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  1. Here is our recent set, recorded live at our Attic event at The Flinders a few weeks back, on warm-up duties for Nachtbraker. Our intention was to get the bodies moving and booties shaking with more rolling, percussive selections from our collective boxes—these actually worked a treat, setting the scene nicely for the expected Nachtbraker destruction! ;) Hope you enjoy this one! x : Tracklisting: 01 : Jesse Bru – ‘Stay For A While’ (Original Mix) [Pulse Msc] 02 : Lorca – ‘No Chains On Me’ (Original Mix) [Live Ones] 03 : Max Graef – ‘No. 5’ (Original Mix) [The Gym] 04 : Scissorwork – ‘Kissing’ (Original Mix) [Beats Of No Nation] 05 : Frits Wentink – ‘Geese’ (Original Mix) [Wolf Music Recordings] 06 : SlothBoogie – ‘Acid Fantasy’ (Original Mix) [SlothBoogie] 07 : Bas Roos – ‘Midnight People’ (Original Mix) [Exploited] 08 : Playin’ 4 The City – ‘Minor Track’ (Original Mix) [Plastik People] 09 : Franck Roger – ‘Ruffcut’ (Original Mix) [Rutilance Recordings] 10 : James Pepper – ‘Lover’ (Black Loops Remix) [Neovinyl Recordings] 11 : Sebb Junior – ‘Moving’ (Original Mix) [La Vie d’Artiste Music] 12 : Loods – ‘Around’ (Original Mix) [Steel City Dance Discs] 13 : Hector Couto – ‘Changes’ (Original Mix) [Brise Records] 14 : Crookers ft. Baxter – ‘Innocent’ (Kai Alce Distinctive Groove Dub) [Defected] 15 : Honey Dijon ft. Shaun J. Wright & Alinka – ‘808 State Of Mind’ (Original Mix) [Classic Music Company] 16 : Never Dull – ‘United, Under One Roof’ (Original Mix) [Large Music] 17 : Joe Corti – ‘Thinkin” (Original Mix) [Better Listen Records] 18 : AB/DC – ‘This Feelin” (Cody Currie Remix) [Southern Fried Records] 19 : Cody Currie – ‘Oderberger’ (Original Mix) [House Of Disco Records] 20 : Intr0beatz – ‘Just Feel’ (Original Mix) [Lagaffe Tales] 21 : Tech Support – ‘Excursion’ (Jesse Bru Remix) [Anti Skate] 22 : Adryiano – ‘On My Side’ (Original Mix) [Soul Notes] 23 : Bellaire – ‘Make Me Feel’ (Original Mix) [AOC Records] 24 : Demuja – ‘Arrested’ (Original Mix) [CDR] 25 : D’Angelo – ‘Spanish Joint’ (Joe Corti’s Edit) [China White] 26 : Paul Cut – ‘Nucleus’ (Original Mix) [Balance] C'mon Soundcloud! 'atta boy, Soundcloud. Thanks!
  2. Releasing their debut single ‘I Needed You feat. Nick De La Hoyde’ just last year, Sydney duo Boulevarde have impressed industry and fans alike with a songwriting sensibility well beyond their years. For the release of their follow up single ‘Plans’, they’ve teamed up with Melbourne singer/songwriter Aeora, who’s vocal delivery is nothing short of stunning; powerfully commanding whilst retaining beautifully raw and honest qualities. Produced by the talented team over at Fat Poodle Productions, the release will be accompanied by the duo’s first official music video. Directed by award winning producer, Ellen Dedes-Vallas who’s previous work includes content for Nickelodeon and The Walt Disney Company, she finds a unique way of integrating Boulevarde and Aeora into the charming storyline of the clip. On how the collaboration came to be, Boulevarde explains, “we’re always scouting for talented vocalists to work with, and we found this song on JJJ Unearthed by Aeora called Fenceline - it was so unique, so powerful and her vocal delivery just carried so much weight and emotion. It was one of those one’s where we were typing an email up before the song even ends.” WithAeora adding, “The lyrics and melodies came to me really quickly for this track. I was in this headspace of starting to realise I could feel content with how everything was going in my life and that I could just enjoy myself. I also really enjoyed the dynamic we created through working on this song together. It flowed really easily from my end when putting my ideas out there.” Boulevarde’s new single ‘Plans’ is out now on Central Station Records. LISTEN / BUY: https://boulevarde.lnk.to/PlansNe
  3. whoisnishan

    Ultra Australia delivers the goods!

