National Youth Mental Health Foundation), primarily doing assessments, screening and case management. I’m also doing some Postgraduate studies which keeps me busy. What do you listen to in your downtime? I listen to such a variety of music in my spare time; a lot of metal, house, triple J amongst others. What do you think of the Brisbane scene? I think the Brisbane House and Techno music scene has gone from strength to strength over the past 2 years. Venues like Capulet and events like Syndrome, Eden, Dragonfruit have all blown up in popularity over the past several months which has really shown the appetite for more underground house and techno sounds in the Brisbane music scene and how popular it is becoming. Very excited for the future of the Brisbane house and techno music scene. To book Lifestream contact him via facebook: https://www.facebook.com/lifestreammusicofficial/
  10. BrendanClay

    New mix from us! Live at The Flinders!

    Here is a fresh new mix from us—and one that definitely gives us the warm and fuzzies! So, our 'Attic' brand as a whole, the music we push—and, indeed, Andrew and I as individual DJs—is often centred around music on the lower, slower, deeper, warm-up tip. That is a label we've always worn with pride. Well, in this instance, our good friend, Flynn—of 'Move 4 Mood' fame—was kind enough to book us for a "peak time" set at The Flinders, and, with that, an opportunity to exercise our tougher, uptempo selections; as such, we did just that! We were fortunate to enjoy a heaving, packed dance floor from start to finish, and we delivered a strong selection of suitable cuts—all while staying fairly true to our Attic sound. The crowd response was phenomenal and we had a wonderful time making it all happen—hence the "warm and fuzzies" mentioned above! Hope you enjoy this one as much as we did! x > Download Here > Listen on Soundcloud : Tracklisting: 01 : Coeo - 'Back In The Days' (Original Mix) [Toy Tonics] 02 : Ari Bald - 'Moonshiner' (Original Mix) [Better Listen Records] 03 : Johannes Albert - 'Beach Reach' (Original Mix) [Fine] 04 : Duccio LP - 'I Can Stay Without You' (Original Mix) [Blaq Numbers] 05 : Slamb - 'Getting Back (To Myself)' (Original Mix) [Infinite Pleasure] 06 : Joe Corti - 'Mr. Kuti' (Original Mix) [Better Listen Records] 07 : Iban Montoro & Jazzman Wax - 'Leave Me Alone' (Original Mix) [Robsoul Recordings] 08 : Adryiano - 'Nite Talk' (Original Mix) [Shall Not Fade] 09 : Bobby Analog - 'Dr. In The House' (Original Mix) [Body Fusion] 10 : Tell - 'Y'all Feel That Honey' (Paradise Mix) [Quartet Series] 11 : Black Loops - 'Higher' (Original Mix) [Neovinyl Recordings] 12 : Folamour - 'La Pierre Et Le Sabre' (Original Mix) [Tronic Session Records] 13 : The Timewriter - 'Pasodoble' (Kruse & Nuernberg Remix) [Streetlight] 14 : Bas Roos - 'Searchin'' (Original Mix) [Exploited] 15 : Sidney Charles - 'Jack On The Rocks' (Sante's 90s House Jam Remix) [Off Recordings] 16 : Souldynamic - 'Equatoriale' (Original Mix) [Tribe Records] 17 : Adryiano - 'Me And You And Her' (Original Mix) [Heist Recordings] 18 : Soul Reductions - 'Got 2 Be Loved' (Original Mix) [Take Away] 19 : Pierre Moritz - 'Eunuque Millionnaire' (Original Mix) [Shall Not Fade] 20 : Slamb - 'I Want Your' (Original Mix) [Blaq Numbers] 21 : Unknown - 'Track 3' [House Of Disco] 22 : Loose Change - 'Straight From The Heart' (Joey Negro Straight To The Groove Mix) [Z Records] 23 : Detroit Swindle - 'Just Not Norma' (Original Mix) [Heist Recordings] 24 : Knuckle G. - 'You Got Me' (Original Mix) [De La Groove] 25 : Folamour - 'Hearts Melting Into An Ocean' (Original Mix) [Kyoku Records] 26 : Speed Boat - 'Speed Tool 001' (Original Mix) [Nail Shop] 27 : Li'll Bo Tweak - 'Musics Hypnotising' (GhettoStep Mix) [Loungin' Recordings] 28 : Vaggio - 'Don't You Want Some More' (Original Mix) [Ovum Recordings] 29 : Midland - 'Double Feature' (Original Mix) [ReGraded] 30 : Brame & Hamo - 'Roy Keane' (Original Mix) [Brame & Hamo]
  11. Frisson Records - Artist of the Week To kick off our artist of the week feature we’ll be featuring an up and coming interstate DJ from Sydney who recently rocked our world at the Frission Records label party. Artist Name: King Friendly Label: Independent Tell us about yourself I’m on the dance floor as often as I am producing music and DJing, I love everything about electronic music and really want to spread the positivity and inclusiveness that comes with it! What genre/styles do you play? Progressive House predominantly but also play a lot of Tech House and House. Anything with a good groove usually gets played in my sets. What got you into the scene/dj’ing/producing? Attending Tomorrowland Belgium in 2012. It showed me the power of electronic music and how it can bring people from all over the world closer together. I was already interested in electronic music but this experience made me really want to pursue it. Check out Tom's U-Tube channel Here Who has influenced you musically? I really started getting into electronic music through Avicii and Skrillex. Since then a whole bunch of artists like; Axwell, Eric Prydz, Deadmau5, Steve Angello, Camelphat, Kryder and many others have influenced my musical tastes. What are you currently working on? I’m working on incorporating more live elements to