Foxley snap

Foxley – Interview for MelbourneDnB.com

Posted: Tuesday, December 3rd, 2013



TAKEN FROM MELBOURNEDNB.COM

So if you haven’t heard, The 2013 Twisted Audio: Homegrown FreQs competition is a national search to find the best damn drum n bass dj in Australia. A collaborative effort between interstate crews, its based on technical ability, and of course the judges scores. Culminating in 5 LIVE regional heats, the winning Dj goes onto play at this years TRIBE festival. This year the weiner is: DJ Foxley, MDNB interviewed this humble chap to get the lowdown. I mean lets be honest here, I think every person thinks they make great coffee, theyre excellent drivers and are amazing lovers, and for the DJs: they all think they’re Andy C. (I do!) The difference here is Dj Foxley has got the proof!

Did you think you would win?

I wasn’t sure, all I knew was that each finalist had a 20% Chance. I didn’t really listen to mixes from other entrants I was just happy to come and play in Melbourne!

Why do you think you won? What was your competitive advantage?

Variety probably played a big part, along with harmonic mixing.

Nerves? How did you cope – Booze / Meditation?

No real nerves, more excitement than anything. I try to treat every gig the same and keep it fun!

How did it feel to be crowned 2013 Twisted Audio Australian Drum n Bass Champion?

Not going to lie, it’s pretty effing cool!

Do you produce? If so let me hear some tunes?

I do, I’ve been building my skills in the studio over the past couple of years. But as any seasoned producer will tell you, it takes a lot of time and hard work to bring your productions up to a certain standard. Mine are improving, but they aren’t quite there. I’ll send some through when they are!

Who do you lookup to djing wise?

To be honest there are far too many to list! Andy C and Crissy Criss as DJs are absolute monsters though.

Advice to people who are entering 2014?

Think outside the square, try something different and don’t be afraid to challenge yourself.

Your routine: What did it consist of? And how many times did you practice?

I didn’t practice that much, I mix every day so I know most tracks in my collection quite well. It’s a DJ competition though, so if you want to be competitive, putting something together is a prerequisite. My set consisted of a lot of different tracks, Liquid, Tech, Neuro, Rollers, Stadium, Uplifting, the works!

What equipment do you use?

I mostly run USB link through compatible CDJs. I figure most people who hate on CDJs just don’t know how to get the best out of them. I love vinyl, but when I ventured into mixing it wasn’t really an option as I’ve always been on a budget.

Any shout outs?

Of course. A big, big thank you to Twisted Audio for putting the event on. I think it’s fantastic for Drum and Bass in Australia, and hopefully the competition continues to grow in the future. Congratulations to the other finalists too! Also shout to everyone in the QLD Drum and Bass community. Basscreepz, Proppa, Shucka Tours, Full Crcl, Ruckus etc. Keep up the good work guys and girls.

Plans for 2014?

Produce, produce aaaaaand produce.

Funeral song – what is it?

I’m too busy enjoying life so it’s not something I’ve given much thought :P


24OurMusic

Dysphemic & Miss Eliza feature on 24OurMusic Magazine

Posted: Wednesday, September 4th, 2013



FLIP TO PAGE 10 TO READ THE INTERVIEW


DatPhat

SK Interview on DatPhat Beat Blog

Posted: Wednesday, June 5th, 2013



Interview taken from DatPhat Beat Blog

SK

It’s not often you have the chance you get to talk a super talented MC/DJ that has their shit together. This time it’s different, Skahna AKA SK is an import to Melbourne, originally hailing from Perth, it hasn’t taken her long to create big waves in the broken beats scene. I spoke to her about all things music and why she decided to make the trip over to the big M.

So how did it all begin?

Hip Hop..& Ninjutsu. I started doing ninja when I was 9 and met Scott aka MC Assassin (Perth). I looked up to him like an older brother and as I got older, he let me tag along to parties and gigs his crew played at. Combined with my interest in creative writing and music, no doubt, I was gonna be a rhymer. Years later, we’re sharing the stage with the legendary Trafik crew. I first heard Dubstep in 2007 and serious basslines that I wanted to hear on big Sound Systems. 2008 I was hooked on Glitch Hop and pushed it in Perth until I left in Feb 2012 to live in Melbourne. Now I’m dropping beats with Burn City Crews and rockin the mic for Twisted Audio with MC Harzee.

Where did your name come from?

I used to roll as MC Skatta back in the Perth DnB days. Dropped it to SK when I started rhyming on my own DJ sets.

Who’s throwing the best parties at the moment?

Twisted Audio. Whomp. Rubix. That’s just some of the crews I’m affiliated with. The Operatives have some impressive nights. If, like me, you wanna hear original Beats and new non-genre bound sounds then Uncomfortable Beats fo sho!

What was your first record you bought?

Michael Jackson – Off the Wall

Out of all the tunes you have, which one ‘never fails?

Big L Ebonics

How big is your vinyl collection? What do you think of CDJ’s?

4 crates. Mostly DnB, Hip Hop. Some Motown & sample shit..

My digital music folder increases on a daily basis ranging from 200-300 tunes per month. I prefer using Turntables with Serato and don’t think of cdj’s.

What are some other DJs you rate? Is there anything we should be looking out for?

Dj Lickweed. DJ Sizzle & U Wish. Multi genre DJ’s and awesome turntablists.

