Late DJ Monde Mabaso

Popular House DJ Monde started working at YFM back in 1997 and contributed alot to the Music Scene by working alongside International Jocks and travelling the world promoting South African House Music. He died from heart complications on the 23rd December 2009.May his soul rest in peace...4TLOH!

BLACK MOTION...

Black Motion came into being in early 2010 – when Robert (DJ Murdah) Mahosana and percussionist Thabo (Smol) Mabogwane decided to work together. They had already been producing music separately for years prior. From the onset this partnership led to string of respectable production that have been lighting up the dance floors in Southern Africa. Black Motion has enjoyed support from big name South African DJs and party goers alike.

Their music has been featured on a number of CD compilations in South Africa and Bhana Shilolo and Set Me Free are on healthy rotation in the leading commercial radio stations. They have worked with names such as Oskido, Mmthi, DJ QT, Qness, award- winning vocalist Bantu Soul, Shota of Shana and Black Coffee, to name but a few.
Pretoria (Tshwane) is known as the capital of house music in South Africa and Black Motion are flying the flag for the city.
The duo teamed up with another successful musician, Jah Rich, to work on a track called ‘Banane Mavoko’. Jah Rich provided lyrical chants that are simply magical. This song was the biggest dance song in South Africa and abroad. Banane Mavoko, meaning Clap Your Hands, is dance floor favorite for all. Unfortunately Jah Rich, lost his life in latter part of 2010 but he will be forever remember for his chants on this production.
Thanks to KALAWA JAZMEE, the duo now brings you their debut album TALKING TO THE DRUMS. Their first year in the music industry has been fruitful with lessons learnt along the way. They have managed to anticipate the different sounds that appeal to the dance floor junky and their music is testament to that.

If the work they have done so far is anything to go by, 2011 will be an even bigger year for the young lads from Soshanguve.
LET THE CULTURES UNITE ON THE DANCEFLOOR through The Drums Of Africa!
In memory of our fallen brother Richard "Jah Rich" Rakgwale (R.I.P), the voice of Banane Mavoko… every time we play the song we dedicate it to your spirit and we talking to you through the drums.....
"AO POMPE S'GHUBU SE...”
www.afrodesiamp3.com

Jesse Saunders and house music

If you met him in 1977 aged 15, in his red gym shorts and blue basketball shirt, if you saw him carrying a box full of records with his headphones around his neck, if you heard him talk about DJing, disco, and some strange music called house, you’d never have believed that he would help change the world.
And yet that teenager created the first ever house music record in 1984, set up the first house record label, was the first house artist signed to a major label, and was the first house DJ to enter the Billboard music charts.
He became known as the very “originator of house music” and in 1997, he was honoured by Chicago’s Mayor Daley with an annual celebration on July 17th in his and the Pioneers of House Music’s name.
Throughout February we’re celebrating Black History Month by interviewing some of the most important black electronic music pioneers and contributors, and we’re proud to have him as our first interviewee.
Ladies and gentleman, please stand for Jesse Saunders.

A young DJ: Jesse Saunders

What was it like during the early days of house?
The early days were spent finding the best, most soulful, and uplifting disco records out of New York and Philly. I’m talking the late 1970s. There was only one place that carried them and it was called Sounds Good, on the northside of Chicago.
When Frankie arrived, he would get them directly from New York although Ron Hardy was already playing them at Den One before Frankie.
Lil Louis was also on top of things on the west side. A DJ by the name of Mike Ezebuku was doing it on the southside. I was 15 or so at this time, around 1977 to ‘78.
As we started to progress and bring this deep house music (as it should be called to differentiate it from the 1980s Chicago house) to the masses - teenagers and college students that didn’t go to gay clubs - the term house stuck because we would often associate it to the style that Frankie played at the Warehouse.
DJs such as myself, my brother Wayne Williams, and eventually Alan King, Tony Hatchett, and Andre Hatchett were in a crew called the Chosen Few.
We DJed every major event in Chicago from 1978 through 1984 when I made the first house record! DJs in those days had lots of love for each other - there was no fighting as to who was the best, except maybe Farley “Jackmaster” Funk!
We supported all the crews and parties that each other promoted.

I get people all the time coming into the Electronic Music Café in amazement because they think a white person started house music! All I can do is laugh…

So how would you compare it to today’s house music scene?
The camaraderie is back after suffering for many years because of the competition. The only difference in today’s scene is that we have better technology.
I think that’s good and bad at the same time. Bad, because in the early days you had to be a musician and understand song structure and songwriting to make music.
I feel that when we gave the ability for everyone to make tracks, we lost the essence of what music production is all about. On the other hand, I feel that allowing everyone the opportunity to be able to express themselves musically is a wonderful thing as well!
Why was house music important for black culture?
It was important because it once again showed that black music is always the catalyst for rhythm and musical styles that dominate pop culture.
Of course it’s a part of black history. I’m black – or at least the last time I looked I was! Although, I get people all the time coming into the Electronic Music Café in amazement because they think a white person started house music! All I can do is laugh…
You’ve been quoted as saying that there are some ‘misconceptions’ with the origins of house music. Please explain what you meant.
[laughs] There are lots of misconceptions. Most of them are due to people taking credit when they weren’t even around to witness what is was all about! Others are because people feel the need to embellish their role in the evolution.

Jesse Saunders spinning at his Chicago nightclub The Playground

Why did you decide to produce ‘On & On’ in 1984?