my productions, finishing up my Audio Engineering Degree as well as continuing to make videos to my youtube channel! I have some projects that are nearing completion and they will be up on youtube in the coming months as I get a bit better at video editing haha. Tell us about your most recent gigs? The Frisson Records Label Party in Brisbane was fantastic recently! Was great to in Brisbane and my next gig will be at the Beehive event in Sydney! What can we expect from the future for King Friendly? I want to continue to develop my production skills and continue to DJ to anyone and everyone! I would love to help show the generosity of the dance music community throughout my career and use it to create a fairer world for all. What do people say about you? I really pride myself in getting positive feedback from my DJ sets and try and go the extra step to research any event I play to ensure I have music that suits the venue as well as my set time. Whether it’s a smooth warm up set or high-energy headlining set I always try and play the best set to fit the vibe of the night. Who have you enjoyed working with/hated the most? I have been producing recently with OSKA from Sydney and it has been great to work on tracks with someone in the same location as me! As far as hating working with anyone, I haven’t, differences can makes life pretty interesting and if it’s not working out I just get through the project best I can and move on. What’s your day job? Corporate Audio Visual Technician but occasionally Barista and Bartend as well. What do you listen to in your downtime? Anything, I love it all. From Classical to hardstyle I often end up in some interesting youtube rabbit holes of music. What do you think about the Brisbane scene? I was up for the weekend recently and had an absolute ball! There are still lots of great nights out in Sydney where I’m from but it definitely has a more relaxed feel in other cities. I think that is really important for a decent clubbing culture to develop and be sustained. To book King Friendly contact him via facebook: https://www.facebook.com/kingfriendlymusic/
  12. OzClubbers talks to Scottie Chappell about the origins of the IWTFA brand and pushing the boundaries of Techno here in Brisbane. The IWTFA crew is made up of Scottie Chappell, Aamir Raza, Jamie Grenenger, Pete Trimbacher & Rob Glasgow. Tell us about how IWTFA came about? I came to Australia on a 2 year working visa from Newcastle up on Tyne in England. During this time I called Brisbane home. I worked and attended events and met alot of great people from local house and techno DJs to promoters from all over Brisbane. This helped me begin to get involved in the Brisbane scene and I began having ideas about what would add to the ever-growing techno and house scene here. I met the crew around 2 or 3 years ago at various techno and house events. I’d watch them play and we'd chat at gigs. We all had the same interests in music and the same vision of what we wanted to do so we decided to form the brand. In the months prior to launching IWTFA, I went to many techno events in Melbourne: Machine, Bunker, Plexus, Melbourne Techno Collective, Cat House & experimental events like Factoid and Doppler. They all had incredible local, interstate and international artists and I saw how far techno was being pushed. This helped give us a vision of what we wanted to see in Brisbane. Thoughts on the Brisbane Scene Today? I think the Brisbane scene is doing well. There are so many great brands that push all spectrums of Techno & House such as Subtrakt, Andromeda, Shade, Unison, Buxton, Higher State, BTHC, Dragonfruit, Oxytocin, Flux, Melt, Pray Tell, La Vibrations, Lola, Bless Club and Bass Swag. One of the reasons things work well here is that there’s a promoters group so we can try to avoid clashes and support each other as we try to schedule events. However, it’s becoming harder with venue limitations here to push specific sounds as many venues only want to play commercial music. This scene has great potential so i think it’s really important for a decent clubbing culture to developed and be sustained. With many other brands in the scene, we wanted to do techno events that focus on and push specific sounds. We want to push the boundaries of techno... We focus on lighting and visuals for a real mood setting vibe no matter which venue we use and we have a specific flow in mind of how our events should run. We always have our local techno DJs on our lineups and we show our full support of them and even new artists that want to push themselves, we like to think we give these people a chance. At the time of launching IWTFA, we also began a podcast series on Soundcloud. Listen here. It’s a Brisbane collective aiming to produce sophisticated, refined techno that exposes local, interstate and international artists. We try to showcase these artists in their true form and let them express themselves with no boundaries in the field of techno. IWTFA website https://www.iwtfabne.com Check out the next IWTFA event here https://www.facebook.com/events/1744741092276996/ Find out about upcoming events via their Facebook page here. Listen to IWTFA on Soundcloud https://soundcloud.com/iwtfa Monthly show on Fnoob radio http://fnoobtechno.com
  13. NathanJones

