Issue 041

Summer 2024 ANTHONY PAPPA Issue 041
" I’ve played at loads of
amazing clubs and
festivals around the
world but if l really have
to choose one it would
have to be Stereo in
Montreal, Canada "
Savage & SHē | JERRY DANDRIGE | Showtek | EGEBAMYASI | Music Reviews |
| DJ Charts | DJ HOORAA | Making Music On A Budget PT3 | MSOLNUSIC | Freebees |
| SONAS | Buried Treasure - Prog House Classics | SARA GARVEY

https://www.discogs.com/seller/Redbox-Vinyl-Shop/profile

WELCOME
ISSN 2009-8014 (Online) ISSN 2009-8006 (Print)
FOUNDER, EDITOR, PUBLISHER & HEAD
OF CREATIVE
Paul Newhouse
paul@zone-magazine.eu
FEATURE WRITERS &
CONTRIBUTORS
USA
Amber Leigh Melby
amberleighmelby@gmail.com
IRELAND
Antoney Mac Phiarais
antoney.mac@zone-magazine.eu
UK
Paul Sawyer
paul@kraftedmusic.com
John Ricketts
john.ricketts@zone-magazine.eu
Paul Hawcroft
paulhawcroftmusic@gmail.com
Mark Neenan
Markneenanpromos@gmail.com
LOUK
Info@compulzion.co.uk
SPAIN
Terry Hobbs
tdhobbs79@gmail.com
D4mian Smith
20adm.com@gmail.com
PORTUGAL
Jose De Sousa
japsousa@gmail.com
NETHERLANDS
Thorsten Benders
thorsten@zone-magazine.eu
MUSIC DIRECTOR
John Ricketts
john.ricketts@zone-magazine.eu
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Well Folks, Lots of great things happening here at Zone HQ just for you lot, so keep
coming back! Well its Summer 2024, and we have a whopper packed issue with the
regulars, and lots of interviews! Just to let you guys know, we are back to bio-monthly
now!
In our feature interviews in this issue we talk to cover artist and Australian Legend ANTHONY PAPPA.
Australia's Anthony Pappa is considered one of the nation's biggest electronic music exports. From
launching his illustrious career in his hometown of Melbourne to rising to the top of the global DJ elites,
Anthony's journey has been a personal and infectious ride, a ‘love letter’ to his fans and the music he
has devoted himself to for over 30 years. He has been instrumental over the last 30 years in the
contributing to the electronic music industry, crafting mix compilation albums for series such as – Global
Underground, Renaissance, Balance, Platipus Records, and DJ Magazine, with over 100 releases credited
under various guises, selling over 500 000 records, singles and compilations, Anthony has consistently
raised the bar in Progressive House and electronic music globally, earning his revered status amongst
fans and DJs alike.
From the Netherlands we speak to the one and only hardstyle massive SHOWTEK. After 12
Years, Legendary Multi-platinum Duo Showtek Return to Their Hardstyle Roots with the Massive 15-track
Studio Album "360 Blue," Featuring Zany, DJ Isaac, Sub Zero Project, Steve Aoki, Wildstylez, Radical
Redemption, and more. Out Now on SKINK. Veteran Dutch DJ/producer-duo Showtek unveils their
massive new album 360 Blue, which continues their "360" concept, started in late 2023, and sees the
duo returning to their hardstyle roots with the 15-track body of work.
From the UK we also speak to Acid House Pioneer EGEBAMYASI. Egebamyasi is a musician
who is often recognized as one of the founding fathers of UK Acid House music. Mr Egg's musical journey
began as a bass guitarist in punk bands. In 1984, he went on to form the group Egebamyasi. Mr Egg is a
seasoned hardware producer and an indomitable force behind the pulsating rhythms and mind bending
3egg3 lines that define the genregg. Beakthrough camegg during their tour of Holland in 1990 when
they were discovered at the renowned venue "Milky Way" in Amsterdam.
From the USA we speak to the massive duo SAVAGE & SHE. Very few artists have made the
impact that Savage & SHē have made on the music scene, Savage & She are not just DJ’s,known for
their deep, infectious dance grooves and feel-good atmosphere they are an experience combining
turntables, percussion, vocals and other unique instruments to create an eclectic hybrid experience With
a devotion their craft, Sharing a passion for audio Savage & SHē are a force to be reckoned with when it
comes to Their Artistry.
Hailling from Spain we speak to JERRY DANDRIGE. Jerry Dandrige is a Madrilenian living in
Barcelona since 2008, this multifaceted musician, music producer and of course DJ, is full of endless
surprises. The same as a Spanish concert guitar makes for you, like a dizzying vinyl set with multiple
subgenres highlighting techno, as its calling card. An inveterate music lover, he has been influenced by
the most diverse and diverse electronic styles since the beginning of the 90's. Chicago house, Techno
and Electro in all its aspects...30 years of career go a long way; from many residences and he has
shared the bill with world-class DJ's.
Also from the USA we speak to DJ HOORAA. Hailing from Appleton, WI and growing up on
mostly rock and hip hop, DJ Hooraa discovered the world of EDM after returning from a deployment in
2010. It was then that he was inspired by the likes of Hardwell, Skrillex, Avicii, Dada Life, Armin Van
Buuren, Bad Boy Bill, etc. After spending a few years in the community and experiencing the culture, he
started spinning at Appleton’s OB’s Brau Haus in February of 2014 after being invited to an open deck
night.
Also from the UK we speak to SONAS. The musical project of UK based musician, producer,
DJ and live performer John Ricketts, SONAS moves away from his previous incarnation, into a more
diverse musical world. With over a decade’s worth of production and performing experience behind him,
SONAS draws in elements of ambient electronica, as well as more club orientated sounds. SONAS uses
elements of Ambient and Classical with techno and progressive house music to create an emotional and
reflective soundtrack.
And again UK based Mat McGovern, has a chat with us. Better known as his musical alter ego
MSOLNUSIC has been making waves in the scene in the North-East of the UK and beyond in the last
few years. Whether it’s his energy-packed DJ sets or his productions, garnering releases on, among
others, Separate Souls, Deep Compact and now his new release Keep On, out now on Digital Lounge,
he’s a busy guy! We managed to pin him down and get the lowdown on what’s going on with Msolnusic.
Another artist from the UK in this issue is SARA GARVEY aka Comfy Bellais the crop of an
organic musical adventure which began in vocals and songwriting and evolved to DJ-ing and producing.
From starting as a teen hip hop free style vocalist on the northern UK scene, known for being able to spit
vocal hooks off the top of her head in any environment whilst studying to be a contemporary dancer to
rapidly getting signed to BMG Publishing for her writing & vocal skills, going on to work with Flood (U2,
Nine Inch Nails) to nearly being signed to Dr Dre’s label Interscope co-writing a song with Chris Martin /
Youth / MJCole and more to world touring & writing with Nightmares on Wax for a near decade.
As if all that was not enough of course we have our regular reviews and charts from the
talented and dynamic Zone crew. Also this issue we continue Zone Magazine's FREE exclusive DJ Mix
series. As usual we would like to thank all of our very many talented contributors and friends who
provide so much content, love and support for what we are doing, they are listed on the left hand
column on this page if you want to contact them directly with the latest news. From myself and the
whole Zone crew, we just wanted to say thanks again for your continued support, peace.
Paul & Zone Crew!

