Annie Bass' etheral and intoxicating music seems to hang in the air when you hear it - a perfect marriage between her heady voice and swoon-worthy lyrics. This accomplished vocalist, songwriter and producer is on the cusp of big things after receiving wide critical acclaim for her releases 'While I'm Waiting' and 'Don't Want.
Adelaide-born and now Sydney-based, Annie's musical interest from a young age could probably be more accurately described as 'obsession'. From 5 years old she was composing music and writing songs for her family. As that obsession developed, Annie earned her chops performing in Jazz bands, an influence that still clearly comes through in her music today. After meeting Adelaide producer Oisima, she delved into electronic music, continuously working with him and other producers to develop her sound and own original tracks, resulting in an inspired fusion of garage-tinged electronica.
With a genre-transcendent list of musical influences, from Nina Simone and John Coltrane to James Blake as well as contemporaries BUOY, Kllo, Christopher Port and Dro Carey, Annie is drawing inspiration from through the ages and her sophisticated lyricism is testament to that. She has already performed at Secret Garden, Splendour in the Grass, Groovin' The Moo and Falls Festival, played supports for Nicole Millar, Elizabeth Rose, Banoffee and Kilo Kish, and with her track 'Don't Want' being added to full rotation on triple j, this already impressive resume is only set to grow.
Music is all about finding that 'goosebumps' moment, a moment that is precious in its rarity, and a moment that Annie Bass delivers. Such emotion-filled music is cathartic for both the artist and the consumer, or as Annie sums it up - "As Erykah Badu said “music is my therapy”.
Ariane is a dance-floor miracle. Sharp of mind, wit and wardrobe, her style behind the decks is at once distinguishably focused and exceptionally eclectic, encompassing all spectrums of the party realm.
After gaining a reputation and travelling around the country during her Gay Bash, Health Club and Shameless days, Ariane now has residences at some of Sydney's best venues, including Ching-A-Lings, Good God and Flinders. Whether she's playing past-era oddities or dance-hit sureties, spinning records to the fash pack at Armani, Adidas and Ksubi or pleasing the crowds at festivals like Splendour, Big Day Out and Playground Weekender, Ariane is always appropriate (or appropriately inappropriate). True versatility is a rarity these days, but equipped with an enviable musical knowledge and endearing charisma, Ariane's sound and stage presence lends itself equally to Mardi Gras, the Sydney Festival, supporting the likes of Horse Meat Disco, and playing Lil Wayne/Eminem after parties (true story).
A former host of Arvos and Sunsets on FBi Radio and currently the Deputy Editor at Oyster magazine, Ariane's got the underground, the overground and everything in-between covered. Her sets will grab you by the hips, invite you to dance, and dazzle. Ariane is one box of magic tricks that will leave you wondering what just happened, and maybe just a little bit shocked that you've never had so much fun.
“We write music that makes us feel good,” says one half of Bag Raiders, Chris Stracey. Seven years after their ARIA chart topping, J Award nominated debut album, the pair’s mentality hasn’t wavered. They style music with passion, drive and, above all else, a commitment to the idea that genres or rules should never stand in the way of a good time.
“We’ve always kept things as varied as possible”, says Jack Glass, pointing to the early Bag Raiders mix tapes for which the group formed. These bedroom mixes, pressed to CD and distributed in the clubs and streets of Sydney, moved from hip hop, to rock, to dance and everything in between — their carefree nature in many ways a blueprint for everything Bag Raiders to come.
As classically trained musicians, the pair has always had a love for music, but a love for dance music wasn’t solidified until their involvement in Sydney’s burgeoning club scene in the mid to late 00’s — specifically as punters and DJs at the now (in)famous Bang Gang parties. Glass and Stracey brought a hybrid live show to the club and began making edits, blends and remixes for themselves and their DJ friends to spin.
“When we weren’t on the dance floor we were in the studio”, says Stracey, and in 2008, with their very first original track “Fun Punch” (Bang Gang 12 Inches / Fool’s Gold) they struck a hit. A slew of remixes followed for bands such as Cut Copy, Sneaky Sound System and The Ting Tings. But it was their 2009 single “Shooting Stars” that propelled them well and truly into the spotlight.
A year later their self-titled album on Modular Recordings brought further standouts like “Sunlight”, “So Demanding”, “Snakecharmer” and “Way Back Home”, going gold in Australia and sending the boys into a touring frenzy for three straight years.
When they finally stopped to gather breath, Chris and Jack decided on a change of scenery and made their way to Los Angeles where, once again, they set about paving their own road. At the very height of the EDM bubble the boys got to work on new, more introspective material, focusing less on big drops and production bells and whistles and more on live instrumentation and the craft of songwriting. The result was a set of EPs on Island / Universal — Waterfalls, Friend Inside, Checkmate and Beat Me To The Punch.
With a brand new live show the Bag Raiders again hit the road to smash out a thirty date tour across North America, selling out in all major markets. People were paying attention as their next shows were as the hand-picked support band for heroes Duran Duran and Chic. This period also saw remixes for Riton, Banks and Kimbra proving that the boys, though constantly looking for new directions, will always have one foot in the club.