    The Remix as an Echo Chamber

    From the DJ’s perspective; since Larry Levan’s early days at the Paradise Garage, the remix – or playing different versions of songs – was one of the first notable aspects of what we now know as DJ Culture. His ethic of refreshing successful dancefloor movers in the late seventies passed down generations of DJ has been long-established as almost a perfunctory task, almost a must-do to be undertaken by the disk jockey. Each year sees new versions of old gems. Some, which even those of us remember in our fresher days, first time around. Occasionally you find that some years produce more than others. This year has already delivered a glut of new-oldies which even by now has you scratching your head and widening your eyeballs at the frequency of remix deliveries. Yes; in fitting with the northern hemisphere’s hedonism season, this year’s array of tracks is more-than-likely to guarantee multiple hands in the air and is quite remarkable. Especially considering how anthemic - many of these were in their first lifetimes. You only have to look at either Beatport, Traxsource or Juno’s 2018 remix collections to see this. Or even the number of free downloads on Soundcloud – lesser-known producers with their takes on classics, trying to gain support and not to be sniffed at, either. So far in 2018; we’ve had Underworld’s Born Slippy, Energy 52’s Café Del Mar, Shakedown’s At Night and Junior Jack’s E-Samba. Not to mention the rarer, more trainspotter tunes such as The Disco Evangelists’ De Niro, LSG’s Netherworld or Banco de Gaia’s Heliopolis. Even non-house music pearls such as Massive Attack’s Teardrop have been given a recent, respectable once-over. This week sees the release of a quite delicate rework, which could divide – or unite – opinions of dancefloor purists (although the latter is far more probable). Maceo Plex has undertaken the task of reinventing “Bladerunner” by the aptly-named artist, Remake. As such a heightened bootleg from the early nineties, it would require special attention to be a success, one would think. Championed twenty-five years ago by most household DJ names from the formative years of clubland – it would add another badge to the American, Plex’s impressive musical arsenal. Remixes could; for us addicts of the late night (and all day) tiles – signify the cycle of life and its trends or simply “what goes around” comes back around, only with a few tweaks. As David Bowie once said, “The only art I’ll ever study is stuff I can steal from.”
  14. With a smooth ability to produce across multiple genres, this time Gil Sanders dives into the trap realm with his latest track - Over The Hill. Combining intricate chopped up synth chords with intelligent sampling and adding the soothing vocals of Zay, Over The Hill is a forward thinking, future heater that is sure to make you feel them feels. If you have not heard the name Gil Sanders already you should get familiar with it. Gil jumped into the scene by taking out Italy's best remixer award in 2014 and has not stopped since, having originals and remixes on Spinnin, Armada and Flamingo to name a few. Over the Hill is set for release on June 22nd 1018. Remixes come courtesy of Jordan Magro, Dash One, Bust-R, Romy Black and HEYRO and are due for release on July 13th 2018. Listen here: https://csr.lnk.to/OTH
  15. Adam Madd

    The best is yet to come!