My records got stolen, which contained the original bootleg ‘On & On’ (which was my moniker). I used the bassline from Space Invaders and I wrote original arrangements around it to produce and write ‘Fantasy’!
‘On & On’ is the DJ track version of ‘Fantasy’!
Back then, had the term ‘house music’ been coined yet?
House music had been coined, but it wasn’t really associated with what we were doing. People were shortening the term Warehouse to house as early as 1978.
It was a term used to describe the style of disco that Frankie, Ronnie, and Mike were playing. Since I was capturing the essence of the style with my On & On tracks, it was a great marketing tool to utilize when we released ‘On & On’ in 1984 on Jes Say Records.

What were your musical influences at the time that you produced the track?
Electronic records such as Dr.’s Cat ‘Love Is The Drug’, anything by Kraftwerk, and the bootleg mix of ‘On & On’. It was because this record was stolen from my collection that led me to make ‘On & On’!
What is the track an ode to?
The bootleg version of ‘On & On’ was my signature record. I was the only one to play it at the time. No one knew what it was, and I wasn’t telling. What it actually was, was the B side of a Mega Mix record, which is like a mix or podcast today on vinyl.
Vince and I were basically talking nonsense on ‘On & On’! Just random things about how the music makes you feel.
So it was all pretty innocent then?
I just wanted another version that I could play in my DJ sets. A guy by the name of Frank Sells, who worked at the Importes Etc. record store told me that he could sell lots of ‘On & On’ if I released it. That’s when the light bulb came on…
Did you imagine back then that ‘On & On’ would lead to the explosion of house?
Nope! I had no idea of the magnitude because in those days there was no internet to gauge it by. It caught me completely by surprise!
What kit did you use to produce the track?
A Korg Poly 61 keyboard, a Roland 808 drum machine, and a TB 303 Bassline machine.

It made me feel very accomplished! Chicago never recognized anything that we did in the ‘80s and early ‘90s

Do you have any other unreleased productions from those early days?
I have a few actually. When I listen to them I realize that I’ve come a long way, but I understood what it took to make a hit record even at the beginning of my production career.
I plan to release them soon on Broken Records so stay tuned.
In 1997, Mayor Daley named July 17th Jesse Saunders and the Pioneers of House Music Day for Chicago. How was that?
It made me feel very accomplished! Chicago never recognized anything that we did in the ‘80s and early ‘90s. House music had become a mainstay around the world, but Chicago didn’t really appreciate it in my eyes.
So when Mayor Daley signed and presented that proclamation to me it felt like 14 years in the making had finally come to fruition. He later signed another one eight years later. Now, we have the full support from the city to host our annual House Music Reunion every 4th of July weekend in Hyde Park.
Last year over 40,000 people came out to testify and celebrate. This year we expect over 50,000! For more info check: ChosenFewDJs.com.

Jesse’s Gang

Who do you consider are the true ‘chosen few’ pioneers of house music?
First and foremost, I must give tribute to the man, the innovator, and the reason why we continue to blaze new trails, Ron Hardy.
If it were not for Ron Hardy, there would be no Frankie Knuckles, Jesse Saunders, Steve Hurley, Marshall Jefferson or Farley “Jackmaster” Funk!
Frankie Knuckles brought the New York soulful disco sound to Chicago.
Robert Williams had the gusto to formulate, build, and run a club that everyone else considered to be nothing more than a gay joint, which influenced the foundation to build what we know as house music today - The Warehouse!
Wayne Williams encouraged me to DJ and he had the foresight, and the drive to take this ‘Warehouse’ music into the mainstream crowd (with my help).
Lil Louis held it down on the west side while myself, Wayne, Michael Ezebuku, Frankie and Ronnie did it respectively. It was a concerted effort on all of our parts that made house music a household name in Chicago.
His record ‘French Kiss’ was a ground-breaking release worldwide that led to the explosion of house internationally.
Paul Weisberg took the initiative to bring those hard-to-find records to his store, Importes etc., and he understood that the new underground movement of house needed a retail outlet.
Marshall Jefferson provided an anthem for our cause and took the production value to new heights with his work on the Ten City albums and more.
Graham Armstrong and Lee Michaels took a chance and put house music on major Chicago radio stations WGCI and WBMX, which spearheaded the revolution and eventual takeover of radio in the ‘80s.
Vince Lawrence showed me the way to put house on wax and co-wrote most of the early hits with me!
Chip E was a good understudy and took the reins when I left for Hollywood.
Larry Sherman saw a young entrepreneur’s spirit - me - and he guided me in the right direction to make a business out of house.
Rocky Jones was a visionary, and not only promoted the first house record through his record pool Audio Talent, but he built the foundation for ‘Love Can’t Turn Around’ and ‘Jack Your Body’ to become No.1 hits on Top Of The Pops in the United Kingdom.
DJ Pierre twisted our traditional house music into acid.
And Fast Eddie, Mr. Lee, Kool Rock Steady & Tyree Cooper fused rap with house to create the hip house sound.

Jesse’s Gang circa 1985

Who are your black heroes or mentors?
My hero is my grandfather, Robert H. Miller, who was an integral part of the Civil Rights movement of the ‘50s and ‘60s, who put his money where his mouth was and actually financed the march on Selma and walked with Martin Luther King. He was also the first black man elected to the electoral college and the only man to serve two terms as the Mayor of Bronzeville (the black section of Chicago).
My mentors are Ernie Singleton, former head of MCA (Universal Music) Black Music, and Benny Medina who guided me to become the producer that I am today by taking me under his wing when I first signed to Geffen/Warner Bros. Records in 1986.
It was with his guidance and later his trust that I was able to become the go-to guy when they needed a project finished at Warner Bros.. Some of these projects included Jermaine Stewart, Club Nouveau, Karen White, Simple Pleasure, and El DeBarge.
Have you yourself been involved in the Civil Rights Movement?
My mother was involved; my grandfather was involved, so therefore I was involved. It was a family thing and I had a major legacy to uphold. I rode on the bus that my grandfather hired to recreate the march on Selma that he did with Dr. King.
The Ku Klux Klan marched against us and we had major opposition from the police in Alabama, but at the end I was proud to be a part of erecting the statue in front of the church commemorating this historic event.
www.beatportal.com by Terry Church

BODDHI SATVA Biography

Biography

Boddhi Satva was born and raised in Central African Republic where his love for music was clear even in his formative years when he was involved in writing,producing and rapping with Gbekpa Crew (hip hop crew), created by himself and a few friends. His overwhelming desire to share a deeper message in conjunction with irrefutable production skills left him searching for a more meaningful way to get his sound heard.