    Ultra Music Festival, first established in 1999, has now become a world-wide phenomenon. Originating in Miami, the Ultra world-wide brand now encompasses at least 28 countries across 6 continents, and continues to deliver a consistently remarkable festival experience, for new and old festival goers alike. The festival has 3 stages: Main stage with the more commercial headliners; the Resistance stage, which one could say boasted the crème de la crème of the underground DJ scene, and the UMF Radio stage, syndicated to FM radio stations in over 62 countries, playing predominantly what I would consider to be energising EDM mashups. The festival was held in Melbourne on the grounds of the Flemington Race Course. From the moment I walked into the festival I got the sense it was a well organised event. There were water stations in easy access, good toilets which were maintained during the festival, and all the typical festival amenities including a variety of food trucks. DanceWize and first aid also provided support and free sunscreen to all those in need. Drinks were easy to purchase using EFTPOS / paypass, and there was even a phone charging station. Police presence was a standout point, with police trooping around the festival in groups of threes. At one time I could count at least 12 police roaming the festival within eyeshot. There were sniffer dogs at the entrance, but were not inside the festival and the police presence managed to effectively keep the peace in a non-intrusive way. In terms of entertainment, there were roaming artists and models wandering through the venue. Sound quality in all stages was unrivalled, with noise interference between stages being quite minimal considering the proximity of the stages to each other. Only the Resistance stage had some shade, all the other stages were completely open. You could see patrons lurking in any shadow they could find to hide-away from the summer sun. Even though marquees were set up specifically for shade, more would have been better. Secondly to that, the VIP areas were also devoid of shade, which I found surprising. One festival goer, Courtney, stated that she was not impressed by how “you’re paying $300 to stand in the sun, further away from the stage as VIP, whereas not VIP were closer to the stage”. Lilly, who had attended Ultra last year, also concurred with the sentiment that having the VIP stages on the sides of the crowd, rather than up the front was a bit of a disappointment. However, by being on the sidelines, there was inherently a lot more space this time round – but would you rather have the extra wiggle room or prefer to be right up there, front and centre? Irrespective of whether you were in the VIP sidelines or down in the crowd, the lightshow at the end of the night was amazing. Mainstage boasted lights, lazers, flame throwers, even a fireworks display to end the night. All the performers / DJs were energetic and capable of bringing a buzz to the crowd. For me, this was exemplified mostly by the Chainsmokers, who would switch from DJ track to a random acoustic track and have the whole crowd (and I mean the WHOLE CROWD) singing along to We are the champions by Queen, Zombie by Bad Wolves (originally by The Cranberries), and they even threw in a dash of Linkin Park, because why wouldn’t you? They rock! The Chainsmokers had a full drum kit on stage, and there was a point when the drummer’s drum sticks were on fire whilst he did a drum solo. It was a sensational performance, and I have to say that Ultra could not have chosen a better headlining act. The other standout performances I happened to catch were Boogs, who really never stops giving, and Joris Voorn who was in top notch tech form through his pumping set. Adam Beyer was fantastic, Mashd N Kutcher were banging with their high energy EDM mashups. Will Sparks was entertainment 101, managing to DJ, rev up the crowd, and dance on stage, all at the same time. And the best thing (I think) about this festival was that as you walked from stage to stage, you could grace your ears with a little bit of tech, progressive, drum’n’bass, glitch, EDM, all the way to just plain old rock! It was a musical delight, and for those of you who have yet to experience Ultra, my word of advice is: Do Not Miss The Next One!! (Photos by Rukes, Rudgr, and Nishan Saparamadu)