In 2017 Shooting Stars exploded back into the charts worldwide riding the wave of a series of internet memes, a Jimmy Kimmel feature and more. A fitting way for the Bag Raiders to dive back into the spotlight and bring their varied and fun-loving take on music to a whole new audience.
It’s still strange to most. A new act bursting onto the scene, amassing hundreds of thousands of plays in the blink of an eye. They’ll soon have fans screaming their names at shows around the globe. This is how electronic music superheroes are born.
Hailing from The Netherlands and branded with their signature skull, Dutch-duo DROELOE have taken the ‘future bass’ scene by storm. What began with a SoundCloud account--where they uploaded their own music and curated their favorite releases in their “Pokoe Pack” mixes--soon developed a reputation for creating impeccable percussion-heavy future bass infused with the catchiest melodies.
Comprised of producer Vincent Rooijers and visual designer Hein Hamers, the duo’s emphasis of both the music and the visuals through both members’ strengths has seen them weave intricate stories through both the music and the visuals.
Early 2016 they caught the ear of San Holo, who brought them aboard his bitbird imprint, teaming up for a string of successful single releases. “Make My Day” accumulated over half a million SoundCloud streams, but it was follow-up single “zZz” which hit #1 on the Hype Machine where the duo really made their mark. Tastemakers across the industry, including Martin Garrix, Mr Suicide Sheep, Majestic Casual, Trap Nation, and CloudKid all supported DROELOE.
Since then, the duo has gone on to put together a string of successful official remixes for bitbird, NEST HQ, and Atlantic which have all placed within the Top 10 of the Hype Machine charts. Their official remix of “We Don’t Talk Anymore” by Charlie Puth and Selena Gomez’ has over 10 million Spotify streams and was premiered via Billboard. They followed this with the release of “Shibuya” on Elysian, which solidified their position in the bass realm.
DROELOE returned to their bitbird label home where they released “Wake the Warrior” which quickly amassed over 500,000 SoundCloud streams and a stunning self-directed music video for the single premiered via Trap City which showcased the duo’s creativity imagined in a hyper realistic visual perspective.
They followed up with Monstercat label debut “Bon Voyage” on November 7th which has since accumulated over 1 million streams across all platforms and a feature in the Best of Monstercat - 2016 compilation album once again cementing their growing reputation in the digital world. The release of the single was highlighted by a viral teaser campaign which featured the duo “hacking” into the Monstercat website, publicly defacing the Monstercat artist roster, and leaving encrypted messages within the code. When decoded, the messages revealed several altered previews of the song paired with stunning animations that revealed slightly more about the release with each video.
2017 saw them kick off the new year with another Hype Machine #1 and a Lowly Palace debut with “In Time.” Once again, the duo showed off their visual prowess and knack for creating engaging visual content by digitally animating the shapes and textures within the single’s artwork to bring the song’s story to life.
They also kicked off their first North America tour dates joining San Holo on the road through March.
With their current trajectory indicating future stardom, one might say the question isn’t “will it happen?” but rather “when?”.
Jensen Interceptor has become known for providing his versatile brand of techno to clubs and warehouses around the world. Gaining respect from his peers, supporting the likes of Sven Väth, Gesaffelstein, The Hacker, Boys Noize & Dopplereffekt ; Jensen has consistently kept up with the elite at top speed. With his selections ranging from Electro, Miami Bass to EBM; Jensen's audience's are always promised a sonic journey like no other.
Whilst still considered a fresh face to the electro scene, Jensens musical career stretches back to the early 2000`s with his first project Light Year. A collaboration with long time friend Jordan Feller, birthed from Australian underground dance heavyweight Bang Gang 12 inches. The pair then went on to release with other techno staples such as Turbo Records, Kitsune & Spectral Sound.
Going further than simply an entertainer, his remixes and productions have been released on some of the most influential labels in electronic music like Boys Noize Records, Cultivated Electronics, Bromance and Central Processing Unit. These releases have been supported and played by DJ's such as Dave Clarke, Helena Hauff, Dubfire, Maceo Plex, Trevor Jackson and Radio Slave.
Barely halfway through 2018 & Jensen has already had a slew of releases with iconic imprints such as Unknown To The Unknown, Private Persons & Stilleben Records. If that wasn't enough for the electro enthusiast, J.I has launched his very own record label with long time collaborator Assembler Code called 'International Chrome'. Starting strong with the much talked about first release 'Trigger Zone' which sees Jensen teaming up with electro royalty The Hacker.
It's safe to say with his continually growing catalogue and ever evolving performances, things don't look be slowing down for Jensen. Always bringing a unique and powerful performance to every dance floor - Jensen Interceptor: Engage clutch, shift into top gear.
Just A Gent
Few artists deserve the title of “prodigy” more than 20-year-old Just A Gent.