    French producer Mathieu Koss has been carving a solid name for himself for a few years now. Having seen support early in his career from Sam Feldt, Robin Schulz, Lost Frequencies and Martin Garrix, it’s easy to see why his new single is tinged with some guilt-free summer spiced optimism. The Best Is Yet To Come is Mathieu’s new effort is another great example of his persistent pop house blend. Mathieu’s first release, Need Your Lovin, saw immediate global reach. Followed quickly by a deep house version of NJR’s classic I Need Your Love which gained massive DJ interest, later resulting in over 2 million streams. Mathieu is most known so far however for Big Jet Plane alongside fellow DJ, Alok. The soon to be infamous remake of Angus and Julia stones slur of a folk song was a huge world-wide success. Mathieu worked epic levels of euphoria into the track, that was equally met with exhilarating force of music genius. Having always been a keen traveller, Mathieu is keen to use emotions conjured up by foreign voyages deep within his work. After being inspired by the uplifting attitude of some newly found Australian friends –Best Is Yet To Come was born. This single was shaped specifically for Joan Alasta’s vocals, who might be recognised from her appearance in Big Jet Plane. Riding high in the mix, Joan plays her part proud. always keen to draw from multiple influences, Joan refers frequently to the likes of Radiohead and more obscure and traditional Corsican songs. Joan’s constant search for diversity is magnified by Mathieu – both driving us forward with grace and the sheer force of positive thinking. Mathieu Koss – Best Is Yet To Come is available April 6th! Spotify:
  16. In the lead up to their Australian tour and the release of their new album, Cut The Strings, Ozclubbers' @GALLEON chats with Booka Shade about their music, the album, and just life in general! We warmly welcome you both Arno & Walter back to Australia for your run of dates in March. You have frequented our shores regularly in the last 10 years. What is it that keeps bringing you back down under? Ever since we first came in 2007, we have found an enthusiastic and loyal fanbase who not only cherishes the classic tracks, but also embraces more recent songs such as LOVE INC . We played some of the biggest festivals such as big day out, future fest etc, but also enjoy the headline club shows, like Melbourne last weekend and the ones coming up in Brisbane, Auckland and Adelaide (during fringe festival) . As the new album is only coming out in a couple of weeks, we play a lot of unreleased album songs in Australia, and it´s great to see the reaction of the crowd. Your previous live shows have never disappointed and always left the listener wanting more. Can you let us in on a few secrets as to what we might experience this time around? I guess it´s not really a secret when I say that we simply LOVE performing on a stage. that´s what we are really good at (together with producing music I hope) . And on this tour, also because the sound of the album is more ´back to the club´, our setup is very condensed , we have all channels for synthesizers, effects, drums under control on stage, we can react quickly and can interact more spontaneously , which gives the set great energy . With your last album Galvany Street, you took a different approach to your previous albums, which included the use of more hardware and featured various collaborations. Does Cut The Strings have any similarities to Galvany Street or have you gone back to a predominantly club approach? After our 2013 album EVE we had the feeling that we had said everything in terms of bass lines and riffs. we had the feeling we would only repeat ourselves if we continued in our ´usual´ way, and as artists, we definitely always want to progress, evolve, not repeat. Which sounds risky, because we have a career we could perhaps simply continue for years and years. But that would be too easy …. :-) So on GALVANY STREET, we made an unusual step and produced an album outside of the techno box, no techno 4/4 beats , no ´booka synth riffs´ , a lot of vocals, even pop song writing. Most of the vocal tracks are together with Craig Walker, former member of the UK band ARCHIVE. btw he´s got a new project coming up called THEM THERE. We also collaborated with Fritz Hilpert from KRAFTWERK on a Dolby atmos mix of the entire album which was released as Blu-ray disc and is part of the Box Set we released. We needed this time out to recharge our club batteries and indeed, we found new inspiration for club music ! And now, with this new enthusiasm for the club, comes CUT THE STRINGS . After the galvany street the only guideline we had was that we wanna go back to more clubbier music and that we don‘t wanna work so crazy long on tracks as we did in the past.it should be more spontaneous and open minded. You have worked with Troels Abrahamsen (vocalist on Kolsch 'All That Matters') on your latest single and title track, Cut The Strings. How did you get to know Troels? We actually contacted him years ago, shortly after ´all that matters´, and recorded a first version of what would later become CUT THE STRINGS. But then the GALVANY STREET project came in between and we put the song aside for a while, and picked up work in the autumn of last year. One of the novelties of the album CUT THE STRINGS is that we worked much more spontaneous and finished the production process quicker. On previous albums we easily worked for 