  4. Sunshine is her real name. We're not shitting you - Sunshine Rosie Trott. Her parents were hippies. Her father lives off-grid in northern New South Wales somewhere. But the well known Melbourne DJ started in Perth. Everyone has story – a past, a present and an imagined future. But Sunshine’s happens to be like a Hollywood script, except of course no-one has made this up - it’s all real and it spans triumph and tragedy and back again. It’s quite a thing, and she is quite something. Sunshine has been heating up the Melbourne scene for almost two decades already! If you ask her, Sunshine will say her sets are all about "fun". Earning her stripes in a myriad of different spaces around town, she’s created a sound that is truly her own. What gives her the edge is sheer versatility – you’re just as likely to hear bleeding-edge techno alongside tech house, house and disco all in the space of one beer. Hapno is the sound and it sure ain’t coming from anyone else. Ozclubbers' Galleon managed to get some one-on-one time with this amazing and yet still very friendly artist who has established herself as a staple in the Melbourne scene, well known these days for her Rise & Shine at Revolver Upstairs every saturday morning from 7am. So what or who inspired you to start DJing in the late 90's? Were there any influencial dj's or records that gave you the bug? Growing up I always had a passion for music. When it came to DJing there were a few things that sparked my interest and I had a moment where I knew thats what i wanted to do with my life. I was 14 yrs on a dance floor at a rave in the out skirts of Perth dancing to a DJ and I was so blown away with the energy he created mixing two records together and the effect that it had on the dance floor that I knew I wanted to learn how to do that and set off on a mission to DJ. I starting collecting records after that rave, moved to Melbourne when I was 16yrs because of the thriving music scene and finally was able to purchase my own set of Technics 1200's when I was 17yrs (Thanks to a loan form my mum which i'm forever grateful for). From the day I got my decks I practised everyday learning and perfecting my skills and I haven't looked back since. I still love DJing and couldn't imagine doing anything else. Other things that have influenced me are these two mix cds, I use to listen to them flat out when I was a teenager - Ritchie Hawtin - Mix Mag CD and Derrick Carter - Many Shades of Cajual CD. Also these were favs of mine when I was a teenager and still are today - Green Velvet - The Stalker, Moodyman - Shades of Jae, Kings Of Tomorrow - Fade To Black You have been playing at Revolver for upwards of 18 years. How did you get your first gig at Revolver and what keeps you coming back each Saturday for Rise & Shine? Yeh I have. Its gone so fast. Revolver is definitely my musical home. When I first moved to Melbourne at 16yrs. I would buy records at Hardware and Rhythm and Soul record stores in Prahran and one time I went past revolver during the day and the guy working behind the bar said I could jump on the decks for practice. I was so stoked! Back then I was struggling to save enough cash to buy a pair of my own decks. From that point on I started going to revs all the time which lead to a few guest spots on Friday early evening and then turned into a Wednesday night midnight residency which i held down for 2years. It was that set where I first learnt about how to build a dance floor playing different genres of music - funk, soul, hip hop, disco, house. Then at the end of that residency a DJ friend of mine Viva L'Amour, who at that time was the Saturday morning resident, invited me down to play and I feel in love with that set. It turned out she was ready to move on so I ended up taking over the spot which is now Rise & Shine. It's my 16th year of playing every Saturday morning 7am-12pm and I still love playing to the regulars new and old and seeing the enjoyment they get dancing to my favourite music. You have a style of playing that you loosely call "Hapno" (happy techno). Tell us a bit about this and why you infuse your techno with gospel vibes? Yeh thats a name I came up with years ago to explain the overall sound of what I play. Hapno ends up sounding like a fun, energetic, sometimes dark, sometimes joyus experience. I love to play at mixture of techno, soulful house and everything in between but put it together in a way of having no rules, as long as the feeling is the same with both records it doesn't matter what genre they are. My favourite type of vocals are gospel inspired ones and putting techno underneath just takes the energy on the dance floor to the next level. You recently formed the Disco Faith Choir who accompany you in live performances and sing gospel vocals over instrumentals (and some original productions). How did this come together and how do you guys work together, select tracks to perform and prepare? It came about when I was searching for a choir to sing on a track I was writing and I also wanted them to perform at the record release party. It turned out that it was harder than I thought to get a choir to want to perform at 2am so ended up starting my own and teamed up with gun choir leader Shobana Sebastian. After the first performance we did at the record release party I knew this is what I wanted to focus my creative energy on. It felt like a natural progression of my DJ sets adding the live element and bought the DJ sound i'm know for to life in 3D. For each show I put a set together of the perfect music and vocals that I think will have great energy on the dance floor and then Shobana helps bring my vision to life with the