After teaching himself to produce when he was still in primary school, in 2014 – at age 16 – Just A Gent scored a set at national festival Listen Out after winning a triple j Unearthed competition. That kicked off a star-making two years that saw him remix artists like Alison Wonderland, Peking Duk and ZHU, clock up millions of
SoundCloud plays on his 2015 single Limelight, get noticed by Skrillex and sell out shows around the country – all before he could legally step foot in a club.
Now comes Stories To Tell, out August 26, an EP Just A Gent wrote, produced, mixed and mastered himself from his bedroom in Maitland. At eight tracks deep, Stories To Tell is no throwaway release - it’s the product of two years of relentless creating and the drive to a make something that would stand the test of time. Sharing the EP is a milestone moment for producer Jacob Grant. “I’ve wanted to release something this big for a really long time and now it’s finally happening,” Grant says. “I make so much music - I have hundreds of songs sitting on my laptop - so it’s really satisfying to be sharing it with people.”
Two singles from Stories To Tell - the supersized Heavy As A Heartbreak featuring LANKS and fan favourite Loaded - have already done big things, the former hitting the #1 spot on blog aggregator Hype Machine and spending five months on high rotation on triple j.
Jacob’s influences for the EP were “drawn from so many places,” from the music of Odesza and Point Point to sci-fi movie soundtracks and video games. At the core the tracks are electronic, but they aren’t wed to a particular genre, running the gamut from bangers to experimental tracks featuring his own pitched-up vocals and chilled out headphones music. As he says, it was “meant to be a mix”.
Just A Gent also drew inspiration from the vocalists he worked with on Stories To Tell. Despite already being a star in North America, Grant chose to tap into Australian singers for his EP, from Melbourne’s LANKS to triple j unearthed darling Melissa Ramsay. Just A Gent says it’s about paying it forward to the local scene that he thinks, “Keeps getting bigger and better”. Many of the songs on the EP were sent back and forth between him and the vocalists; a workshopping process that Jacob says helped him see his beats in a new light.
Leading the EP is the emotive new single Rolling Dice, which saw Just A Gent collaborate with vocalists Ella Voss and Joey Chavez. “They sing in a duet almost and they work so well together. It almost sounds like an Angus & Julia Stone type of vibe,” Grant says. “It’s pretty amazing. They killed it on the vocal.”
The Stories To Tell EP is the latest in a year of big moments for Just A Gent. He’s just signed to Lokal Legend in the U.S., the label responsible for breaking Kiesza, and in July he premiered his first live show in a packed set at Splendour in the Grass.
From throwing parties at the age of 19, to working in events for VICE and Ableton and hosting shows on triple j and FBi Radio, Luen has come to maturity within Australia's musical landscape.
She's been going hard for the last 12 months, performing at Groovin The Moo festival, Splendour in the Grass and supporting Peggy Gou, Wolf + Lamb, Red Axis, Dj Seinfeld, Honey Dijon and more. She recently went all-night, playing a 6-hour headline set at one of Sydney’s most-fabulous-and-respected club nights - Pavlova Bar and has become a regular at Melbourne’s Revolver.
More recently Luen's been working with DJ's Jad & The and Dom Bird to bring forth the curated Beats Of No Nation podcast. Behind the decks Luen takes a wide approach, mixing house and techno classics with tasty and rare oddities to fire your neurons into a frenzied gang bang of thumping musical love making. With no sign of slowing down on the touring front we're excited to present the Luen Jacobs Australiasian 2018 Tour. Tour artwork designed Einsfurz and shot by Anthea Saraikin.
Be sure to let your inner dance demon out this April as Luen Jacobs takes to the pavement and the skies, forgetting all stupid distinctions of performer and audience to create a sweatbox mutant dance party for your dazzling soul!
Motorik Vibe Council
It was dark days, back in 2011. The party was flat, the records had no fizz and the rave had expired. Enter the Motorik Vibe Council. Coming at this game hard, with a mission to raise the level of party discourse. Educated at Bang Gang High, with further studies at the Berghain Institute of Techno and careful post-grad research with legends of the game like Ewan Pearson. One of them even has an ARIA award for excellence in the field of dance. Careful there, these boys are coming in hot!
Moving their self-titled parties virtually every single time, from basements of abandoned comedy clubs to male strip joints/life painting establishments, constantly pushing the boundaries of style, taste and the law. Eventually, the Vibe Council found themselves inside a warehouse, and, as they say, a legend was born.
3 years of non-stop lasers, neighbours calling the police due to too much untz, and many half-naked/face-painted rave legends getting heaps wild to the forward-thinking techno/house/whatever you want to call it sounds of the MVC. It’s been emotional. We’ve hosted the first ever Australian shows of Brodinski and Gesaffelstein, had bouncing castles in the middle of the dancefloor in cavernous warehouses, had Tiga play a sweatbox which happened to have more than double the legal capacity crammed inside and - somehow - still managed to get away with it.
To quote the 4 muntketeers themselves: “We like pushing the envelope. We don’t adhere to any particular style, but we do rep hard for Sydney - it’s our home, and we try make it a welcoming place for anyone who shares our views on life, rave and drum machines.”