Shikung is my personal fave though, he brings the goods to any party, be it Trap, Hip Hop, Jazz or grandpa’s birthday party.

As far as live acts go, Dysphemic and Miss Eliza are the most amazing act I’ve ever seen. Australia’s best!

My fav producer in Melbourne without a doubt is Able8.

Trap music is “in” right now and some people seem to think funky bass lines are making a revival. What do you think is coming next?

Hopefully more EDM producers, DJ’s and any one involved in the scene will start crawling out of their pigeon holes and just make great music. I stopped following big name producers a while ago and since my sound spectrum has opened up big time. I’ve been finding tunes that I can’t simply just call Dubstep, Trap, Glitch, whatever. Tunes that have elements of so many wicked genres at various tempos. I love it..

So we know you’re originally from Perth, a lot of good musicians seem to come from there. Any idea why?

Perth is very competitive. I think it must be very hard for new talent to get gigs, where as, in Melbourne, if you’ve got the skills and the right attitude, you’re welcomed into the scene. I’m sure this wouldn’t be the case if Perth had more population. We’re still yet to rob Perth of the impressive trio that is Kit Pop, Zeke and Ta-ku. Those boy’s are game changers and holding it down on the westside.

What advice would you give to up and coming DJs/Promoters?

Play the music you love. Change it up…Bring something new to the party.

Where do you currently play and where can the readers expect to see you perform?

Brown Alley, Loop, Workshop. My next gig is on Friday 28th of June at Brown Alley for The Kiwi Invasion feat State of Mind, Trei, Dose & more.

Then on the 29th of June I’ll be on the mic for the Ladies Night at Rubix.

You can find out more about SK at:

Soundcloud: https://soundcloud.com/skahna-sk

Facebook: https://www.facebook.com/skahnaskmode?fref=ts

Skahna will also be playing on TRNSMT on the 20th of June so make sure you tune in to hear the freshest bass tunes from 7pm – 8pm!

Interviewed by Suppressor


black-sun-empire

Black Sun Empire interview on Beat Magazine

Posted: Wednesday, March 27th, 2013



FLIP TO PAGE 2 FOR FULL INTERVIEW


Harz

MC Harzee intreview for MelbourneDnB.com

Posted: Friday, October 5th, 2012



MDNB introduces a master of ceremonies, drunken master and a super nice guy MC Harzee.

What made you become an MC? I remember way back when you used to play records? What made you switch?

Around 2005 I was spinning dnb at a weekly local in Christchurch. I used to play liquid so I was always on first, which meant after my set I would consume large amounts of beer and ended up chatting on the mic with MC’s Luice and Jabz. It wasnt until I moved to Melbourne and started writing more that I started getting MC gigs though.

When it was your first gig – how did you battle your nerves? Or were you sweet as? (sorry NZ pun there!)

I remember getting up with Urban Notion after Mampi Swift at Brown Alley. Pretty sure I was so toasted that nerves werent a problem, I feel for the people in the crowd though.

Do you have to bring your own mic to gigs?

Theres usually a mic set-up and ready to go if the promoter is expecting an MC. Although, my awesome lady bought me a cordless mic set-up so if I wana move around the club a bit I can bring that

I like to think an MC can either make or break a set. How do you go about keeping a balance between dominating the music or not MCing at all?

Completely agree. I just listen to what the DJ is playing and hold back when they are in the mix. There is definitly a fine line, some people like MC’s, some people hate em. Just gota roll out and know when to shut the fuck up.

Top 5 MC’s

MC2Shy – featured on my all time favourite mixes with the upbeats and has next level bars
SPMC – always compliments the DJ nicely and has a tight flow
Jabz MC – Pommy nuttah livin in Christchurch. Inspired me to get on the mic
Dynamite MC – love all the recorded stuff he did with Roni Size and was first internatty dnb MC I’ve seen
Ol dirty bastard – Master of drunk MC’ng

Thoughts on the new DRS album?

Awesome. DRS compliments the music really well, and tells a story while he’s doing it

Your competition and other fellow MC’s – Is it like the movie ’8 mile’ or is it mutual respect?

Aint no 8 mile shit goin on bro, its all love. I think certain MC’s roll better with certain DJ’s/styles, thers not much worse than goin to a dnb gig and seeing a bunch of MC’s fight over the mic, ruins the vibes.

Have you ever MCd over any other genres?

Yep, have MC’d with breaks a little bit but at the moment really getting in to writing hip hop. I am making original stuff with SVB from Sydney, and also have a glitch hop track with ‘A Bakers dozen’ coming out which also features an awesome female MC ‘SK’ , watch out for her, girl got mad skills. Also have dubstep track coming out on Backyard jobs new album which features Necro on the hook. Check out soundcloud

How do you know when the drops are and when the Dj is going for the ‘switch’?

Through telepathic frequencies, then when the tune drops youve got to bark like skibadee.

Still use pen and paper when composing you rhymes?

Yep, still like cranking up a fresh mix and writing sum bars down on paper

Any gigs you are spittin at?

Twisted Audio mix comp – RMH 28th September
Matrix & Futurebound – RMH 19th October
Dysphemic & Miss Eliza – Laundry 9th November
also playing a hip hop set 21st December at Brown Alley for Baked beats
Your funeral song – what is it?
David Bowie – golden years, followed by the boys rinsing out a dnb mashup.

I remember MC SP saying “don’t sweat it while I kick this verse…I will bench press more than you in fitness first” Or something to that effect…Whats your best rhyme you can leave us with?