choir. Its a lot of fun and hard work leading up to each show. You have the new performance coming up in March called Angel Heart. What can we expect to hear from both yourself and Disco Faith choir at this event? I'm so pumped for this. It set to be our biggest show yet. There will be a few favourite tracks in there with a bunch of new stuff two. We will also be performing for the first time our cover of Dreams and another new original called Fighting. You consistently push out flawless productions be that originals and remixes. When making records in the studio, how do you work? Where do you start and do you always have the gospel techno vibe in mind? Thanks. When I start making any piece of music I make an 8 bar loop that has the guts of the track in it and then develop the arrangement from there. I find i'm way more inspired if i can imagine how the end result will sound. For Sunshine and Disco Faith Choir I do keep the gospel techno vibe in mind although sometimes it turns out more like gospel house with a tech edge depending on the music idea. For Sunshine originals and remixes I work on something until ive come up with a piece of music I'd love to play in my sets which could be anything from house to techno. You aren't far off releasing a cover of Fleetwood Mac's seminal classic Dreams. Why did you select this one to release with the choir and who is on remix duties? I'm so excited for this to come out. The finished track is better than I could have ever imagined and it was a great experience going in the studio to record it with Jan Skubiszewski. I've always been a big fan of Fleetwood Mac and in the Sunshine and Disco Faith Choir performances we have been doing a cover of it which works so well with the crowd and inspired us to give our own spin to it. Ive been testing it out in the club at the moment and it goes offff :)...The original will be released first then I'll start looking at the right fit for remixes. Have you looked to overseas performances (Berlin or the like) for your gospel techno excursions? That is definitely a dream of mine to get myself as a DJ and also the Sunshine and Disco Faith Choir performances on the world stage especially Europe. For now i'm focusing on Australia and Melbourne which has always been so supportive of my music. So what's in store for the next 12 months for Sunshine? This years all about new music. A few new Sunshine and Disco Faith Choir singles will be out soon, followed by a couple of Sunshine originals. What would be your top 5 records right now? Dreams by Sunshine and Disco Faith Choir Labyrinth by Moonwalk My Lita (Mark Broom Remix 1) by P.leone Dance With The Devil By Reinier Zonneveld 37000 FEET (Sunshine Remix) By Holmes John and Sante Finally, what is something we may not know about you? I love dogs.. Thanks Sunshine for chatting with us! Sunshine can be seen at every saturday morning at Revolver Upstairs from 7am! More info here: https://www.facebook.com/sunshinethedj Sunshine and the Disco Faith Choir will appear at their new event "Angel Heart" at 170 Russell on Sunday 10th March 2019 Info and tickets available here: https://www.facebook.com/events/341055826687978/ Watch: Listen:
  5. Adam Madd

    Ultra Australia - The Final Wrap

    With all eyes on the debut of ULTRA Australia last weekend, both shows in Melbourne and Sydney on the 23rd and 24th of February were impeccably produced, record breaking events. Kicking off at Melbourne’s stunning Flemington Racecourse before moving to the beautiful surroundings of Sydney’s Parramatta Park, the festival welcomed over 40,000 fans from across the globe to experience performances from the world’s most revered international artists. For the first ULTRA Worldwide event of 2019, organisers pulled out all the stops, bringing their unparalleled production and world-class line-ups to Australia, giving fans the ultimate festival experience. Marshmello, ILLENIUM and Slushii commanded the Main stage with electrifying performances, while Martin Garrix worked the crowds into frenzy as the sun set. The Chainsmokers closed out both days to a rapturous response. Making its much-anticipated debut on Australian shores, Joris Voorn was the first international act to take to the RESISTANCE stage. Nicole Moudaber and Dubfire’s sensational b2b performance kept the crowds coming in thick and fast, while techno titan Adam Beyer left fans quite literally demanding more, as he closed out the inaugural RESISTANCE Australia on both nights. Australia’s local music scene was heavily represented on all three stages across the weekend, with the crowd going wild for local talent such as: Sunset Bros on the main stage, Steve Ward and Boogs on RESISTANCE and an array of talent over at UMF Radio including: Tigerlily, Mashd N Kutcher and Joel Fletcher to name just a few. Organisers offered plenty of shaded areas and free water stations across the grounds of both venues. With Summer still in full swing, event staff gave away complimentary caps, sunscreen and water to patrons upon entry throughout the weekend, to help keep them cool and comfortable. Event organisers worked closely with the local authorities to ensure a strong police and medical presence, demonstrating their commitment to patron safety and security. Ultra Australia will return in 2020. For more information, go to: http://www.ultraaustralia.com https://www.facebook.com/ultraaustralia https://twitter.com/ultraaustralia https://www.instagram.com/ultraaustralia Read the review here: Photos below courtesy of Rudgr.com, Rukes.com, and Nishan Saparamadu of Ozclubbers.com.au