In 2000 Boddhi's search for more took him to Belgium to pursue his studies which revealed his greatest passion, music and ultimately deep house music. After absorbing the music of the greats like Masters At Work, Osunlade and Kevin Yost, Alton Miller, St Germain, just to name a few Boddhi knew what he wanted to do and described it as follows, “It was like a revelation to me, from then on I decided to play and produce THIS music”, and that's exactly what he has been doing!

Having met Alton Miller in 2005 and working together on two powerful Eps' "Prelude To A Motion Ep" and "See The Day", released by Paris-based ATAL MUSIC, Boddhi's name and sound was not only gaining recognition but praise from peers all around the world. Boddhi's motivation was stronger than ever and 2006 brought forth the distinct sound of Ancestral Soul that was first inspired and then introduced to the world by Osunlade's Yoruba Records with the “Satva Varti Ep”. At this point Boddhi had not only met many of the people that inspired him in the industry but he was now working with them on various remixes and original productions and also with labels like Bubble Soul, Seasons Limited, Seed, Ocha Records, Yoruba Records, Abicah Soul Recs, Franck Roger Digital, Deeper Shades Recs, Citydeep and UGH.

The impressive body of work and multiple collaborations within such a short period of time earned Boddhi the title "THE MACHINE" from his peers and also fueled the drive that had been building within him to start his own label "Offering Recordings". Offering Recordings was a part of Boddhi's inner spirit and dedicated to quality music that brought forward uplifting feelings. Spiritually refined, Offering conveys it's message through music; freeing everyone of their stresses, fears, and inner pains. This label was an outlet for Boddhi to give support and recognition to artists that feel the music but also appreciate the message that lives within the music.

All of Boddhi's hard work and more significant, his true love, understanding and respect for THIS music that he holds close to his soul and keeps intertwined with his spiritual self keeps his sound changing and evolving while sustaining the underlying message and feel of everything that he has always believed in. Boddhi is a different breed of entertainer, one that creates for the soul and from the heart, his music exists as a path to free everyone from the wear and tear that this world places on each of us at different points in our lives. Boddhi is not content with just making you move on the dance floor, through his infections beats and combinations of drums and ancestral sounds he hopes to move you in every way imaginable.

2010 has delivered Boddhi to a higher plain, an elevated state of creativity that has lead to him being signed with Grammy Award Winner Louie Vega's label; Vega Records. When asked about Boddhi Satva and how he came to be a part of Vega Records Louie had this to share, "Mr. V brought me an edit of a Boddhi Satva retouch of a BBE Records Artist known as V (not Mr.V). I liked this calabo of Mr.V & Boddhi so I licensed the track for Vega Records. Lou Gorbea connected us via phone and after a few conversations with Bodhhi I started to realize just how much music he had accumulated in such a short time and as we started having lengthier conversations and becoming friends I got to hear what he was working on at the time. I knew right then and there that he was capable of putting together an entire album project and I was very confident that he could deliver. I loved his sound and he is also a very good DJ that plays with strong presence, he is a well rounded artist, that's what brought him to Vega Records Collective."

With the full support of Louie Vega and Vega Records for the past two years Boddhi's exposure has sored to new heights. Louie has introduced Boddhi to the scenes most prestigious events like WMC in Miami, ADE in Amsterdam, Vega Records Get Togethers in NYC, Sunset Ritual of IBIZA and Londons prized MINISTRY OF SOUND, so they can experience what Louie knew from his first encounters with Boddhi, that his sound would move people! All of this exposure and hard work has brought countless tracks, mixes & remixes, fans from all over the world and true strength and integrity with consistent hits. Boddhi is now harnessing all of that energy and preparing to release "Invocations"his highly anticipated album which embodies and places all the growth, spiritually and emotionally, that Boddhi has experienced through out his entire journey in this music. "Invocations" is an album filled with Eclectic Sounds, African Roots, Neo Soul, Ragga that all has the signature Boddhi style. With tracks like "Who Am I" (feat. Athenai & C.Robert Walker) & "Puncho Koko" (feat. Yacoub) you can see and feel Boddhi's range and growth in every facet of his art. Boddhi's spiritual openness to the universe and all the good it holds has also brought him to Greece, Japan, Germany, Italy, Angola, South Africa and that's just to name a few of the many places in the past year! When it comes to the United States Boddhi is in high demand and welcomed with opened arms, having rocked NYC's house community he has gone on to also share his light with Chicago, Las Vegas, L.A., Detroit, Phoenix, Boston, Miami, and again that's just in this year!