2, even 3 years on an album. Again, that´s something we wanted to change in 2018. With your latest live show, do you individually have specific functions within the show or do you collaborate on all aspects? The work spaces are clearly defined since we first started: Walter plays keyboards, vocoder, sequences, Arno plays the drums and whenever we play longer sets, he does a DJ part in the middle of the set. When writing Cut The Strings, did you find any tried and tested production techniques useful? We used some instruments that we didn‘t use for a long time , for example an old EMS vocoder which we bought from Ian Stanley a former member of the 80‘s group tears for fears. You can hear it on tyrell and of course EMS love.this little box has a very special sound. How much do you find your methods of producing music evolve with the vast amount of software and plugins available? Even if it is so easy nowadays to do a good sound with all the plug inns which are out there ,we‘re always looking for new sounds with a character which can help to improve the trademark sound of Booka Shade. Not easy but it‘s worth it. It‘s all about challenging yourself and not be stuck in a formula. How do you both remain resilient and at the top of your game while touring given the long hours and continual amount of work needing to be done to make your performances so memorable? We have a pretty good time management, considering we both have families and a lot of obligations aside of music. also, we live a rather healthy lifestyle lately, and it´s incredible how much you can get done in a day and how much more energy you can have even with little sleep. Looking into your back catalogue, you both have an extensive history as producers under various aliases and in several groups stretching back to the better part of 30 years. Would you ever consider reviving any of the older projects you both worked on together (for example Superstring)? Ha ha, you´re digging deep …… well not everything was gold , but having said that, most of the rights from the 90´s should have long fallen back to us, so you never know…. go listen to old demos and releases every now and then and then look for sounds and sequences on old hard drives. you can imagine, there are dozens of old computers and hard drives ... In the last few years you have set up Blaufield Music. Tell us a little about your label and its functions. We had founded the label Get Physical together with our friends M.A.N.D.Y. , DJ T. and Peter Hayo in the early 2000´s and left in 2008, so we needed a new outlet for our music. and every now and then we release songs from friends of ours, for example fellow berliner CHI THANH, who has produced a magnificent remix for Body Language btw). Could be that after the summer we´ll release a project of friends of ours from Melbourne. Within the music industry, you as individuals and collectively as Booka Shade are known for having a great reputation and being highly professional while always remaining humble. Are these qualities you would recommend any DJ, producer or musician should withhold in order to maintain longevity in the scene? Absolutely. most people who have been successful over a longer period of time (not just two summers) are very professional, work hard and stay grounded. Who would you say has inspired you the most musically over the last 30 years? Depeche mode, The Cure, New Order, Sven Vath Do you have any tips as to who is about to blow up in the next couple of years? ARTBAT from Ukraine are having a good run atm, look out for them. Finally, feel free to tell us a fun fact that we wouldn't know about Booka Shade. We love gardening in our free time. Album Pre-order: https://sweatitout.lnk.to/CutTheStrings Booka Shade – Australian Tour Dates Friday 9th March: Pitch Music & Arts Festival, Mafeking Victoria Saturday 10th March: Days Like This, Victoria Park, Sydney Sunday 11th March: Prince Bandroom, Melbourne Friday 16th March: The Met, Brisbane Saturday 17th March: Powerstation, Auckland NZ Sunday 18th March: Royal Croquet Club, Adelaide Fringe Festival
  17. I HADN'T seen her since midday but we took up where we‘d left off, except we were both back on-wing ten thousand feet up and flying now, so when she sat with the warmth of her skin like fever, and she turned, illumined and effervescing, and our eyes in sempiternity met, the space, the time between us collapsed, we collapsed, to collide. It was the highest high note of The Gathering. True and triumphant. I’d never been happier or more alive, while a megalomaniacal voice in the back of my head crowed: now you're the king of the party! Later - days? weeks? - when we broke and she said we should go for a walk I was loath to leave the couch but more loath to leave her. She’d disconnected all my breakers, set my ol' redline river to surge. While the couch in that living dark was where it belonged, I was sure. I was sure. So to the ooze, to the open-air and the soundscapes and mostly the Gatherers of real cheer I abandoned it; abandoned it in the knowledge that I - they were part of something, something shining, and that I - they were seizing our full measure to carry forward, forward and forever, and that for some - now that measure might include the wonder of a bright blue inflatable couch found in the mud and the glory of the Trance Zone in those final scattered hours of that last climatic day. Good. I felt good about that. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  18. Izzy_Indigo