Their nascent record label has released hits from local boys gone good The Finger Prince, Jensen Interceptor, Light Year and CSMNT61, plus hits from international legends of dance like Louisahhh!!!, Harvard Bass and Sinden (coming in July!). Rumour has it that drum connoisseur K.I.M. of The Presets also has a forthcoming slice on the MTK Pizza of Rave. It’s exciting stuff - absolute seat of your pants excitement.
They are proud to be the point of call in Sydney for legends like the Bromance crew, including family members Maelstrom and Louisahhh!!!, as well as the aforementioned Tiga and his brother Thomas Von Party (of the world famous Turbo Recordings Supermarket), as well as hosting cheeky little numbers with crew like Harvard Bass, Guy Gerber, Cagedbaby and Jon Convex of Instra:mental.
The Vibe Council continues to play all over Australia, as well as increasing the volume at their parties, which of late have included sold out shows at the Metro with Brodinski and Gesaffelstein (for the second year in a row) as well as their spiritual home at Elsewhere on the Gold Coast, plus the occasional smash-and-grab run down to Melbourne to play at anything Delaney and the Baha Brothers are running.
Most of all, though, they are focused on providing you, loyal reader/listener, with the tools to be a self-contained legend of dance. Anything that makes you reach for the lasers, it’s in the bag, and, most likely, heading your way on the airwaves.
See you at the partee/drive home/anywhere you can turn it up!
Richard Kingsmill – ‘This is beautiful and distinct. Great ideas and execution.’
We aren’t one to toot our own horn too much however there are those moments when you hear something truly special that make you really appreciate why you got into music in the first place. The productions of Sydney’s Northern Beaches beatmaker MUTO are the exact reminder of this.
His current instrumental rollercoaster of a single Through The Fog has garnered massive support from Triple J (2nd Most played track of this week), championed by Kingsmill, Dom, Zan and the unearthed team, on top of consistent rotation on FBi, George FM, Syn and a plethora of community radio, a sold out debut headline show and labeled the next big thing in electronic music by Flume and Odesza, its been impossible to ignore MUTO’s past few months. However it is now time for the world to take note.
MUTO is set for a huge year with his upcoming March release Wildfire (ft. Deutsch Duke). This upcoming single was written a year to the date of MUTO losing one of his closest friends, his step-father. He released it online instantly as an instrumental and the emotion and energy resonated quickly online. The track found its way into the hands of renound vocalist Deutsch Duke who immediately felt an instant connection to the track after personally relating to the inspiration behind it. The result is something very special that no words can describe, only feelings. Muto will also be kicking of a string of shows in 2017 in March with more details TBA very shortly.
Taking a step around the current state of electronic music, Polographia’s nostalgic approach takes the royal jelly of times past and pushes it into tomorrow, threading together an array of emotions to construct a heat-warming sense of peace and sentimentality.
Debuting in 2011 with the self-released EP Sunsets, Polographia joined the likes of Rüfüs, Motez and What So Not in signing to Sydney-based label Sweat It Out!. Following up with their second EP Natural, their ethereal sounds and incredible live show have led to high-profile supports for local & internationals pioneers like Rüfüs, Snakehips, Tycho, Glass Animals, Shlohmo, Chrome Sparks, Giraffage and Shigeto.
Delving deeper into their songwriting capabilities and amassing millions of streams across online platforms, Polographia’s latest EP Friends showcases their signature sentimental groove, tinged with a perceptibly growing maturity in the production and collaborations with vocalists. Featuring favourites ‘Sly (feat. Winston Surfshirt)’ and ‘Feels Alright (feat. Looks Fade’), Friends enjoyed acclaim from all corners of the industry, supported by tastemakers triple j, Majestic Casual and thissongissick.com on top of remixes from Fortunes, Godriguez (Sampha The Great’s Producer), Viceroy and Psychemagik.
With firm roots in the electronic realm, Polographia’s live show sets them apart from others in their field. The power of Polographia’s live setup derives from the organic approach to production that they uphold; the intricacies of their sound have always developed from the instruments themselves.
Last seen at Groovin the Moo 2017, Polographia have unveiled their first single since Friends, 'Heart Attack feat. Rush Midnight'. Invigorating, mature and oh-so catchy, this is the Polographia track you have all been waiting for.
Purple Sneakers DJs
Purple Sneakers has existed for the past twelve years with the purpose of showcasing emerging club music from Australia and around the world. Bringing together an enthusiastic team of contributors from across the country, Purple Sneakers is the centre of a forward thinking, music loving community. Purple Sneakers DJs have been central in continuing this ethos, taking it to clubs and festivals all over the world. From the early days at the Abercrombie to now, they’ve played just about every Australian festival there is to play and have participated in campaigns for brands like Nike, Converse, Adidas and many more.
Over the years, the Purple Sneakers DJs roster has featured the likes of Purple Sneakers’ founder Martin Novosel, Nick Luke (Moonbase), Gabe Gleeson (Indian Summer), Randall Stagg (Fresh Hex) and more.