  6. Continuing to rise above the ranks, Gil Glaze has been demonstrating his flair for a finely tuned production over the past year. Back with more versatile tunes for 2019, Gil Glaze releases summer anthem How We Do on Sirup Music. Infused with warming tones and fiery percussion, How We Do is a track set to resonate well with listeners who enjoy basking in the summer glow and dancefloors alike. Drawing on pop tinged melodies whilst radiating positive vibes with uplifting piano keys and a captivating vocal, How We Do is destined to bring crossover grooves globally. Swiss rising talent Gil Glaze sits firmly in his own lane. Having focused on house and club music in 2018, the producer now looks to provide radio friendly dance tunes with pop leaning elements. Exhibiting diverse skills fused with his own widely varied taste, Gil Glaze has demonstrated a passion for crowd enjoyment and interaction unlike no other in on the show circuit. At the age of just 25, he’s already performed alongside Tiësto, David Guetta, Martin Garrix, Diplo, Robin Schultz, Axwell Ingrosso and Marshmello to name a few. Now on his own world tour from Amsterdam to Miami, be sure to check out Gil’s clear global appeal. He also joined the Chainsmokers on their headline Australian tour back in 2017 after his remix of Honest received and impressive three million streams. More recently he has also been providing his remix skills for Robin Schulz and Boiler. With the ability to crossover on to the mainstream dancefloor and back again, Gil Glaze is becoming an artist in demand with his unique musicality. Gil Glaze – How We Do is out now via Sirup Music. https://www.facebook.com/GilGlaze LISTEN/BUY https://SirupMusic.lnk.to/HowWeDo
  7. Adam Madd

    The day the music died (in NSW)

    The NSW Premier, Gladys Berejiklian, is creating confusion and uncertainty for any festival or community event organiser as well as millions of audience members across NSW by rejecting sensible consultation over her Government’s rushed and half-written new Music Festival Licence. Representatives from across the industry have implored the NSW Government to extend the date for the introduction of its new licensing regime for music festivals to allow for proper consultation on its operation and implementation. Despite the industry’s willingness to work constructively with Government on these issues, the Premier’s approach to the festival industry has been an uncooperative and heavy-handed ‘put up or shut down’. Following a meeting yesterday with advisers, we have been informed the Government will not change its position on the implementation of new licensing rules from next Friday. By refusing to consult properly with industry, as opposed to the disorganised and inadequate process it has run to date, the Premier now seems to be determined to shut down some of our best festivals for the sake of a quick media headline. The impact of the Government’s badly designed licensing requirements is already being felt with festival operators shutting down events or facing hugely inflated costs almost overnight to meet the Government’s demands. Despite statements to the media these changes won’t impact “low risk” festivals, the Government has failed to provide clarity and certainty around its risk categories. It’s a fact that well-run festivals with excellent safety records are already being affected by these new guidelines. Festivals across NSW, in metropolitan, regional and country areas will be hurt by Premier Berejiklian’s approach. Our musicians and performers, production crews and festival staff will lose jobs and income. Communities, including regional centres and country towns, which host festivals and thrive on the business generated by festivals and their fans will also be hurt. The Government’s approach does not make economic sense. Nor does it do anything to deliver better safety outcomes. If the Government was genuine in its commitment to festival safety it would be working hand-in-hand with our experienced festival organisers rather than just imposing new licensing conditions drawn up in Macquarie Street. We urge the Government to come to the table with a commitment to genuine and extensive consultation that includes a commitment to defer the 1 March start date for the new licensing requirements so we can understand the economic, cultural and operational impacts of the new regulations. The festival industry will be stepping up its campaign on this to make people aware of what is at stake for our music industry as well as business and tourism across the state, and will be urging all parties at the upcoming NSW election to support policies which deliver certainty for the future of music festivals in NSW. Otherwise, sadly, it looks like NSW will be Australia’s first music festival-free zone. Statement issued by: Australian Festival Association Live Performance Australia MusicNSW APRA AMCOS Live Music Office