    56. It sucked the fat one - hard.

    SO MY delirium went, on that black sand beach, for the first week or two. Then I grew bored. So very, very bored. And not long after I did my first festival straight: Splore, an hour outside Auckland. It is not recorded in these pages because, and I have to be honest here, it sucked the fat one - hard. While all my friends charged around, while John learnt how to dance to Drum and Bass and Sarah got sunburnt and the whole of Splore shuddered and jumped, I was in my tent early, wiped out. Water, good times and the contact high weren't nearly as energising as I'd hoped. To tell the truth It felt as if I slogged through a damped-down monochrome whilst all my friends soared in glorious HD and this worked on me after. But I was a Rottweiler with his favourite toy, I growled and I held on. I feared for the meaning of my travels otherwise. For the terminus they harboured. In all I straight edged for fourteen weeks. Looking back now I see it was inevitable I would crack and just as inevitable it would be at John's house. John was a good friend, unempathetic, sure, but a man of moderation I much admired. Wildly successful in business, a salesman extraordinaire and yet electronica enthusiast and rager also, John had seen me go through many self-improvement schemes over the years. Let me correct that. John had seen me start many self-improvement schemes over the years. Because they always ended in a swift crash, the wheels of the wagon breaking, the bodies and aspirations flying. More often than not John sabotaged the wagon himself, waiting until my back was turned to snap a few spokes - not out of malice or spite, but because he knew my soul wasn't serious. That night, at his house, two weeks before boarding my first plane, sitting outside, his pack of cigarettes lying provocative between us, John rolling one of his perfect double-skinner spliffs - for me, that is, unless you want to partake? - it all reached a final point of saturation, the weakness and the desire. My constant companions I could no longer dissolve. They'd been on the swell for months, feeding off every close-fought fight, augmented, like being struck in the same knot of muscle, continually, the ache deeper with every blow. And I felt compressed, ever more oppressed by the pressure, self-applied. It lay across all my vistas like a pyroclastic cloud. And the remembrance of Splore lingered. And it occurred to me I’d become so fixated on the outcome I’d forgotten about the experience. And I really, really, really wanted a durry. So. When the harpies come to tear off the roof, why sometimes it was better to open the front door. I crumpled, a paper pillar. I strapped on a gold watch and marched straight edge Izz off into retirement. I had a few beers, had a few cigs, and later we enjoyed the spliff as John had always known we would. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  19. CHAPTER 3. TOWARDS A sky billowing in the distance with upward-bound cloud we walked, keeping tight to the diamond-shaped ridge on our left. It was into a mood of prehistory rolling from the ancient beech trees knotting its sides, as if at any moment a Moa could come crashing down, through, its splayed three-toed feet flying. We passed many coming-together-campsites in the lengthening shadows, pungent with cigarettes and blunts, loud with chatter and favoured electronica, whilst out on the downs a confusion of colourful Gatherers jinked like confetti caught high in the wind. We sought our own space under the eaves, large enough to accommodate our crew, maybe twenty or so yet to come. A mixed group of funky guys and girls hanging as friends, still a wondrous thing to me then. A crew I had met shortly after that first abandoned warehouse dance party in the centre of town - young, resonant, positive, socially adroit, spiritually aware, as apt to discuss The Celestine Prophecy as an upcoming stomp. And always something fun to do, house, club or party to go too, Wednesday to Sunday, the rhythm of their lives marked by the ever-present trance and dance and recreational drugs. We were first world children. Brought up in peace, bored, with no great cause to own, ya-yaa-ing on the picket line, no survival simplifications; only young and eager and outraged by the ceaseless hunger stretching endless before us, that svelte compulsion of many years, work and work and compete and consume and get ahead - leave the others behind - fuck ’em, right? - over the top boys, over the top - the me, me, ME of media, our spiritual destitution; just a life-time ahead of being weighed and ranked, of being told who was better and why, everybody’s life a highlight reel, and with it all hurtling at you ever faster, contending, compounding, that whole fucking rotten bullshit deal - rejected, because this was Peace, Love, Unity, and Respect, cuz - not the tarnished caricature but something beautiful, truly. Conscious. Lived and intended. Peace. Love. Unity. Respect. It meant something then and still does now, cool cats doing cool things whose policy was betterment and inclusion. My friends scions. I loved them with a huge passion. They were simply the finest humans I’d ever known. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  20. NEAR MIDDAY Darius and Kathy found us. Then Joseph. Then Sam, rested and unrepentant. We caught up, and I heard they had found Tim, Darius telling the story. "You know how he's been trying to make Sandra? Well he finally sold her on the idea they could create this big "millennial memory” and that's where they went, the nuttas. They couldn't even wait for the countdown to finish." “Didn't he have a pill?” “Yeah. I’m glad it wasn’t my tent, the dirty olds. They're back there now probably still at it. And Tim reckoned on their way there they got interviewed by the six o'clock news!” We pictured this: pictured all that could go wrong with giving your views to the country whilst rolling for the first time . . . and horny. We laughed loud and long. But Tim came across like a boss, like an electronica warrior of the Shaky Isles, and his and Sandra's was the longest clip they played on the news that night. Darius also brought word that Dan had left - I guessed from a sore jaw, not enough gum - as had hundreds of others. Unbeknownst to us The Gathering was now a major story out in the real world, which, having survived the Y2K bug, had turned its attention to the dozens of hypothermia cases shipped from the festival to an emergency centre in Motueka. Evacuation of the entire site had been considered, but civil defence couldn't figure the protocols for moving thousands of spangled, coming down ravers off the top of a remote, waterlogged hill. So blissfully ignorant of how close it all came to ending, the hard core were allowed to stay on. We got our second night on the downs. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  21. Izzy_Indigo