Now in 2018, Purple Sneakers DJs are moving forward with a new chapter. Purple Sneakers DJs: Next Generation celebrates a new generation of creatives who are passionate about what they do and are ready to impart the work of tasteful young artists upon dancefloors everywhere.
The new lineup features FBi Radio/Pretty Broad’s Caitlin Medcalf, Purple Sneakers Subeditor Holly O’Neill & FBi Radio’s Eddy Diamond, and is managed by Purple Sneakers managing editor, Emma Jones. Each with their own unique path as to how they came to be part of the Purple Sneakers family, they represent a fresh and new part of the Purple Sneakers journey so far. Among all three DJs, they have experienced the industry in their own capacities and bring their own unique sounds, styles and experiences to Purple Sneakers DJs, making shows a diverse experience.
The core members of PSDJ’s may have changed over the years, but if one thing is for sure, it’s that this new team of selectors are dedicated to bringing adaptability, flexibility and a wide scope of music knowledge to the table and dancefloors everywhere. Over the next few months, Purple Sneakers and Purple Sneakers DJs will be celebrating this next generation of the collective with parties, mixes and a whole bunch of other exciting things to come.
In 2012, Roland Tings emerged from Melbourne’s dance underground with a debut EP of bubbling acid house on cult Los Angeles imprint 100% SILK. Gaining instant attention for his blistering live sets, Roland’s hyperactive energy and hypnotic synth programming lit up dancefloors at Melbourne’s most raucous house parties and basement clubs.
When a handful of demos made their way to Norwegian alt-disco king Prins Thomas, he instantly signed Roland’s debut self-titled LP to his revered label Internasjonal. A work brimming with odd-ball, club-ready tracks, the album put Tings in the national spotlight while creating a swell of interest abroad on the back of strong reviews on XLR8R and Mixmag.
After an intensive stint on the road and in the studio, Roland returned in 2017 with the Each Moment a Diamond EP. A fusion of euphoric techno and propulsive pop cuts, the EP shines equally bright on the dancefloor or in headphones. Debuting his expanded two-piece live show at the 2017 St Jerome’s Laneway Festival, Roland then set out on a nationwide live tour in support of the EP. Selling out venues across the country, the show thrilled audiences with dynamic performances that challenged the norms of live electronic dance music.
While remaining one of Australia’s most in demand DJs, Roland continues to further develop his live show, with a new three-piece live show incorporating ethereal processed guitar and textured layers of keys to evolve dance music further into unchartered territory.
Having supported artists such as Jamie XX, Rüfüs Du Sol, Juan Atkins, Chet Faker, Chrome Sparks and Palms Trax among many others, Roland Tings will round out the year by supporting Todd Terje, embarking on a nationwide DJ Tour and releasing his new, stripped back house track, ‘One Hundred’ ft. HIGH HØØPS. Disco-tinged and laid back, it’s the soundtrack to wound down windows, sea breezes and salt water.
San Holo (NL)
San Holo is the future beats to trap connoisseur that has been dubbed the fastest growing talent in electronic music - a title that seems all the more fitting with every new release. Debuting in late 2014 with the COSMOS EP on Heroic, he quickly garnered the attention of major tastemakers and curators alike. This resulted in a friendship with the Parisian Point Point crew, who released his ‘Hiding (ft. The Nicholas)’ single on their Filet Mignon compilation.
The world quickly took notice as San Holo grew to over 250.000 SoundCloud followers. His single ‘We Rise’ came out on NestHQ (OWSLA) garnering Skrillex and Diplo’s support and amassing millions of plays on SoundCloud and Spotify.
In early 2015, the Victory EP came out on the Canadian label Monstercat, renowned for having one of the most engaged and digitally oriented audiences. The release was paired with an intense visual campaign produced by San’s own creative company and label bitbird. Together with an official remix for Tchami’s hit ‘After Life’, an Initiation Mix on BBC Radio One with Annie Nightingale, and a performance at Tomorrowland, San Holo transitioned from a big SoundCloud name to becoming a real force within the music industry.
Meanwhile the ‘Don’t Touch The Classics’ series was born, where San remixes classic 90’s and early 20’s hip-hop tracks, with the ‘Dr. Dre – The Next Episode’ remix crossing the 85 million plays mark on YouTube.
From there, a series of innovative music videos were launched, with the release of IMISSU (Spinnin’), being accompanied by a ‘100% screen capture’ music video in which the struggles of an electronic music producer are portrayed. The video for the next single, Can’t Forget You (Spinnin’), portrayed the life of a fan-vlogger desperate to validate her love.
2016 will be all about establishing his name as household name in the scene. The year was kickstarted with the release of ‘Alright’, a collaboration with Yellow Claw on OWSLA’s Worldwide Broadcast compilation, and an official remix for Yellow Claw & DJ Mustard’s single ‘In My Room’. His New Sky EP also just came out on Monstercat, featuring an intense video about the loss of a loved one for ‘They Just Haven’t Seen It’.