  8. Ultra Australia has announced that Rukes – often referred to as #1 DJ Photographer in the ‘Greatest Music Photographers Right Now’ by Complex – will be coming to Melbourne & Sydney for the festival. Rukes’ photos have been published by the likes of Rolling Stone, Spin, Vanity Fair, Q, MTV, LA Times, Forbes, Elektro, DJ Mag, US Weekly and USA Today, just to name a few! His worldwide client list includes artists such as Zedd, Above & Beyond, Excision, Deadmau5, Swedish House Mafia (as well as each member Axwell, Sebastian Ingrosso and Steve Angello), Calvin Harris, Avicii, Skrillex, Hardwell, Tommy Lee, Alesso, Steve Aoki, REZZ, Tiësto and many more! Not to mention shooting for some of the biggest festivals & events in the world such as Ultra Music Festival, Coachella, Red Rocks, Holy Ship, EDC and many more! We here at Ozclubbers don't often get to chat to the photographers, so when we get to chat with someone who is considered #1 in his field, we naturally were pretty excited! Ladies and Gentlemen, let me introduce to you, Drew Ressler - aka Rukes! As a start, can you tell our readers a couple of brief things about yourself? My name is Drew, but most people know me by Rukes. I’m based in Los Angeles and I have been taking photos of dance music for almost 15 years now. I currently photograph DJs and festivals as a full time job, travelling all over the world. How did you get your start in photography? I got a point-and-shoot for my birthday in 2003, and ended up taking it to some club events in New York for fun. When I moved to Los Angeles in 2004, I was a little more interested in photography so I decided to get a basic DSLR setup and see how that worked out. What was your first camera? Technically my first one was a Canon PowerShot G3X point-and-shoot, but my first DSLR was a Canon 20D. You started in the scene doing club photography, do you remember which club was your first gig and when? Of course, it’s still up on my website! Everything is there! My first actual event I went to photograph was BT at Avalon NY in September 2003, but my first actual paid gig was one of the Avalon LA gigs in 2005, I forgot which. What drove you to change from club photography to focusing mostly on the artists? When I started doing club photography in the early 2000’s, 99% of the galleries I saw online were pictures of clubgoers and hot girls, and maybe one blurry pic of the DJ. Since I was a fan of a lot of the DJs that played, I was wondering why nobody focused on the musicians. Of course club owners generally want to show off beautiful people to entice more people to come, but I wanted to give something to fans of the music by providing good quality photos of the actual DJs. How much balance do you put into a gig of just a photo of the artist vs photos of the artist and the crowd in the background? It depends on the DJ really. I generally try to only get 3-5 shots of the DJ up close, unless there is reason otherwise, like they are very active. It’s tough to get unique shots of a person DJing. What was your “big break” (if you had one)? I.e., what gig were you at and came to a realisation of something like “holy shit, I’ve made it, this is where I want to be in life”? Probably when I started working with Deadmau5 and he started bringing me on tour. When I ended up doing my first international touring gigs, I was just like “Ok, this is amazing”. You’ve taken some photos of some massive artists over the years. Can you name a two or three who have left an impact on you and why? I would have to say first and foremost is Hybrid. They produce my favorite music, and Mike Truman was one of the first people that recognized I had an eye for photography. Sasha would be another great one. Back in the early 2000’s, his shows were always EXTREMELY dark and he hated anyone using flash. So I had to develop and learn extreme low-light photography, and even get a low-light lens. That helped push my photography very early on. A third one might be Swedish House Mafia. Usually when I’m taking pics of a DJ, it’s one or at most two people. Having to photograph three distinct personalities is difficult because in every photo of them, you have to make sure all three look good. If one doesn’t, the photo is trashed no matter how good the rest of it looked. So it really helped me develop my timing and looking at how to recognize what people are doing or are going to do, physically. How often are you asked to take “private” photos by big name artists backstage doing things their promotions team