As 2011 approaches, Boddhi humbly drops his head and thanks everyone and everything in the known and unknown universe for the support, respect and prolific acceptance of the music that is in essence him. The new year is filled with growth and even more opportunities for Boddhi in all aspects of his creative journey. Dates are already being booked for appearances across Europe, Asia, South Africa and in the US, studio time is being penciled in for tracks soon to be written and produced and the passion to keep all of this moving forward beats stronger than every within Boddhi. This journey is just starting and trust that BODDHI SATVA will be creating well into the approaching new year and all that follow after! .www.vegarecords.net

LISA SHAW

Lisa Shaw is a name that brings a smile to anyone with a passing interest in deep house music. The reigning diva of sultry house grooves owes more to the mellow incantations of Sade than the roaring diva vocals found on many a house track. The unmistakably smooth and sexy voice of Ms. Shaw is truly the new sound of house music. Her recordings with Naked Music such as the enchanting “Always” are classic yet the singer and songwriter is not about to be tied down.

About the DJ Awards

In 1998 the very first DJ Awards was conceived by Jose Pascual, a legendary figure noted for organising groundbreaking events held in Ibiza, and Lenny Ibizarre, a well known DJ/Producer & Record Label Owner.
The DJ Awards was created to recognise and celebrate the talents of the greatest DJ’s. The fundamental philosophy of the DJ Awards is not that of a competition, as we are dealing with an art form whose merits are purely subjective and therefore there is no best. Rather the DJ Awards focuses on the celebration of the electronic dance music scene, and seeks to let the world know that the art of DJ’ing is a respected craft with world-wide impact. This annual event is the only international DJ awards ceremony to be held in Ibiza which becomes the dance music capital of the world, during the summer months. It is also one of the longest running award ceremonies in the world, whilst enviably still retaining the same ethos as it did when it first started; to honour and celebrate DJs and individuals who have influenced dance music across the globe.
Categories & Nominees

The DJ Awards each year launch via their website a wide selection of categories and nominees which constantly reflect the evolving electronic dance music scene. The various categories celebrate musical talents and productions, which often are groundbreaking on the dance floors of all the major clubs worldwide. All of the nominees in these categories are recommended by a panel of professionals who represent a wide cross section of the electronic dance music industry; media, DJ agencies, technology manufactures, producers, promoters, and of course the DJs themselves. This panel selects the nominees annually and, upon their announcement, the public then ultimately votes for the final winners. These winners are then presented with their award at a grand ceremony held at Ibiza’s most stylish nightclub Pacha. The most celebrated DJ’s worldwide have won awards from Tiesto, Armin Van Buuren, Paul Van Dyk, Erick Morillo, Sven Väth, Carl Cox, David Guetta, Bob Sinclar and Ferry Corsten amongst many others.
The Mascot - Snuffy
The DJ Awards have a mascot, called Snuffy, which is a cross between that famous symbol associated with acid house music the “Smiley” and a little green man. The little alien was chosen to bridge the mundane world of everyday life with that of infinite intergalactic possibilities through the tuning of consciousness. While there are excellent chances that there is life out there in Space there is also almost no possibility to reach beyond our solar system. Through morphogenetic fields of intelligence, a connection can be made, and the DJ Awards are of the firm belief that, when everything is just right, the power of electronic dance music can propel a shamanic force that can lift the sum of consciousness of the people under the spell of the DJ.
The Award - Kryptonite
The DJ Awards Trophy is a piece of green kryptonite. The word kryptonite embodies Crypto (The code and mystery of life) and Nite (The nightlife and its culture). This draws together the sense of adventure and surprise that lies ahead as the sun begins to set and the children of the night spring to life. We have no better explanation for this than Hausman’s famous quote: “Life is not a riddle to be solved, but a mystery to be experienced”

FIRE is the theme for the 2011 DJ Awards, which changed the history of humanity and civilization. It's a symbol used for millions of years at music gatherings, it's a source of inspiration and purification, it's the creator of power of life, energy and change which represents spirituality, enlightenment and renewal, and it's going to set this night on fire!

CATEGORIES & NOMINEES

**HOUSE**
Axwell
Bob Sinclar
David Guetta
Dirty South
Erick Morillo
Mark Knight
Sebastian Ingrosso
Steve Angello

**TECHNO**
Adam Beyer
Carl Cox
Carl Craig
Josh Wink
Marco Carola
Richie Hawtin
Sven Vath
Umek

**TRANCE**
Armin van Buuren
Ferry Corsten
Gareth Emery
Markus Schulz
Paul Oakenfold
Paul van Dyk
Sander van Doorn
Tiesto

**ELECTRO HOUSE**
Afrojack
Benny Benassi
Calvin Harris
Chuckie
Deadmau5
Eddie Halliwell
Fatboy Slim
Pete Tong

**TECH HOUSE**
Dubfire
Eric Prydz
James Zabiela
Joris Voorn
Layo & Bushwacka
Loco Dice
Luciano
Steve Lawler

**ECLECTIC HOUSE**
2manydjs
Annie Mac
Boys Noize
Damian Lazarus
Guy Gerber
Seth Troxler
Steve Aoki
Trentemoeller

**DEEP HOUSE
Ben Watt
Charles Webster
Claude van Stroke
Francois Kevorkian
Jimpster
Jamie Jones
Kaskade
Kerri Chandler

**INTERNATIONAL DJ**
Armin van Buuren
Carl Cox
David Guetta
Deadmau5
Luciano
SHM
Sven Vath
Tiesto

**NEWCOMER**
Avicii
Dani Casarano
Guti
Jozif
Maya Jane Coles
Nina Kraviz
Sunnery James & Ryan Marciano
tINI

**DOWNTEMPO
Chris Coco
Giles Peterson
Jon sa Trinxa
Mr Doris
Mr Scruff
Nightmares on Wax
Rob da Bank URBAN
Benga
Chase & Status
Cut Killer
DJ Skream
DJ Fresh
Joy Orbison
Scuba
Sub Focus