San recently just completed his New Sky Tour, a 27 date two month long tour through the first quarter of 2016 across North America highlighting plays at Ultra Music Festival and Coachella’s Do Lab.San Holo also founded bitbird, a creative company and record label, together with his team, as a platform for showcasing and developing inspiring art.
Well groomed, well mannered, well spoken, well dressed, well liked: Set Mo are the DJ / producer duo your mother didn’t warn you about, and in fact, would be glad for you to invite home for dinner — before happily sending you out for an evening of 21st-century-sophisto-disco debauchery with the boys. They seem so nice and trustworthy. (Well, until you’ve witnessed the sweaty, multisensory, marathon-set mayhem of their already kinda legendary Stamina Session club nights, that is.)
Comprising Sydneysiders Nick Drabble (short back’n’sides) and Stu Turner (goatee and ponytail), Set Mo came together in 2012 when the two DJs, who’d often found themselves on the same bill, decided their sounds were so complementary that perhaps they should test how tag-teaming tracks back to back would sound. Pretty good, as it turned out. Studio forays soon followed, resulting in tasty classic house-tinged, guest vocal-driven cuts including Comfort You (feat. Fractures), Chasing Forever (feat. Alphamama), Keep On (feat. Erin Marshall) and the breakout White Dress (feat. Deutsch Duke). Yeah, you heard that one, right?
The distilled sound of a blissed-out Australian summer — albeit, written in London after an eight-day bender in Ibiza — White Dress was the 11th most-played track on Triple J in 2014, and has clocked up more than 18 million streams on Spotify since its launch. Licensed for full release in 11 countries outside Australia (where it was on etcetc), via heavy-hitting majors Universal (Sweden, Norway, Finland, Denmark, Iceland, Baltic States) and Warner (GSA & Russia), in addition to proving popular Stateside, it was a particularly big winner in Germany. “We’re really into artists like Booka Shade from Germany that maybe play a bit deeper than us,” Nick opines, “and I think that influence came through and struck a chord, resonated with people over there.”
Since White Dress broke, Set Mo certainly haven’t been resting on their laurels. Mid-2017 saw the release of vocal house beauty, I Belong Here (featuring lilting Townsville-bred singer/songwriter Woodes on the mic), which received high-rotation support from Triple J, props from UK Radio 1 tastemaker, Pete Tong and Spotify nods of approval via New Music Friday in Australia, Germany, France, Sweden, Norway and Iceland. The past 12 months have also seen a relentless series of sold-out shows and high-profile festival sets, including closing the main stage at Beyond The Valley 2017, and opening the new year playing to a capacity crowd at Field Day 2018. Vitally though, the guys managed to find plenty of time to record new music — stuff that just might surprise you.
Nick and Stu are huge Groove Armada fans (“I can remember exactly where I was, as a kid, the first time I heard Superstylin’,” Nick enthuses — “it changed my life”). In a way, the new material’s approach and production process echo that of GA’s wildly diverse 2001 album Goodbye Country (Hello Nightclub), which was recorded during nine hermetic months at a studio in a barn in the Cotswolds boondocks. Set Mo didn’t ‘go bush’ quite that long, but last year, they did get away from it all — in the process, getting away from what’s come to be thought of as their signature sound.
At one point, Stu explains, “We spent 10 days in the country on a writing trip, rented this house, set the studio up and were just writing day and night, punching out as many tunes as we could.” Going totally off-grid “was amazing, there was no internet, no mobile network, just this shoddy landline,” says Nick, “and we didn’t give that number to anyone but our girlfriends and our manager.” They also put in time at unfamiliar studios in far-flung places like London, Amsterdam and Berlin. With the change of scenery, lack of distractions and offline peace’n’quiet, says Stu, “we found ourselves writing this stuff that wasn’t a million miles removed from what we’ve done in the past, but it was different — we were experimenting with different tempos, different sounds, and we came up with these songs… There’s a cohesive sonic pallette, but stylistically they could be confusing to people who are purely White Dress fans.”
Hence the decision to (wait for it, this is big) release a new tune each month throughout 2018, kicking off with February’s drop, Nightmares, a gritty breakbeat number featuring British multi-instrumentalist Scott Quinn on vox. Though their rep thus far has been built on hooky lyrical tracks — and Nightmare’s sure no noodly minimalist instrumental — we can expect more left-of-centre surprises from Set Mo in future. “We want people to know we’re not just doing 4/4 beat, vocal stuff,” says Stu. “We love artists like Chemical Brothers and Groove Armada, or Moby and Jamie XX — you listen to their albums, they’ll have big, deep electronic dance tracks, and then delicate, soft, beautiful songs. We don’t want to be pigeonholded as just house DJs. We’re so inspired by different styles of music, and want to express that,” says Nick. Concludes Stu, “No matter what type of music we’re making, when it comes down to it, we’re songwriters, we’re writing songs.”
Best believe, it ain’t all about four-to-the-floor. Set Mo have got much more in store. Each month, a new track, as a matter of fact.
Shantan Wantan Ichiban
A radio presenter, master of ceremonies, party promoter and one of the countries finest DJs. Shantan does it all.