“Pop music and the charts is a waste of space, Id rather invade the world and the place with bass”


Deall

Deall – Article from Beat Magazine

Posted: Tuesday, May 1st, 2012



FLIP TO PAGE 10 TO READ THE ARTICLE


DJ Fresh & Messy MC Review from Inthemix.com.au

DJ Fresh & Messy MC Review from Inthemix.com.au

Posted: Tuesday, April 10th, 2012



Some kind of Easter magic was going on at Brown Alley. Normally, in Melbourne, you won’t see a crowd until midnight. But for some reason, there was a respectable sized dance floor from the moment the doors opened. For a Sunday night, what was happening at the Twisted Audio/All City Bass joint event should have been impossible. Such is the magic of DJ Fresh.

Early DJs like Raider and Meltdown reaped the benefits of this early crowd magic. Meltdown in particular unleashed an impressive set, full of harsh, tasty beats. Definitely worth a mention was the reaction to DJ Dose’s Beneath the Surface. Meltdown’s tracklist was full of these lesser-known gems, but the crowd reacted like they were big name hits.

Speaking of big names, Cubist, one of Melbourne’s major players in the drum and bass scene and head of Wobble, played an awe-inspiring set. Earning serious purist brownie points by rocking it on vinyl, Cubist played a set that was on another level technically. While the minor faux pas of playing the headliner’s track was committed when Ice Cream was dropped, the crowd’s reaction more than covered for it.

Speaking of massive reactions, New Zealand’s drum and bass kingpin Deall’s set was full of them. The crowd had packed itself into the venue by this stage, fully charging every reaction. With his original, Freak, Deall had the crowd bouncing up and down like a bunch of crazed Easter bunnies.

Also keeping the crowd bouncing was the surprise guest Dub FX. At times, the legendary MC worked so well with Deall you would swear the appearance was planned. The times that they were only 90% together only went to show that it wasn’t. Massive kudos must be given to whoever set the mix for the microphone for the MC’s. It was literally perfect: loud enough to give the MC the spotlight when they wanted it, quiet enough to remain complimentary to the mix underneath them.

The next MC up was Messy MC alongside the man himself: DJ Fresh. Surprisingly, Fresh led with his massive hit Louder. In fact, DJ Fresh’s set would be considered commercial by the night’s standard, going so far as to play Calvin Harris. DJ Fresh is one of the most skilled mixers out there – his tune selection may not have kept his original fan base happy, but the rest of the crowd went absolutely crazy. Two brand new, unreleased tracks were played, both of which are monstrously powerful. However, the high point definitely sits on Killing in the Name Of. No one expected it and, on top of the hardcore dubstep DJ Fresh was playing, it sent the crowd colliding off of each other as they formed a serious mosh-pit. The crowd loved the set, even getting on top of each other’s shoulders at one stage to get a better look.

The crowd also loved the vs set from Monkee and Lickweed. These two guys were responsible for the night itself and, as such, knew their crowd perfectly. The real killer was Noisia’s Diplodocus (High Contrast Remix). Thanks to these guys, the crowd didn’t even dwindle after DJ Fresh finished; letting them enjoy the benefits of all their work paying off.

Also enjoying himself is Melbourne’s kingpin of all things distorted: Zayler. There are very few people that can hold a crowd until five in the morning on a Sunday, but not only is Zayler one of them, he should be made their king after his set. He kept the still decent sized crowd there right up until the final note of Time to Pretend (High Contrast Remix).

Taken from Inthemix.com.au


6748FINAL_TRIBE

NYD Tribe Festival Review from InThemix.com.au

Posted: Tuesday, January 3rd, 2012



The inspiration of multiple Melbourne crews, this New Years Day bash took over staple venue Brown Alley with jungle inspired decor, innovative visuals and a swathe quality of international artists and local support. Genres be damned, the artists mixed and matched as they pleased all evening to an enthusiastic and friendly crowd. With the most consistently good music I’ve ever heard at any one Melbourne gig, Tribe has set a new standard for future broken beat events.

By 10:30, there was already a sizable (though quick moving) line outside. Inside, the sound quality was superior to what I’m used to hearing at Brown Alley, in both the downstairs main room and Blights bar upstairs. I’m not sure what extra tweaking or speakers were added but the results were well worth it.

Tribal decor abounded, with stretched banners across the ceiling, and shields made of bright led light ropes topping the stage. A 3 by 5 metre installation of flashing star lights complemented the brilliant lasers and lighting. The icing on the cake was the main room sound being piped to the mezzanine level – providing a slightly cooler and less crowded space to enjoy the main acts.

Unfortunately, the club is still as unpleasantly hot and sticky as it has ever been – surely with sell out events like this it wouldn’t bankrupt Brown Alley to install some air conditioning?

We arrived to Melbourne’s own Nick Thayer belting out bouncy, dirty electro breaks to an enthusiastic crowd. Like all of the following main room sets, the music was extremely varied with a mix of dubstep, breaks, glitch hop and electro house with a dose of tribal, reggae and fidget for good measure. His cheesy samples and air-horn topped it off. The wide appeal of the set had him filling both the main room and most of the mezzanine level early on.