    48. The real story of electronica.

    AND I dreamed. Oh I dreamed of the ephemeral magic of dance festivals gone by, blowing up in my memory like supernovas. How I’d always been fascinated, ever since my earliest days when on film I tried to capture - I don’t know, something - in the rain and the mud of The Gathering. How I'd never been able to get to their essence when evangelising to the trapped or the prearranged, but knowing there was more, always more. A goodness in festivals, redemption and transformation; secrets and mysteries and magic that brought out the very best in human kindness, kinship and beauty. How there was culture, community, a whole conversation going on. A movement on the march, had been since the eighties, multigenerational, thriving, and was more, always more than the mainstream caricatures: the overdoses, the drug-ee jokes, the scenesters, the posers, the superstar DJs, the dimly beautiful, the snatched footage of spangled kids, neon-lit, the hippies cavorting as hippies do. And how this diminution and condescension had always rankled from a world where you could now rise and rise based on the rise itself, and depth and discourse had crushed to five second sound bites with 140 characters coming that year. A world gripped by a nameless dread, in need of new models of being. And how I had always understood it, also. Understood that the secrets and magic and mysteries defied comprehension unless immersed, perhaps would defy documentation too, but which still I yearned to live, capture and record. I felt, as I had always felt, the story, the real story of electronica, of its festivals and of the voyagers who go, was out there, waiting to be told. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  22. Izzy_Indigo

    43. The alchemy of cream.

    CASSY AND I rambled. Two cats who’d discovered the alchemy of cream, we walked hand in hand not staying anywhere for long or talking much. Other than for her to explain how she wasn't going to sleep with me, which given my current disarray was a rather endearing but woefully erroneous. Close to dawn we worked our way back home, wintry and plunging down and very twisted, when we spied the flicker of a campfire in the distance. The camp of the house-bus-owning hippies. Four of them were out sitting bronzed in the fire's ruddy glow. We stopped and asked if we could get warm, and they welcomed us in, and they made a place for us close to the blaze, and they didn’t ask us to talk; and it was a beacon, that fire, that final morning, of hospitality and community and radiantly it shone, and in to it flew other wet and weary travellers, each arrival welcomed from the darkened buses by a soft tattoo of drums. There was comradeship here, Cassy and I sitting and cuddling, were silent and lost and nobody seeming to mind; the warmth of her body and the shape of her neck, the smell of her hair, all that mattered for me then in that windtorn, predawn jot of space and time. The end of The Gathering. The beginning of everything else. All brimming and bright and stretching long before us. THE CREW were up and packing when we got back. I was crashing. A zombie, I shambled around in a sort of unhelpful daze. In a fit of pique I did attempt to throw all of my wet clothes away. I declared I would buy all new ones. I was persuaded this really was a rather terrible idea. The camp broken down, those of us who’d come in the taxi-van were distributed to other vehicles, and then, more in a whimper than an exclamation, The Gathering ended. I had a snug spot in Andy's van, warm and dry among the backpacks, and soon drifted to blissful sleep. It lasted all the hours it took to queue and exit and drive back to Nelson. I didn’t get to say goodbye to The Gathering, to the Canaan Downs or the Takaka Hill. I never saw Cassy again. But into the darkness I did carry one relic that morning - Darius’s final words. "Izzy, bro, we just walked past the Trance Zone. You know your couch is still there with people sitting on it?” For some reason this made me hugely, inexplicably, unaccountably, happy. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  23. "NINE O'CLOCK check in boys, a few words for our adoring audience please." I brought my camcorder to bear on Joseph and Tim. Joseph raised his arm in mock triumph. "It's nine o’clock, it's New Years Eve 1999, and it's fucking pissing down." "Yeah boi!" Tim added climbing over Joseph all gleeful. We collapsed into hysterics. It couldn't be denied, it was fucking pissing down. The rain had been bad throughout the day but ever since the night it had turned torrential. Where we sheltered, beyond the light of the food tent, a silvery curtain now cataracted into the earth. And this the bigger problem, for the sheer amount of water that had fallen, combined with the poor drainage and the enthusiastic dancing of the thousands of Gatherers - those undaunted embracers of all eventualities - had turned many areas into muddy bogs, especially the Trance Zone. In some places it was now calf deep and spreading, eating up the grass like erosion, like flesh eating bacteria. A quagmire, actually, with most having given up the fight to stay clean, people sitting down to make mud castles or practice swan dives, even break-dance in it. And the water pooling, countless tents periscoping out of scummy ponds, and of course, the kicker, ever since the unseen sun had set, now bitterly cold. It was surreal, horrible, the worst of all possible luck, and yet . . . and yet . . . I was having the time of my life. The location, the open air, the good, the great friends, the dance arenas, the sound systems, the DJs, the sets, the drugs, the performance artists, the other Gatherers, it was all melding into one exceptional atmosphere - there was true-hearted connection, community, solidarity, beauty, truth, love, all of it, all of humanities better angels concentrated and improved - and nothing could break us or our resolve to see out the millennium in style. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  24. Izzy_Indigo