Holding it down at triple j, Shantan Wantan Ichiban has been the go-to guy when the national youth broadcaster has needed someone with great music selection and microphone presences to bring the party to Australia across the airwaves. He has built a name for himself filling in regularly for Nina Las Vegas on ‘House Party’ and Linda Marigilano on Good Nights, and has just recently taken over Saturday Nights after Mix Up playing a wide spectrum of club music. Joining the dots between hip hop and house to get have you raving well into Sunday morning.
In addition to triple j and for several years now, Shantan has had a significant presence on Sydney’s FBi 94.5 FM. Not only does his show ‘Stolen Records’, play the broadest selections in urban and world music, but it is also one of the most popular shows airing in their Wednesday 6-8pm Sunset slot.
Similarly as a DJ, Shantan has proved to be one of the most versatile on the circuit. He has created some of Sydney’s most successful party nights across a wide range of genres. Through brands such as ‘Dutty Dancing’, ‘Player Haters Ball’, ‘Pop That’ and ‘Pineapple Republic’, he has built a reputation for fun parties turning even the darkest and dankest of rooms into a ‘queue-around-the-corner’ night club. Not surprisingly, Shantan possesses the uncanny ability to transform the quietest and most introverted party-goer into an ass-popping ratchet on the dance floor (just look at the Dutty Dance photos!). Some say this ability was learned but the legends have it as he was born with it.
Shantan’s gift to put together energetic sets across different genres has made him one of Sydney’s most sought after DJs. With an arsenal of Hip Hop, R&B, Trap, Indie, Dance, Throwback Pop Anthems and electronic music to pick from, his sets often obliterate any given dancefloor due to the sheer amount of dancing. He can be found playing festivals like ‘Splendour In Grass’ and ‘Secret Garden’ and is a resident at club venues such as ‘Goodgod Small Club’, ‘The Ivy’, ‘The Standard’, ‘Kit N Kaboodle’ and more.
Adding to an arsenal of already impressive talents, Shantan is also a master of ceremonies extraordinaire. With a personality and voice that commands attention, he has hosted stages at Festivals including ‘Field Day’, ‘Parklife’ and ‘Foreshore’, plus numerous concerts ranging from Mix Master Mike to Presets to Armand Van Buuren to MF DOOM.
A modern day renaissance man. A radio presenter, master of ceremonies, party promoter and one of the country’s finest DJs. When he does have free time, Shantan partakes in elbow modelling and breeds champion snails – which he races. What a guy.
“Shantan is a bonified rude boi party starter! I would get down on his dance floor any day.”
Anna Lunoe (DJ, Producer, Singer, Legend)
“Shantan Wantan Ichiban is the physical embodiment of 3 million lolcats who escaped the internet. Each one of them is desperate to play a new song that’s wildly different to the one currently playing but Shantan makes it happen and keeps the lolcats (and the crowd) happy for his entire crazy and diverse set. He can get the whole club moving with just one well chosen song, and can keep them moving for 5 hours without playing one shit song.”
Levins (Twitter Celeb, DJ, Hot Dog King)
“Australia’s number 1 DJ, if not the world”
“Every time I see Shantan he always kills it. This one time when he wasn’t looking I plugged a USB drive into his laptop and stole a ridiculous amount of musical weapons to DJ with. He hasn’t found out yet though..”
Sampology (Lord of di Dance)
Unguarded with no restraint, the Third Floor mien is an ambient expansion of sonic weightlessness; drawing upon the sincere journey music can lure one on. Lead by Aaron Bannie, a British born and now Sydney based producer, the atmospheric pop signature that governs his artistry coerces his musical story, leaving a bona-fide and unique presence.
Romantically honest, Aaron orientates beats with failure to falter. Captivating alternative British pop intelligence fused with a tinge of an Australian musical heartbeat, an authentic story is pursued. Sharp on the production tip and enhancing a witty take on music, the last few years have seen the infinite nature of Aaron rise amongst the unknown where the independent artistry of Third Floor was born.
2016 welcomes the effervescent deliverance of the ‘Dream State’ EP; a magical work between sonic expression and visual story time, unfolding a scripted collaboration with multi talented writer and director Jonathan Vassallo aka J Motor . Boasting seamless production on both accounts, the wider consciousness is awakened causing quite a stir and deeming the perfect soundtrack to never-ending reverie. From ‘Thinking of You’ throughout the extended four part ‘Dream State’ series, the unique projection of art leaves those eager for the next installment.
Cleverly addictive with a concentrated melodic core, Third Floor introduces an enticing mood upon the audiovisual terrain.
Total Giovanni are a band that emerged out of the creative experimentation of five old friends Vachel Spirason, Julian Lichtenstein, Joseph Charles, Dave Reidy and Matthew Hadley. With varied backgrounds in music, dance and theatre the band played their first show in November 2013 and quickly built a formidable reputation for their unpredictable and incendiary live shows. In addition to displaying a unique musical rapport, these live shows involved visual experimentation and explosive physical performances that combined to set off a word-of-mouth phenomenon.