**SPECIAL AWARDS (To Be Announced)

**CUTTING EDGE**
**DANCE NATION OF THE YEAR**
**IBIZA DJ**
**IBIZA NIGHT**
**INTERNATONAL FESTIVAL**
**LIVE PERFORMANCE**
**MEDIA**
**OUTSTANDING ACHEIVEMENT**
**PRODUCER**
**REMIXER**
**TRACK OF THE SEASON**

http://www.djawards.com

Culoe De Song: An African Heritage

Africa the Motherland, the Dark Continent- call it what you will; we’re all children of the drum. For decades Africa has been recognised as a continent of interesting and undulating culture, a greater ‘tribe’ that knows, feels and experiences rhythm on a different and deeper level than anywhere else. It is said that all African’s are born with a free-spirit, a wild abandon and an instinctual body movement to music. At the end of it all, what I know for certain is that the ‘drums never lie’ and at present no-one knows it better than Culoe De Song.
He might have been one of the youngest people to attend the prestigious Red Bull Music Academy, but with an intuitive grasp of the rhythm and soul that you could only find in South Africa, Culoe has been leading dancers into an epic spiritual trance with his melodic and profoundly deep-spirited music production. Signed to Innervisions in 2009, where his music is released alongside that of Dixon, Ame, Henrik Schwartz and Fish Go Deep, Culoe has quickly garnered much attention from around the world, and become a bit of a sensation- nothing wrong with that!
When asked what sets him apart from other DJ’s and Producers in South Africa and internationally, he replies humbly, ‘ I cannot comment much on what sets me apart from other artists in the world, what you’ve seen or heard is Culoe De Song.’ Culoe says his craft is fundamentally on the grounds of love and dedication, and what he has achieved is a blessing from his roots and a daily respect to life. ‘That’s what I’m about and so is my music.’
A combination of drive and innate talent, honed by a musical upbringing, is why even Mix Mag, the UK’s biggest Electronic Music Magazine has said he’s ‘at the forefront of the house music currently smashing club land.’ ‘I’m happy that I get such acknowledgement from the world. I’m also grateful to the love reflected back to me by each and every person’s groove and enjoyment of my music. I greatly appreciate this and that’s the only reason I’m here.’ He says.
His music has taken him around the world in 2010, from the Miami Winter Music Conference back in March, to New York, a European tour which took him into the heart of Italy and many trips into Africa playing to the beautiful masses in Botswana and Swaziland. How do the international scene’s compare to South African? ‘I could relate to the scenes there by one thing: The music. It’s a universal language. In Europe the crowd is very spontaneous, they’re willing to learn and love hearing new sounds so they let you take them on a journey.’ He says. ‘It’s really great to experience the different crowds and cultures.’

Meeting his own idols, the likes of Man00, Rocco and Louie Vega has also been an incredible experience. ‘It’s great to have met some of the producers I’ve looked up to, over the years we’ve come across each other online and keep in contact. Manu and Rocco will be coming to South Africa in 2010’ He lets on. ‘Over the last 2 years so many internationals have been coming into the country, they’re excited to come and experience the scene here and it’s so awesome to see that!’
His process in the studio is a personal experience, when working on a remix or producing a track, he finds depth in solace; ‘When I’m working on my music I’m always in my own space in time- that time is dedicated to the art and me. That’s when I meet my inspiration and produce what comes from within, hence I keep emphasizing LOVE, DEDICATION and RESPECT you feel me?’ Culoe is currently in studio working on a few things, a couple of remixes are due out on various labels but he’s most excited about a big collaboration project with Black Coffee. ‘We’re making an album together, and going by the name Bang Bang. Haha!’
Although the old Kwaito days hold some of his favourite memories, he found himself drawn to House Music, his fundamental sound genre, and his passion for being a House Music DJ. He says, ‘The House Music scene currently has a lot of energy and it’s mainly the youth that are taking part, and it’s great to see the circle of music lovers, and the appreciation for House Music growing. I can never tell what will happen in the scene as time goes by, as long as the energy remains positive, I think good shall always grace the scene, but then again, music as we know it has come a long way itself – so who are we not to believe in the good of it?’ When playing sets he sometimes feels intimidated by the crowd but, ‘Mostly they are very welcoming- lots of happy faces!’
Culoe is often asked by friends and fans, ‘How does it feel?’ especially being that he is ‘a younger guy’ in this business. ‘My response is always “It’s an overwhelming feeling!’ Hahaha!’  In his free time he listens to all sorts of music- from Jimi Hendrix to local vocal sensation, Lira, and he’s a bit of a gamer, ‘I love Playstation- give me Mortal Kombat and its ON!’ he laughs. When Culoe goes home, his Zulu praise name is MAGEBA MNTWANA, something we have no doubt the musical ancestors will long be singing to infinity and beyond
http://bpmlife.co.za/featured/culoe-de-song-an-african-heritage/.

Thabiso Mamogwa aka Deep Sixty

Thabiso  Working as Deep Sixty, his latest release is a laid back remix for Dom Navarra on Cabana Recordings; perfect for those after-the-rave early mornings.check out the Endless Possibilities EP