The ever popular rooftop garden bar had been turned into a beach, complete with sand, beach umbrellas, bamboo screens, and bright plasma screens. This sound system had not been pimped, and levels were a bit low, perhaps to keep the neighbours happy and the space more chilled. Tommy Showtime spun some funky jazzy breaks and groovy glitch hop and Agent 86 was a popular set, packing it out with funk. At one point, the line to get in stretched down an entire floor around the stair well. Unfortunately, it was so smoky that it was difficult to spend long intervals outside enjoying it.

A-skills, also of the UK, took over in the main room with some ultra funky soulful breaks, hip hop, old school, rock and Motown. Showing off his quality scratching skills he had the excited crowd saying “YEAH for the funky beats”. He played stacks of great artists: Girl Talk, Daft Punk, Stevie Wonder, Jackson Five and Blur to name a few.

He varied from heavy and driving to more funky breaks, playing many of his own productions. The flow was excellent, and his seamless mixes were done skilfully off laptop, two CDJs, and a turntable – quite the setup! The set built into faster and more energetic tunes, with quick cuts to old school Pendulum, Prodigy and Queen. The crowd lapped up the creative and inventive selection, both dance-floors packed for the entire set.

Altruism is not an act I am familiar with, but I was quickly won over by the deep rolling bass, driving rhythms, and warm melodies that formed his liquid drum’n’bass set. The set rolled along smoothly with the occasional soulful vocal and no epic breakdowns or windups to disturb the flow of dancing. I was grateful that the MC showed unusual restraint and in doing so enhanced this set. This set, like the others, really benefited from the tweaked sound-system in Blights. He finished the set to a packed room, finishing with slower funky beats and rich bass that warming it down a bit for Mr Bukem.

This led almost seamlessly into London’s LTJ Bukem’s set. I’ve caught him once before at Origin in Perth and was looking forward to some intelligent dance-floor drum’n’bass. He did not disappoint – deep, liquid tracks ensued, bouncier and less driving than Altruism but otherwise very similar in style. The set had a bit of an old school jungle vibe with the soulful piano lines, chopped up amens and blissful melodies. MC Conrad, while initially well behaved, started to overdo it as the set went on. By the end, the subs had been put through an intense workout, but the set got a bit repetitive and could have used a bit more variety.

Next up, Belgian rising star Netsky upped the energy with pure dance-floor party action. Uplifting melodies, epic windups and cranking drops had the room going off and the room packed out. Given Netsky’s productions and prior sets, the set was a lot harder than expected but entirely appropriate. Not content to play pure drum’n’bass we heard seamless transitions to booty breaks, hip hop, old school jungle, and even a snippet of R’n’B. It would seem he paid attention to the diverse styles and funky mood of the party. At times things softened a bit, with smooth tracks like B-Complex Beautiful Lies and Spectrasoul’s deep bootleg of Adele’s Rolling in the Deep. We were pleased to hear him drop plenty of his own tracks such as Secret Agent and Memory Lane. The unexpected mashup/remix of Beastie Boys Intergalactic Planetary made my night.

London’s Stanton Warriors took over about 1:30. They eased into the set with suspense building techy breaks. Their first big track was Beatnuts’ Shake It Up – booty shaking goodness. Hands Up, another star tune started to play, but Stanton frustratingly fiddled with for literally minutes, not letting it break. Instead, they built suspense by continually winding it back…then dropped it into disappointing heavy dubstep, rather than its own amazing heavy breaks that I was itching to dance too.

Towards the end, they dropped deep bass backed breaks like Still Here (Bounce Funk Remix), the beats I felt like they’d been holding back before. They finished with solid track Precinct, but then gave an encore of chipmunk housey sounding Shoot me Down from their new album. I thought their set and mixing was passable but lacked the deep booty shaking breaks which they excel at producing. It seemed a rather mainstream for an event that otherwise showcased quality sets and DJs who read adeptly read the crowd and energy.

London based turntablists Scratch Perverts pulled out the vinyl for their set. Known for their scratching technique, creative sets, and full-on bassy sound, they played the heaviest set of the main room. Hip hop, heavy breaks, electro, and metal like System of a Down blasted over the system. They also threw in some quite unexpected things – like an expletive laden version of the Tetris tune! Unfortunately, their later set time meant they played to a sparser crowd and ended up repeating a few tracks heard earlier in the evening. Still, theirs was an inspired set; with 16 years experience, their sound is still relevant and their mixing skills are phenomenal.

By the end of the night, there was sandy mud in even the ground floor toilets, tracked down from the rooftop beach two floors above – yes, it was definitely an interesting night to remember.

Taken from www.inthemix.com.au


Dys & Eliza

Dysphemic & Miss Eliza – Review from Beat Magazine

Posted: Monday, June 27th, 2011



The evolution of the shadowy, nebulous genre of dubstep over the past few years has been a curious thing to watch. The deep rumblings of bass and slamming drums that characterise its sound have had a deep pull on dance music in 2011 –at the same time, giving birth to a chaotic movement coloured by all manner of sonic influences. Melbourne’s powerhouse duo of Dysphemic and Miss Eliza are at the forefront of the action – having supported the likes of Chasing Shadows, Andy C, Foreign Beggars and Plastician on tour, with an EP and website launch party at Roxanne this week and a full album set to drop later this year. I spoke to both to find out a little more about what they’re up to.
We open up talking about the whack things coming out of the scene at the moment – “Listening to all the kinds of music that ends in ‘step’”, Eliza says of her day, with a giggle. “How is that even possible, Burial-step! An artist-name and step! What is ‘step’ anymore? It could be anything!” This aversion to the confines of genre becomes evident in their music – borne from a partnership between two talented musicians from vastly different worlds.