would frown heavily at? Can you share some stories on this (without giving away any details that might hint who the artists are or where it took place)? I mean there aren’t really any situations where I am asked to take shady photos, it’s more of something that just happens during the course of photography. Usually if it’s extremely bad, the artist will laugh and I’ll just delete the photo immediately. Most of the time they like the pic, but don’t want it public, so I save it in a separate subdirectory and just send the artist the photo themselves. This could be anything from a funny face, to drinking when they shouldn’t be, etc. What would be the greatest part of your job? Travelling the world. I’m at the point where I love long flights without having to deal with social media and can just watch movies and play videogames. Then enjoying long layovers in nice airport lounges. Of course then collecting tons of miles and elite status too (I’m actually on track to be top tier in OneWorld, Star Alliance and SkyTeam by the end of the year). Then arriving in the country to experience the culture and food almost makes my job like a vacation. And what would you consider the greatest challenge to doing what you do? Probably improving my craft bit by bit. I must balance a fine line of keeping on doing what I’m comfortable with, and pushing my boundaries a little, while keeping working. Stuff such as refining my photography to end up with less photos that are a higher quality is always a goal. I have gone from hundreds of festival pics a day when I started to maybe around a hundred or so, and I keep tightening it. You use Canon gear, why do you prefer Canon? At the time, the Canon 20D was considered the better camera body than what Nikon had, and Canon had better low-light lenses. Nowadays Nikon is usually considered to have slightly better bodies, but Canon still has better lenses. What computer hardware and software do you use for processing your photos? Right now I have a 2016 MacBook Pro and I edit in Lightroom Classic CC. Since I travel so much, I exclusively must edit my photos on my MacBook Pro and abandoned editing galleries at home, just for conformity sake. How important do you believe a social media profile (mostly Instagram) is to a photographer’s public profile? It’s necessary nowadays as it shows a window into the photographer’s life and doubles as a portfolio. At the same time, it’s always difficult dealing with the horrible reach most social media has nowadays, though. You’ve travelled the world doing what you love and seeing how wild some parties can be in different cities. Can you name two or three cities that have stood out to you and why? Tokyo is my favorite city in the world by far, I always love going there. The crowd is always fanatical. Other than that being a personal choice, there are just a lot of cities that have crazy crowds. Ultra Korea last year had one of the craziest crowds I have ever seen at a festival. Mexico, India, Indonesia and more always have active crowds. Which cities do you believe the electronic music scene is booming? That’s a tough one since it’s kind of in a holding pattern right now. Most places are set in their popularity and continuing. Places like South America and China which had a huge boom are starting to lessen events due to government pressure. Australia is a good opposite where for years it’s been without major festivals, and now Ultra Australia and Festival X are poised to bring it back, even though the government might not like that too much. Still, Asia is still where most electronic music is booming. Bangkok, smaller cities in China, Japan are all still growing very well with more and more events. Our own Sydney has recently been stripped of much of its electronic music culture due to political interests under the visor of safety. In your worldly travels, have you seen this in other cities, how did it impact your gig in those cities? A few places. China and most of South America are the major places where this has happened. You used to be able to easily do gigs in places like Chile, Argentina and Brazil but it’s a bit difficult. China, especially Beijing, is very difficult. I have done festivals where they only are allowed to sell very few tickets compared to the venue size. You probably get asked this a lot, but what advice would you give to someone who is in their early stages of photography and are hoping to stand out from the rest? Always work on photos the way you want to. Only take inspiration from other photographers. Don’t copy them unless it’s learning how they did it. People want unique work and not work they can get from someone else. Thanks Rukes for taking the time to chat with us today! Ultra Australia is touring on Sat 23rd Feb 2019 and Sun 24th Feb 2019 in Melbourne and Sydney respectively. Tickets are available by visiting https://ultraaustralia.com You can see more of Rukes' work by visiting http://www.rukes.com/ or see some of his work from Ultra Australia 2018 below.