Red Bull Names SA Ambassador, 2011

Capetonian Emile Hoogenhout aka Behr, a 29-year-old composer, musician and music teacher, is heading to Madrid later this year to learn from some of the musical masters of today and yesteryear.
Among thousands of applications submitted by producers, instrumentalists and vocalists from 96 countries – including those for the first time from Zimbabwe, the Cook Islands and Fiji – he is one of only 60 invited to participate in the Red Bull Music Academy 2011.
Each participant in this year’s Academy has been chosen for their unique vision, as well as the guts to see that vision through. When Emile joins one of two terms at the Academy (running October 23 to November 4, or November 13 to November 25), he will have the chance to collaborate in custom-built recording studios with peers from 33 countries, representing cities from Lagos to Vienna.
With a thorough schooling in drums, guitar and music theory, Behr has been a sought-after session player since he was a teenager. Having studied music composition at the University of Cape Town, he can effortlessly switch between spinning deep house, electronica and techno under the Behrellips moniker; or live looping intricate beats and visuals with an electronic drum kit. Behr has played on albums with local artists such as Lira, Skwatta Camp, Tasha Baxter, and Insek, as well as toured the local festival circuit. Most notably, his tribute to the Twa tribe, ‘The Forgotten People’, has caught the hips and imaginations of dancefloors across South Africa.
A very musical producer and an adept DJ with a keen ear for the both the emotional and the rhythmic, Behr plays drums, bass guitar and piano. A believer in broadening his musical horizons as much as possible, he does not like to be pigeonholed into one style of music.
“I like to draw inspiration from outside the sonic realm,” says Behr. “Taking an open-minded approach to music, I embrace many musical forms and catalysts for creation. I like to build tracks organically – particularly through field recording – to create music that is freeing rather than confining; or at least ‘categorizable’. I believe one is always a student of music. The fundamentals and origins of sound appeal to me most.” (For more information on Behr and to listen to some of his music, visit soundcloud.com/behrellips.)

...Incognito...

The enduring success of Incognito is one of the great stories of UK music during the last 20 years. Look at the recent history of soulful UK artists and you will find any number of short-lived acts that have achieved pop success. Narrow the list to those that have created a uniquely British sound and that have endured as a global phenomenon on their own terms and the list becomes short. Dues, then, to Jean-Paul 'Bluey' Maunick and Incognito, formed in 1980 and celebrating 25 years of positive vibes and undiluted jazz funk in 2005.
From an early age, the UK live scene was a key inspiration for Bluey, having moved to London from his native Mauritius aged ten. Defining moments for me? Stevie Wonder and Marvin Gaye, of course, Santana, Earth Wind & Fire, Kool & The Gang. But the real link to Incognito was UK bands like Gonzalez and FBI. These were people that lived in your town and walked your streets.
My first band was New Life with David Grant, he remembers, his cousin later managed Light Of The World. I worked in his record shop in Tottenham and we'd rehearse upstairs. Some of the future Light Of The World musicians band would pop in to jam. I switched from bass to guitar when Paul 'Tubs' Williams came in, he was only 14 and blew everyones minds. Spawning a new band, the name Tower Block was changed to the more uplifting Light Of The World and, in 1978, Chris Hill's Ensign imprint promptly signed them. We ended up at Phonogram Studios and could suddenly buy any equipment we wanted in their shop. No one stopped to think I can buy a car! All we could see was wah wah pedals and phaser units! The self-titled LOTW debut was a landmark for UK jazz funk featuring extended high energy club hits Swingin and Midnight Groovin, as well as a young Sade pictured on the cover.

British jazz funk bands created a scene to an extent but we didn't embrace each other enough, reflects Bluey. It was about blowing each other off stage. We'd know musicians but didn't like the way certain guys dressed. In the end, punk came along and stopped it in its tracks. In the 70's, there was a healthy live circuit in London. From pubs, you could graduate to the Q Club, Upstairs At Ronnies. By the early 80's, we relied on DJs like Chris Hill booking a band for weekenders. I formed Incognito because I really wanted to take the music to the next level. My vision was to be a producer, a writer and part of a musical community. As Jocelyn Brown has said, we're in the business of music, not the music business.
 http://www.incognito.org.uk/

4 the love...!

Alex Jones - Disappointing Dancefloors

Review

Alex Jones: Disappointing Dancefloors

This latest EP from Hypercolour label co-owner Alex Jones brings up the big 20 for one of the more intriguing UK-based house and techno labels of recent years.

PROFILE LINK

Alex Jones
Disappointing Dancefloors
Hypercolour

If you're in the know when it comes to quality, forward thinking house and techno, then you will no doubt be familiar with London/Brighton imprint Hypercolour. Over the last five years the minds behind the label, Alex Jones, Jamie Russell and more recently Ste Roberts, have signed and released a crop of tracks that include Kris Wadsworth’s iconic Mainline, Mark Henning’s standout The Right Time and more recently serene electronica from dance music’s most talked about new female, Maya Jane Coles.

Much of the labels catalogue could be described as left of centre - at times slightly oddball - house and techno, and its just that which make’s it standout amongst the ever growing barrage of generic house and techno outlets. It’s fitting, then, that full release number 20 lives up to the forward thinking reputation they have established, with Alex Jones delivering a typically twisted four track EP, drenched in his trademark ironic humour – from the track title’s to the Mr Blobby artwork! Yes Mr Blobby (apparently his label cohorts think Alex is a dead ringer for Noel Edmonds’ pink friend).

2011 has already seen Jones make his debut on Connaisseur Recordings as well on legendary German imprint Playhouse, both to much praise. Much like his Playhouse release Disappointing Dancefloors combines a haunting vocal and synth line with a snare that’s hard to miss. Although the name might suggest otherwise, it’s got bags of dance floor appeal; the bass line boasts a certain funk and adds some serious groove to proceedings.

Morning Game follows in a similar fashion; a mid tempo, erie work out that make use of a diva like vocal, which in trademark Jones fashion has been processed to make it sound like it could have come from a dark sci-fi flick rather than a smooth RnB cut. Romanian Pika also uses a moaning, seductive female vocal that floats over gnarly bass tones and punchy Roland percussion.

Rounding off the EP, Cowboy Trap is a collaborative effort from Jones and Detroit’s Kris Wadsworth who supplies a colourful vocal that will bring a rye smile to any discerning dance floor. The groove reflects the playful vocals with a throbbing kick and bass, delayed synth action and metallic percussion; it’s a driving tech houser with a serious sense of fun.