Dysphemic, known to his parents as Julian Treweeke, has a well-established career in electronica, with a number of fiercely good releases to his name, and cites a wild variety of scenes in his successful career as a producer. “I’ve done a lot of experimental electronic music – hardcore techno, a lot of jungle, DnB – I had a big break from that and did a lot of hip hop and vocal stuff, and kind of moved back to DnB and dubstep,” he says, of his past. “The stuff I’m doing at the moment with Miss Eliza and MC Hines – merging all of those styles into one project.”

The other half of the couple is Miss Eliza aka Eliza Quirit. A classically-trained violinist since five, Quirit grew up in the concert halls of Australia performing and winning over forty awards as a soloist with Australia’s symphony orchestras, as well as performing abroad in China and the Phillipines, and is a graduate of both the Victorian College of the Arts and Monash University. “I did that for a long time! I’ve always loved performing as a soloist for orchestras,” she says. These days she’s known for her riotous, individualistic stage presence in an altogether different scene – asked about it, she laughs, and says of her past in classical music: “I was never really a team player, I never really wanted to sit – I wanted to be up the front with the big dress, taking bows!”

How did she find her way into the dark and mysterious realms of electronica, then? “I grew up on classical music, of course, and nineties RnB but my second eldest brother Christian was really into it – the rave scene, the mid-nineties!” They both become rather animated when it comes to the topic of nineties dance, mentioning rave culture and hanging out in London, ’92 when drum and bass was huge. It’s also where they first met. “We met behind the decks at a party,” Treweeke explains. “Eliza played me some of her IDM/experimental stuff, and a lot of her stuff was very melodic – I think we just really clicked.” It’s a collaborative process that has impacted more than just their careers in music – the two are boyfriend and girlfriend who live together. They love it: “We get to spend all this time together doing things!” Quirit says, happily. “And a lot of opportunity to practise with each other to get it really tight.”

The results are off the chain, as the monstrous recordings of the duo’s onstage antics that have surfaced on YouTube reinforce. With Treweeke blasting out broken beats as Quirit wields her violin like a weapon, ripping out melodies with fearsome precision – juxtaposing her delicate compositions with the murky depths of electronica. It’s a dream come true for Quirit. “I get to live my classical violin dreams – I reckon it’s like a violin making love to a subwoofer!” Treweeke agrees – “I think collaborating with Eliza and other people has really opened up my mind to different things.”

Their website and Sloth EP launch party is at Roxanne Parlour this week. “We’ve got some special plans for next Friday!” Eliza says excitedly. “We’ve got a few new tracks that no-one has heard yet, and MC Hines is going to be rapping with us, too – he’s on the new album.” Treweeke describes the gig as a chance to showcase the new direction their music has taken – a teaser for audiences waiting to hear their work together on record.

Their album Classical Remix, will hopefully drop by the end of the year. “We’ve got some mixing down to do, but it’s gone so fast!” says Quirit, of the album’s birth. So, what to expect? “Some crazy violin action,” she begins. “And triple-time violin shredding,” Treweeke interjects, and they both laugh. Quirit continues: “Triple-time rap, and some really beautiful melodic luscious landscapes”. Exciting.

Taken from Beat.com.au


Datsik

An Interview with Datsik (Rotton Records, CAN)

Posted: Sunday, January 2nd, 2011



Are you looking forward to this upcoming tour of Australia?

Most definitely, Australia has always been a spot I’ve wanted to visit and now I finally have the opportunity to do it, while escaping the cold at the same time

I remember reading an interview where you had barely left Canada when your tunes were starting to impact the global dubstep fraternity. Given that your tunes had an immediate impact across the globe, does it still shock or surprise you that people want to book you from half-way across the globe?

Totally, I love the fact that my music has had a global impact and I am super thankful to anyone and everyone who has helped make my dream a reality. I am definately still fascinated at the fact that I am able to do this for a living and that people are as stoked as they are to see me!

When you DJ overseas do you like to showcase a lot of your own material, as well as exclusive material by you and your peers? Or are you the type of DJ that doesn’t like to play his own joints
?

Oh I definitely play a lot of my own tracks.. I love the feeling of playing one of my brand new tracks that no one knows about or no one has really heard of before just to see the crowd reaction. That being said, I also play a lot of the tunes that got me there and that everyone knows. And on top of that I play a lot of exclusives from my other friends in the scene, anything I’m feeling at the time really.

Your tunes have that robotic element to them that sound like huge machines that are smashing the beats together on a factory line somewhere. Did this robostep influence come from peers or from producers outside the dubstep genre and subgenres?

Well, honestly I’ve always been kind of a geek when it comes to cool sounds and I’ve always loved robots and mech’s and stuff.. I really was just kind of experimenting with it and when I started and then I realized it hadn’t really been done before so I just kind of rolled with it! Of course I also took a lot of influence from hip-hop and some from metal, but really dubstep is all about experimenting and trying new things. I think that’s why I am so passionate about it!

You were making hip hop originally and then you heard dubstep at a festival in British Columbia and were hooked. Did you start making dubstep straight away after you heard it that night or did the proper conversion come sometime after?