  9. 2018 provided the biggest moment of ICARUS’s career to date. They started the year by landing their fourth consecutive Hottest Record with ‘Love Has Come Around’ – a track that soon earned the support of rising stars RÜFÜS DU SOL. That started a RÜFÜS / ICARUS bromance, with the Australian trio inviting the Bristol-based brothers on tour. ICARUS opened for them on the North American leg, earning new fans wherever they went, notably with three nights at Los Angeles’ 6000 capacity Shrine Expo Hall and another three at New York’s Terminal 5. ICARUS then stepped up as main support on RÜFÜS’S UK dates as they earned a rapturous reception at London’s Printworks. It would’ve been a remarkable experience for anyone, but for ICARUS it was all the more impressive as they’d only debuted their live show six months earlier. While all that was going on, the genre-defying duo – brothers Ian and Tom Griffiths – were also readying their new EP ‘This Must Be The Place’ which is released today on FFRR. Their most accomplished body of work to date, the EP revolves around the concept of constantly moving from one place to the next – a lifestyle which dictates contradictory emotions of unlimited freedom alongside loneliness and anxiety. The EP was previewed by ‘Echoes’, which hit #3 on Radio 1’s Dance Chart, and ‘Man of the Land’, a collaboration which pitied ICARUS’s dark, cinematic production alongside transient-themed lyricism from Real Lies. As ICARUS note, “We’ve got the clearest vision that we’ve ever had of the core ICARUS sound, but those tracks show that we’ll always experiment with how far we’ll push it.” That approach also informs the EP’s other new tracks. Previously ICARUS have moved at will between styles, infusing crossover anthems, cinematic atmospherics and expansive progressive productions with their own signature style. This time around, ‘Sirens’ brings all of those elements into one thrilling new take on what ICARUS can be. An early demo of ‘Sirens’ was almost forgotten about until it was included on a pre-gig playlist during the duo’s first live tour. That version attracted the interest of some friends and inspired ICARUS to again focus their attention upon it. “It was a straight-up crossover track, almost a pop record with a three-minute song structure but we really liked the beat and the drop. Our current approach to production made it come together.” It features vocals from fellow Bristolian, Katy Pearson. BUY / STREAM: https://lnk.to/ITMBTPNe
  10. 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 (2x shows) before winding up in Brisbane on Thursday 18 April. Tickets are on sale now 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 SYDNEY - Sunday 14 April – Sydney Opera House (Matinee) Just Announced - Tickets available at http://bit.ly/BJxTMO-Sydney BRISBANE - Thursday 18 April – QPAC
  11. 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
  12. 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.
  13. 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
  14. 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/
  15. Nordic-By-Nature

    OZCLUBBERS FEATURE - ICARUS

    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
  16. 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
  17. 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
  18. 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.
  19. 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/
  20. 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/
  21. 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
  22. 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.”
  23. 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
  24. 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]
  25. 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:
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