Just as Hypercolour continue to cement their place at the forefront of innovative house and techno, so too does Alex Jones as a producer in his own right. Whilst many house and techno producers look to simply put forth tried and tested formulas, Jones is creating original blueprints of his own.

http://pulseradio.net/articles/2011/06/alex-jones-disappointing-dancefloors

Copyright In The House - An Interview

Copyright are Sam Holt and Gavin ‘Face’ Mills, the UK production duo that have emerged from the shadowy streets beneath the grey skies of London to beam rays of 4/4 happiness directly into the gratefully exultant faces of clubbers around the globe. Now, after years of an extremely fruitful relationship with, Defected they have been awarded with the ultimate accolade in the shape of their very own In The House compilation.

Their success – at least in part – is due to the carefully nurtured and complimentary relationship their share within the studio and behind the decks. It’s a relationship that has seen their star steadily rise, resulting in Copyright now being one of the most in-demand production and DJ acts in house music. Here, we catch up with the guys to discuss their approach the mix, the re-launch of their Copyright Recordings and how fatherhood can – contrary to popular belief – really help you find your focus in the studio…

We’re more than halfway through 2011…how’s it been for you so far?

Sam: It’s been a great year. We are now in the middle of what we’d call the summer madness; two gigs, a day in the studio, another gig, a day in the studio. Its great fun, we get to see most of Europe, and get a bit of a tan along the way!

Gavin: It’s been a bit of a mad year because Sam’s had a baby very recently and I’ve got one coming. Before Sam’s baby came we just tried to finish off as much stuff as we could because we knew we were going to be very busy. Simon [Dunmore] said to us that we should have babies more often because we’ve never been so productive. It shows what we can do when we put our minds to it.

Sam: Having my daughter made me focus my mind on the little time I had to be in the studio, listen to and A&R tracks. I really had to make the most of out of every session.

If you were to pick a couple of things over the last six months that really stand out for you, what would they be?

Gavin: Meeting Nuwella, who we did ‘I’m All Yours’ with, plus doing the video, was a major highlight because we’ve built a strong creative relationship. She’s going to be a major artist for us in the future, and we’re working hard in the studio with new tracks, with some great ideas.

Sam: Re-launching Copyright Recordings, with Simon and the team at Defected, because it’s one of those things where I thought ‘why didn’t we do this four years ago’. We’ve got some great artists who are creating some great music and we’ve had initial successes with our first round of signees.

Who are the new artists you’re bringing through and how do you feel about the progress you’re making?

Sam: We’ve got people like Born To Funk out of Holland who’s delivering some awesome music at the moment.

Gavin: He’s been around quite a while. We met him years ago, before we had a label and we passed a track he had made called ‘Di Bamba!’ on to Knee Deep USA, which they signed and released in 2004. They didn’t know about ‘Di Bamba’ previously, so we learnt from that lesson.

Sam: He’s just been touring in Zanzibar, Tanzania, and across Africa so his sound at the moment is perfect for the label. There’s so much more to come from him. We’ve also been working with our good mate, DJ Meme from Brazil, who absolutely smashed it with his debut single for Copyright Recordings, ‘Canto Pro Mar’. It’s been huge, so huge that David Morales remixed it because he loved it so much.

Gavin: We want to work with people the same way we’ve worked with Simon; building a team of producers coming up with records, and put out our own records. These guys’ records are doing so well that they’ve set the bar high, the pressures on. We didn’t have a plan, or so much a concept, our main criteria was based on whether we’d play the record, would it go in our record box –if so then we’ll sign it.

Sam: Copyright Recocrdings is starting to take on a personality of its own, because it’s become the place for the Nu Africanism sound, which seems to have happened organically. People are noticing that we’re putting a lot of afro-latin inspired records so people are sending us their take on Nu Africanism.

How do producers get their music to you?

Sam: Putting a CD in our hand will get you a listen! Send your records to myself or Gavin, ensuring that it’s a link we can download. I can 100% guarantee we listen to everything, especially when we’re travelling. We’ll listen on the plane, but we can’t listen to a stream link, we can’t download on a plane.

Gavin: We listen to every CD we’re given, we leave no stone unturned. The next demo might be our biggest record.

Sam: If you don’t have that kind of enthusiasm with House music, then you shouldn’t be doing it. There’s a great family of labels at Defected, and if it’s not exactly the sound of our label, we’ll pass it on to Simon (Dunmore), who’ll pass it on to Ricky Rivaro at Azuli Records, or Simon Marlin (The Shapeshifters) who’s running Nocturnal Groove. There’s a whole universe of other labels, so it’s worth sending demos to us.

A crux of your next album is Hong Kong, what have your experiences been like in regards to playing there, the clubs you’ve played at and the house scene in general?

Gavin: I like Hong Kong because it’s such a small place, everybody knows everybody, so it’s similar to life on a university campus. The core of the House music scene in Hong Kong might be around thirty or forty people, and there’s three main clubs; Kee Club, Drop, and Dragon-I where we play, but it’s a really strong scene.

Sam: Because of Hong Kong’s history with Britain, it feels like a little bit of London in Asia, in regards to the spirit of fashion, shopping, and brands. These days we’re a lot more sensible but in the early days it was easy to lose yourself on a shopping spree where you’ll end up thinking ‘Oh my god, what have I done? I’ve brought ten pairs of trainers and five Adidas leather jackets, I better take some of this back’.