    19. On the Trance Zone surge.

    NEAR TWELVE p.m. we were back at camp changing clothes - feeling good, fully amping. Beyond our tents hundreds of good-cheer Gatherers flowed, sports fans on the march, pilgrims on the path - Mount Kailash, Shikoku, Varanasi - livers and lovers, dancers, all on the Trance Zone surge. We geared up, we joined, and we did not stop until caught by the Zone's rope cordon. Beside me Joseph, Sam and Big Dan, towering over us at six foot nine; and us part of a much larger rugged-up snug mob: people in a multitude of beanies, jackets and warm wool jerseys, some carrying umbrellas, some squatting down, news cameras present, clouds, steam; all just one huge homogenous yearn towards that empty, emerald field out front. The rain down, still coming down, but tolerable, perhaps even enjoyable, the heavier drops chubby and cool on your face, the lighter ones misting into a fine spray. A novelty. I mean how often are you outside, outdoors, and uncovered in rain really? Besides, electricity was in the air, we were on the verge of a thousand years, and no wet in the world could quench our fire, our barbarous souls at that time, in that place. Simmering. Anticipating. With restless intent. But not for long. Like artillery starting an attack enormous Japanese drums opened up with booming incantations. The chatter of the crowd went up to fever pitch. The first bass-ladened beats crack-ti-cracked the air; the crowd spiralled higher; the track something suitably singular, epic. We were barely contained, frothing against the rope. Time slowed, paused, ticked over. Twelve o’clock and the rope was down, down, down. The rope cordon was down and you couldn't help it, suddenly you were moving, shifting, straining with all of your might, running for the middle of the Trance Zone, bumping and jumping with your friends, with hundreds of others, running and shouting and hooping your delight; past the cameras, across the grass, through the rain; just one crazy pell-mell sprint for the centre for no other reason than it had begun. The music was here. And The Gathering had finally, truly begun. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *
  25. IT WAS a relief, frankly, to reach the House Tent a short while later with its billowy white roof and canary lights and groovy tunes and steaming people smelling of wet wool. The floor the same mud as outside, but there were wood walkways for the lucky and it was dry and warm. I wormed my way into the centre and set to stay for a time; the ecstasy - pure goofed goodness - unfurling low to high. It fed my sympathy for the truehearted crowd; coordinated my harmony with the fine set DJ Me and Andy Greenman spun. One tune after another that had the congregation pinned, Black Panthering their hands and stamping their feet and riding the sound into its apogee, into bass and hi-hats and a mad wheeling crash of keys - well alright - sleek vocals - you squares - thumping bass - we got to get together - and swinging piano - make it better - and we were on - it's time to put up - hungry - or shut up - alive - to make a change somehow - give us that funk - time to move on - that sideways shake of our heads - groove on - give us it ALL - because - because - GOD MADE ME PHUNKY - spotlights on the blaze - yeaaaaah - and oh yeah, fuck yeah! Haha yeah, yeah, yeah! And the track was ringing and everyone was singing and everyone was reeling and everyone was young and everyone was beautiful and man was good, no, man was great - yeaaaaah - and it was our time, our future, our century, brothers and sisters, and we were going to change the m-o-t-h-e-r-f-u-c-k-i-n-g worrrrrrrrrlllllllllld. For hours I stayed, kindled. And when next I thought to venture outside the rain had slackened to a drizzle and predawn leeched the dark. I swayed in the brisk nothingness that had come to the downs with its singular wet-before-sun smell. I was becalmed now, empty and falling. So this was the first day of the twenty-first century I thought. The first of the third millennium. I idly wondered if the world had survived, and didn’t much care the answer. * * * * This blog is a story. Each post picks up from the last. If you are new, start at the bottom with post 1 and then work your way up. * * * * Enjoying what you're reading? Please take the time to follow the blog, like and comment. Your support means a lot. Also, sharing is caring. * * * *

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