Haha, well it was pretty much an instant conversion.. I love hip-hop and I was doing it for some time, but for me it wasn’t exactly doing it for me as much anymore after I heard dubstep on a proper system…. Basically the production quality, the cool sound design, and the ability to step outside of my comfort zone and try something crazy was enough to convert me!

You are working on tracks combining hip hop with dubstep. You say it won’t be glitch hop, so how will this sound and have you got any MCs lined-up to rhyme over your beats?

Well basically at the moment I’ve been obsessed with this new kind of sub genre that seems to be emerging.. “drumstep”. It’s basically half time drum and bass with a super upbeat kind of feel. I approach it more from the dubstep-hiphop side of things so for me its basically sped up dubstep which keeps people on their feet on the dance floor. We are working with some big vocalists and MC’s at the moment.. Can’t really say much more at this point but it should be big!

You frequently collaborate with Excision. He was making D&B before dubstep and was into the scene before you. How important was he to your development as a dubstep producer?

Well, it’s interesting working with Jeff (Excision) because we approach things from two different angles. A lot of the time we will have something that sounds super heavy metal-ish and I will step in and kind of make it more hip-hoppy or give it some bounce. Or vice-versa. It’s a cool way to approach projects and it makes us both more skilled as we learn things from each other all the time. He definitely helped out when I was first starting by giving me a lot of important tips when it came to mix downs.. In my opinion, that was the most important thing I learned from him.

Will you have any new releases lined up before you get to Australia or exclusive new joints you will be dropping on you Australian tour?

Well, as far as releases go, I have a couple tracks coming out on Rottun vinyl in the next month or so, and yes, I always have new exclusive tracks ready to drop! It’s my job

For your short term future what are your plans? Do you wanna keep on going the way you are going with your releases or is there an album lined up or tracks in different tempos, genres or recorded under different aliases?

Well I’m basically just going with the flow, lately I’ve been doing a lot of remixes and such and I have been working on a bunch of collaborations with some wicked artists. For me an album is not something I want to rush, I do have a lot of unreleased tunes over the last few months that are starting to get piled up so it may end up being not be too far away. Just going with the flow!

I read that you dropped Enya’s Sail Away in a set!? Is this true and was it a remix or did you play the original? And how was the crowd reaction?

Well, it was very late at night/early in the morning and I was blasting through some deeper tunes.. I mixed it with another tune with super heavy sub bass so it didn’t really seem out of place haha, but yeah, definitely weird still lol I don’t know what I was thinking.

Any last words?

Yeah.. super stoked to be coming through for the first time!! I’ll see you all in a few days, so get ready to show me how you guys do it in AUS! Peace!


Kenny Ken

An Interview with Kenny Ken (Mix n’ Blend, UK)

Posted: Thursday, December 9th, 2010



So what’s happening right now?

Right now I’m enjoying my time in Australia!!

You have been out to Australia quite a few times over the years… you obviously get a good reaction over here. How does it differ from the UK?

I get shown a lot of love when I come to Australia and get good reactons, I get the same back home in the UK but in Australia its better cos I’m only here once a year and I look forward to coming here just as much as the Australians look forward to seeing me

When you look back on your career from the vantage point of 2010, what do you feel are your stand-out achievements?

I’ve achieved a lot more than I ever expected being a DJ, My main achievement is that I’m still traveling the world doing what I love for so long and keeping my name amongst the top Jungle DJs in the world!

How do you keep up your enthusiasm and inspiration for music?

My daughter Samantha and my stepson Crissy plus my love for what I do keeps me well enthusiastic and inspirated. Going into the studio and making tracks that work on the dancefloor also keeps me going…

There is a really strong Reggae vibe in your work and I know you are a big fan of Reggae. If you could work with one reggae artist who would it be?

Now thats a hard question because there’s a lot of reggae artist that I like. The first one that comes to mind is Capleton.


There has been a real genre breakdown in recent years. Have you connected with that much? What sort of styles are you DJing nowadays?

I play all styles of D&B Jungle, I havent really connected with the genre breakdown, I just play what I think is good music!

How do you work the transition between genres and baselines in your sets?

It’s all about knowing what’s in your record box so you can create a set with flow.


What are your top 5 tracks right now?

My five top tracks right now are…

1. Lalabella Special by myself and UK Apache.

2. Hold you by Gyptian/ Shy Fx and Benny Page remix.

3.Pass The Kutchie / Benny Page remix.

4. Murder You by myself / Savage Rehab remix.

5. Sweet Nothings by Savage Rehab


If you could go back and give yourself advice, when would you go to and what would it be?

To take better care of my music collection!! I’ve lost a few memorable tunes over the years.


drumsound bassline smith

A Review of Drumsound & Bassline Smith @ Brown Alley

Posted: Saturday, October 30th, 2010



Taken from inthemix.com.au

Repeatedly bringing outstanding drum and bass artists to Melbourne, Twisted Audio was back again with their biggest international line-up yet: the UK & Technique Record’s Drumsound & Bassline Smith, Hospital Records star B-Complex and Hungarian Chris Su from Renegade Hardware. Melbourne resident MC Lowqui and Twisted Audio regulars rounded out the rest of the gig.

Brown Alley’s rooftop garden bar was trippily decorated tonight, with an impressive and huge psychedelic peace sign wall hanging, green fluoro mesh stretched wall to wall, a colourful lights flashing unpredictably. The main room meanwhile had a low hanging ceiling of camo netting that dancers shook enthusiastically in the build-ups, more posters of peace signs, and rope lights around the stage and DJ booth at the font of the floor. There was a single massive screen behind the booth, on which Blue MD was mixing an amusing combination of animations and videos, including one of a dancing Star Trooper!