Within only a few months of their first show, without any promotion or label interest, they were performing sold out club shows at respected venues such as the Toff in Town, Shebeen and Howler.
In 2014 the went in to the studio for the first time and subsequently released a string of four singles, initially on the independent Melbourne label Two Bright Lakes and subsequently with Remote Control records. These songs received a great volume of air play on both RRR and PBS as well as JJJ and received a great deal of positive press include favourable reviews in Pitchfork, The Age and NME.
In 2015 they played Golden Plains festival and despite being arguably the least known act on the bill, their explosive and visually spectacular afternoon performance led to them being honoured by several thousand punters with the elusive golden boot (an except of which can be seen here- youtube link). This breakthrough performance announce Total Giovanni as one of the country's most exciting emerging independent acts and led to the band selling out 5 consecutive nights headline shows at the Gasometer Hotel in May 2015 and bookings to play at some of Australia's most prestigious music festivals including Splendour In The Grass, Sugar Mountain, Secret Garden, Outside In, Beyond The Valley and the opening night of Melbourne Music Week.
In 2015 their self-funded and self-made video clip directed by Sherwin Akbarzadeh won the band many new fans both around Australia and abroad and has since been viewed over 700,000 times across youtube and Vimeo. November 2015 also saw the band nominated for three Music Victoria awards for Best Live Band, Best Electronic Act and Best Emerging Artist.
Total Giovanni continued to play festival shows in 2016 while privately working on writing material for their new album which they hope to record this year. They are currently preparing for their imminent return to Golden Plains 2017 where they will be debuting a completely new visual spectacle to accompany their new musical material. The band are then looking forward to touring this show with a national headline tour booked for April/May 2017. With their 2014/15 singles having now accumulated over 3 million listens on Spotify, the band are very much looking forward to bringing new recorded music to their growing fan base world-wide.
UNDR Ctrl DJs
UNDR Ctrl DJs is a collective of DJs from our talent roster and extended music family. From servicing venues for weekly entertainment to hosting festival stages, event launches, corporate functions and so much more, UNDR Ctrl DJs is a versatile booking solution for you to capture every mood, every moment and every beat.
We manage calendar schedules, program artists, arrange itineraries and logistics and work directly with clients to create bespoke music packages to suit every brief. Our talent is tailor-made for every event.
Underground, overground, left of centre, front and centre… UNDR Ctrl DJs have got you covered.
If you’re interested to find out more, then please get in touch: firstname.lastname@example.org
“Avocado Galaxy” is the debut single from latest Future Classic signee World Champion.
World Champion is the brainchild of William Campion and Julian Sudek. Sudek and Campion met quickly bonding over their love of psych pop and electronica. They also bonded over their dangerous love for Avocados. The project started as a little studio beast; a patchwork of ideas and jams that they had individually been sitting on for years. Together, with Julian on drums and William on vocals the transformed those sketches into fully formed jams.
“Avocado Galaxy” premiered on triple j’s “Good Nights”, is co produced with Jono Ma, combines his signature fingerprints with Sudek’s punchy drum work and Campion’s unmistakably soothing vocals. The “Avocado Galaxy” remix package will also include edits by Melbourne house hero Tornado Wallace as well as Swedish heliocentric production power Dan Lissvik.
Julian was a founding member of Mercy Arms and has since played with Canyons, FLRL (Jono Ma, Kirin J Callinan) and most recently George Maple. Will Campion has mostly been a bedroom producer, as well as venturing out with local Sydney indie band, The Chevaliers.
Scratching the surface with the backing of some of Sydney’s well-respected creative minds like Future Classic, Jono Ma, and Pelvis - round 1 goes to World Champion.
Electronic music artist WRLD might have only have just recently graduated high school, but don’t let his youthful demeanour fool you for one second. WRLD, also known as David Lawson, produces with the musical versatility of a seasoned veteran, skillfully merging electronic with dance and pop.
WRLD kicked off a fruitful partnership with Vancouver based record label Monstercaith successful singles ‘Triumph’, ‘You & Me’ with Laszlo and then ‘Orbit' (feat. Richard Caddock) in 2014, both featuring on Monstercat’s 018 - Frontier compilation. He also cemented himself as a part of the ever-growing online Soundcloud collective Moving Castle with appearance on their third compilation.
Off to an incredible start, 2015 was about developing that momentum and expanding on his signature bright and progressive sound. WRLD continued his string of hits on Monstercat while exploring his own unique sound through the ‘Chase It P'. Chase It saw WRLD navigate between future bass, indie dance, and nu-disco with ease, crossing a million plays on Soundcloud and securing a #24 iTunes chart position.
WRLD closed out a big 2015 with ‘Fighter’, a powerful vocoder driven single which demonstrated WRLD’s ever growing grasp of inspirations and techniques from across the electronic music spectrum.
WRLD followed up on the success of the EP with single 'Galaxies' with Father Dude released on Skrillex’s free music imprint NEST HQ. You can expect to see him touring North America towards the end of the year.￼￼￼￼￼￼￼￼￼￼