Gavin: We’ve visited Mong Kok, famed for its row of sneaker shops – which is the length of Oxford Street – on many occasions. Gilbert, the owner of Dragon-I, got us tickets to see the Star Wars premiere too. There are a few places that we play that have become my favourite destinations, but Hong Kong is most definitely one of my top three. I always try and arrange a few extra days where I can catch up with all the many friends we’ve made over the years.

Your sound is ever-changing but recently it seems as if your sound has evolved sonically into something much bigger and elaborate. Would you agree, and if so how has it changed?

Sam: I think the essence of the sound is the same but the dynamics of have changed because we’re playing all over the world, experiencing different situations in different clubs, and that just follows us back into the studio. One week we could be playing a massive festival, and the next week we could be playing a small intimate club so it’s just trying to make our sound relevant to where and how we play.

Who was the last producer that really inspired you?

Gavin: Maya Jane Coles. It’s refreshing to hear someone so young coming with such a mature sound, she has the essence of house and every time she releases something I always go and listen to it. Maya’s tracks do not always work in our sets but her music is moving, taking you on a journey with each listen. She’s really stood out in the last year or two as someone to watch out for, and could easily be the new Dennis Ferrer.

Sam: We’re also massive fans of Frankie Rizardo, and I feel like he’s on an upward curve and doing some amazing things. We play his records in every set and I feel in time he’s going to develop into a producer to be reckoned with. He’s a great DJ and we love his sound, and for a young guy the sky’s the limit. Another duo we really rate is Roul and Doors. We’ve got to hang out and have some great times with them in Holland, but they’re some guys to really watch out for in the future. They’ve got a great attitude, some dope tracks, and I see them on a massive upward curve.

Gavin: I think it’s on the cards that they’ll have a big hit soon.

The tag line for the album is ‘Uniting the voices of Africa, Asia, New York, and London through House Music’, can you talk us through it…

Sam: We’ve always had a very global sound in terms of what we make, there’s always been influence from American House, and New York sounds, but then we’ve got another sort of sound which is the Afro Beat, and we’re from London. It’s like a melting pot of influences and our sole aim was for the album to captures the global dance sentiment and influences.

Gavin: When we DJ we play a wide spectrum of different sounds. We might play a really soulful old disco track, we might play something that’s really deep and techy in our set but that’s a major part of the appeal, where we can pretty much turn up to any party and fit in because we’re eclectic.

Sam: You might hear a Jamie Jones record in our set, you might hear a Dirty South record; if it’s good, it’s good and if it’s got the funk we’re after, we’ll play it.

How did you mix the compilation…was it live or an Abelton session?

Gavin: It was a mixture.

Sam: It starts as just us playing CDs, getting a vibe for CD1 and CD2, the next process is to mix both CDs to an ordered and balanced track flow…

Gavin: That’s where Ableton comes in.

Sam: Then there’s a next level of Ableton where we’re engineering, editing, and adding effects before it goes to the next level, entering the Copyright mainframe studio HQ…

Gavin: We add the sprinkles on top using Logic. Just the winds, DJ sounds…

Sam: Probably stuff you can’t even really pick out, but it does have an effect, it’s more on a subsonic level of consciousness so we can give these mixes a little bit of flavour. It’s a labour of love. We sometimes say that if you don’t hate something you’ve made, you haven’t worked on it hard enough. Having said that, we don’t hate the compilation, but we’ve definitely been through it a fair few times!

From inception to 100% finished, how long did it take?

Gavin: From us starting the actual mixing, it’s about four or five weeks but then there’ll always be a little curveball at the end where someone won’t licence a track.

Sam: The track that you absolutely love, the lynchpin of CD2, gone!

Gavin: Sometimes just taking out one track and having to fill it with another track is hard.

Sam: It’s good fun but to get the quality that we’re striving for takes quite a long time.

What else are you working on at the moment?

Gavin: Mark Knight, a great friend of ours, and a producer we really respect, came to Sam and asked whether we’d be interested in doing a mix of ‘Babarabatiri’ which is a Todd Terry record sampling Tito Puente.  It was used in a Guinness advert a few years back and it’s one of my favourite old House tracks. We’ve been working on that for the past few days we’ve been in the studio, and its sound pretty good. I’m looking forward to road testing it and see how the crowd reacts.

Sam: We’ve also got a follow up single with Nuwella, but I’m not going to tell you the title until it drops. It’s another cover, which has come out really well, and what we’ve been able to do is find a tune which fits Nuwella because she has got bags of charisma. The song not only suits her, but also her artistic direction as an artist. We’re really excited!

http://www.defected.com/news-reviews/latest/Copyright+In+The+House+-+An+Interview/798

BACK IN THE HOUSE ... its all 4tloh!

http://www.backinthehouse.com/#/Backinthehouse-Inside-The-Documentary

G.FAMILY (Album Preview) ''Break The Silence''

1. What if (G.Family Corner Cafe Mix) - Antonio Lyons Feat. Mandisa Bardill
2. Knowing (G.Family Main Mix) - Lefunken Feat. Stephanie Renee
3. Sorry for What - G.Family & 340ml
4. Love Someone (G.Family Remix) - Atjazz Feat. Robert Owens
5. Rise (G.Family Mix) - Bevan Godden & Bobezy Feat. livingstone
6. Break the Silence - G.Family
7. The Guest - G.Family
8. Jami in Phoonshal (G.Family Remix) - Sis n' Jones Feat. Isacc
9. Deep Jazz (Dubin Dark Dub) - G.Family
10. Dj's for Free - G.Family
11. Night Shift (Feat. Antonio Lyons) - G.Family
12. People with Bullets (Feat. Nombongo) - G.Family

Release/catalogue number: SCCD168 
Out 3rd August On Soul Candi And Will Only Be Available in South Africa, Botswana & Namibia. ... 4TLOH!