I arrived to hear Tyler Deall playing awesome dancey tunes in main room, which was scattered with a dozen odd people. Out in the garden bar, Baron von Rotten was keeping things funky with a mix of pop-tinged dubstep and light drum and bass, creating a more chilled atmosphere than that on the main dancefloor. The good sound and the amazing warm summery night made dancing the night away in this outside rooftop dance floor a viable option for the evening, as well as an excellent place to cool down or have a smoke.

The club was still a bit quiet, with 40 odd people there at 12:15 when Deall began to take his tunes down deeper, with throbbing hard hitting basslines. The crowd’s pace dancing to the music began to increase along with the energy of the tunes, warming things up for the night.

The night must have been running somewhat behind schedule, because B-complex didn’t start till about 12:40. He opened with a great tune by Strillex, Scary Monsters and Nice Sprites (Noisia remix), playing a mixture of poppier, more melodic and deeper, harder hitting tracks. I felt his set was more focused on his tune selection than his mixing, though this did make for an excellent hour and a half of dancing.

Several big tunes I recognised included his own Beautiful Lies and Just be Good to Me, DJ Kaos and Fatboy Slim. DYSLEXIC was MCing during his set, working his usual freestyle magic. Salad is OK and It’s a Funny World, two tracks off B-Complex’s new EP, were also standout tunes. His funky and flowing selection, with some wicked melodic tracks, kept the now-mostly-full room dancing.

Around 1am, DJ Lickweed began spinning bouncy smooth drum & bass records in the garden bar. There were groovy flowing melodies, such as Dawn Treader by Brooks Brothers and Futurebound as well as some slightly more pumping basslines. The size of the crowd on the dancefloor out here began to swell, with people attracted by both the fresh air and the excellent tunes. Bonsai took over out here next.

Meanwhile in the main room, Drumsound & Bassline Smith were now on decks. Known both for their huge diversity in releases and their dancefloor smashing performances, they did not disappoint tonight. The crowd, which had flowed in for B-complex, kept the dancefloor leaping and gyrating, as each intense build-up and twisted bassline seemed to increase the energy (and temperature) on the floor. MC Lowqui was on stage too, helping make things even crazier. While B-complex’s set had been dominated by standout melodic tracks, Drumsound & Bassline’s was all about the drums, bass, and getting loose!

The night was somewhat quiet for a Twisted Audio gig, probably because another excellent drum and bass event, NZ’s Concord Dawn, was on this same night in Melbourne. I thought the line-up was stellar and the decor of the venue fun and funky. Those who made it out an awesome crowd to dance the night away with.

Review by Natalia Chodelski from inthemix.com.au


B Complex

An Interview with B Complex (Hospital Records, SK)

Posted: Thursday, October 14th, 2010



What have you been up to recently? What do you like to do to relax between productions and gigs?

Played in Kyjev last weekend, it was a wicked party and adventurous experience. I’d say making music is the best relax for me, but not every day you are inspired of course. I love sport, used to play handball, visited basketball grammar school. I often kill my time playing
computer games or watching tv shows. The best way to relax is to do it actively though, but sometimes it’s hard to lure me out of my lair hehe

Tell us a bit about your history and how you came to produce drum and bass. What is it about the melodic dnb sound that attracts you?

I always loved music, it was probably the only way for my parents to calm down a hyperactive child I was. I got first music making software when I was 12 years old and since then I’m sold. Originally I was happy if the sounds I was forcing my computer to create were related to music at all, but with experience it got better. In the begining it was mainly happy hardcore and gabber music that I was trying to do, great music for beginer producer I think, it has simple rhythm and melodies are maybe even naive, but you will grasp the basics easily. D&B got me around 2002, when I heard more techy sound, it’s tempo reminded me hardcore I did before and since then I focus mainly on this style. My “problem” used to be that as much as I liked melodies I also liked energy and heaviness of dnb so my music was often too hard for ones and too soft for the others, I think it’s good if you can whistle your favourite track anywhere and it can be recognised

Can you tell us a bit about the scene in Bratislava and how it has influenced the way that you approach your music

Bratislava scene is small but alive, we have several clubs in which d&b gigs are held, with a pretty wide range too, you can hear liquid, neuro or autonomic sound, our fans could see most of the big djs. There is a tradition for d&b here from about 96 or 98 so there are few generations of people who prefer different sound of d&b.
It’s a good thing because if you are open minded you can pick whatever you like from it. Slovakia has some very good djs, regular fm show and talented producers.
When I got to the scene you could hear Teebee, Concord Dawn, Ed Rush & Optical, I guess that’s where roots for my sound are.

How did your relationship with Hospital records come about?

When I made Beautiful Lies I was trying to find a good home for it, I sent demos to several labels. The track has special meaning for me and I wanted it to be heard.
I was doing music for some time already and I didn’t want to sign to first label that gave me an offer. For this tracks I received several but I decided to wait, I had a very solid offer for a vinyl release but while I was waiting for the confirmation, Tony got in touch and asked me to hold the track for them as they were just preparing the sick music compilation. I had to make a decision and ask the previous label to wait some more. Eventually the tune was released on Sick Music and I am proud for that, unlike some minor labels Hospital guys treated me right from the begining, and I’m glad that this cooperation is still going on.

You have some refreshing and interesting song titles, like Salad is OK and Little Oranges. Do these have a story behind them?

Usually there is some story behind every tune I make, I try to make them different, and I don’t want to be stuck on some pattern that I fill.
There is a girl who is very influential for my music, and the Salad is OK is kind of an innuendo that we created. Little oranges – well..
one day my good mate Inso was high .. he was holding the mandarines and had a very serious face examining them. He was wondering
how little those oranges were – later Little Oranges was a term we were using for something that was strange or different, and that’s something that came to my mind when I made that song.

You say that your main inspiration is life in general, and in particular girls. Can you expand on this?

As a producer you eventually get to a point where it is no longer about how to tweak your synth to get certain sound,
or what key to use to express what emotion.. You already know your tools and what you can do with them then you
need to channel this knowledge somehow. For me it’s important to experience life, to have some emotions that drive
this potential to the end result. When I make a song that has this kind of background it’s like it’s being written on it’s own
you don’t have to think, you just go with the flow. I think it’s easily understood that girls are best when it comes to
experience and emotions, Especially certain ones.

I read that you would like to score for films and that you don’t see yourself producing electronic music forever…what are your long term plans, or do you find your goals constantly shifting?

I would like to have my options open. I studied film faculty, and I always been a big fan of cinematic music, so I would be happy to do some scoring if I would have a chance for it. I don’t mind doing electronic music
even as a 60 years old if I would still enjoy making it. I’d like to build my studio, and be in touch with the scene, parties and what is connected with it. It would all be connected to music but from different angles.
The truth is that it’s hard to plan too long forward though, for example I am now considering to move to uk for some time so plans like wheter I should start saving for buying house in slovakia or something similar are
too big decisions for now.

What are you currently working on? Are there any plans for a full-length release anytime soon?

I have several tracks in progress, Some tunes that are “nearly there” and just need some more work, I do collabs with Ill-Esha, Pat Fulgoni and can’t wait to start something brand new when these are finished.
I’d love to do an album in future and I’ll be working on it, but if you ask for certain date there is no any at the moment.

You’re coming to Perth soon for Mayhem Festival…will this be your first time in Australia?

Indeed, and I’m very much looking forward to it. If you asked me before what my dream destination for djing would be – I’d say australia or new zaeland, and I’m not saying this just because of the promotion

I’ve seen your gigs described as “masterful”. What can we expect from your set in Perth?

I try to mix varied flavours of d&b but also some other genres here and there. I like to combine the musicality of liquid with energy from neuro. I like when people can both dance to the music but enjoy it musically too. When I see the audience is on a similar vibe as I am, I like to do some little jokes in between. The audience is very important for me, when you see that the crowd is enjoying your show, it motivates you to play and they can squeeze something out of you that even you did not expect


Total Science

A Review of Total Science (UK) @ Mercat Cross

Posted: Tuesday, June 29th, 2010



Taken from inthemix.com.au

Melbourne event brand Twisted Audio has previously brought artists such as Aphrodite, Shockone, Xample, Lomax and Opiou to our clubs and tonight featured Total Science – the UK drum and bass duo with a long history of brilliant and diverse releases. This time, the action was at the Mercat Cross Hotel upstairs.

The venue was spacious yet cozily warm with a big area of couches around a real wood burning fire, a colourful bar, and a big main room decorated with camo netting stretching from wall to wall with tiered seating at the back. A sizeable stack of Funktion One speakers at the front bathed the crowd and booth in crisp delicious sound, though the system could have had a bit more bass. Dougstep provided the nights visuals, which included a big projector screen on one wall, smoke machine, and some lights. A spacious covered outside porch provided a dry area to catch some air or smoke, and was more than welcome in the rainy nights weather. I was impressed by the friendly and relaxed crowd. Everyone seemed to be there to have a great time and enjoy the tunes.

DJ Lickweed got people out on the dance floor pretty early on with hectic tunes I couldn’t help but dance to, and his usual excellent performance mixing. Several interestingly funky remixes of more commercial tunes also stood out. I enjoyed the MCing, tonight hosted by Harzee and Dyzlexic. At midnight after Lickweed, Bonsai took over the decks, playing a somewhat more melodic set that kept the dance floor moving. I thought there could have been a little less MCing over Bonsai’s slot but it still complimented the tunes relatively well. His last set finished with an intense bassy track that I especially enjoyed!

Half of Total Science – Paul Smith – was playing tunes tonight. He opened with Break’s – Bass Face, a techy rolling track with deep minimal bass that started off the two hours set perfectly. Throughout the night, the main room remained packed. The crowd loved the set, which packed funky tunes, rolling drums, and deep creeping basslines between intense buildups. Break’s Get Up also stood out, as did the closing track, which was his own remix of Dubplate’s classic track Wots my Code. MC’s Harzee and Dyzlexic helped bring the set to a hectic finish. SpinFX continued the energy of the room diving into a set of more brooding, deeper tunes. The dance floor stayed busy though many people took advantage of the spacious smoking area (complete with funky airlock to keeping the warmth) to cool off slightly after two hours of intense boogying.

I had the best night out in a long time. Twisted Audio’s crew ran the event smoothly and professionally, and this, combined with such excellent tunes in a chill and comfortable venue made for a satisfying night out.

Review by Natalia Chodelski from inthemix.com.au