contents
07 - FREE DJ Mix Series
ANTHONY PAPPA
Issue Features
16
08 - DJ Hooraa [USA]
12 - Jerry Dandrige [Spain]
16 - ANTHONY PAPPA [AUS]
24 - Showtek [Netherlands]
28 - Msolnusic [UK]
33 - Savage & SHē [USA]
36 - Egebamyasi [UK]
44 - SONAS [UK]
48 - Sara Garvey [UK]
REGULARS
52 - Making Music On A Budget PT3 [LOUK]
24
Showtek
Savage & SHē
33

Egebamyasi
Software / Hardware - Music
Reviews - Charts
56 - DJ Charts
36
59 - Buried Tresure
[Progressive House Classics]
Jay Dobie [UK]
60 - House & Techno
John Ricketts [UK]
62 - Hard Techno / Techno
Mark Neenan [UK]
Making Music On A Budget PT 3
44
SONAS
52

Exclusive DJ Mix
FREE Exclusive DJ Mix Series
At Zone Magazine here we have our FREE Exclusive DJ Mix each issue!
Check out the link below for all our exclusive DJ Mixes.
FELIX FX [GERMANY]
PETE VAN PAYNE [GERMANY]
PAUL BLEASDALE [UK]
PETE BONES [UK]
EDDIE AMADOR [USA]
LISA LASHES [UK]
DANY COHIBA [SPAIN]
SOULTRAK [UK]
CHRIS GEKA [FRANCE]
JOHN GIBBONS [IRELAND]
PAUL NEWHOUSE [IRE]
DJ SAMER [USA]
MARK NEENAN [UK]
GAVIN HARDKISS [USA]
GERRY VERANO [AUSTRIA]
SONAS [UK]
PAUL HUTCHINSON [UK/SPAIN]
FRANK DUEFFEL [GERMANY]
DARREN MARTIN [UK/SPAIN/IBIZA]
TIM FRENCH [UK]
GEZ VARLEY [UK]
PASCAL KLEINMAN [FRANCE]
ANTHONY PAPPA [AUS]
https://mixcloud.com/ZoneMagazineDJMixes/

featureinterview
________________
Words Mark Neenan
__________________________
Photography Kevin Spencer
_____________________________
Connect https://facebook.com/djhooraa
Hailing from Appleton, WI and growing up on
mostly rock and hip hop, DJ Hooraa discovered the
world of EDM after returning from a deployment in
2010. It was then that he was inspired by the likes of
Hardwell, Skrillex, Avicii, Dada Life, Armin Van Buuren,
Bad Boy Bill, etc. After spending a few years in the
community and experiencing the culture, he started
spinning at Appleton’s OB’s Brau Haus in February of
2014 after being invited to an open deck night. Since
then, he’s held multiple residencies including: Third
Base Sports Bar, Mixer’s Lounge, and Four Seasons
Bar and Banquet Hall. He’s also played in various
cities and venues all over Wisconsin, the Midwest,
Florida, and Dallas, TX. He’s also played in festivals
such as: Winter Warmer, Go Ham 3, Bass Harvest 2,
Imaginarium, etc. He’s also had the honor of opening
for the likes of Figure, Downlink, Dieselboy, Midnight
Tyrannosaurus, and Ray Volpe. He’s currently proud
member of the Pure Truth DJs.
08 ZONE-MAGAZINE.EU

DJHooraa
" Do your research on everything, do what you
want to do, feel the music, keep your nose to the
grindstone, stay humble, respect other artists,
avoid drama as much as possible, know your
budget, criticism and rejection humble you "

So first things first, what's going on in
the world of Hooraa at the moment?
I'm currently working on another hard techno EP
and hope to have it released by the end of the year or early
next year. I'm also back on the road and taking out of state
gigs after being grounded due to COVID for 5 years. Lastly,
I recently resurrected my old radio show called The Ravers
United Mixshow With Hooraa in a live format and it airs
every Thursday from 8-10 PM EST on rtdfraveradio.com and
the RTDF Rave Radio app which can be downloaded in the
Google and Apple Play stores. My newest EP called Ruthless
Dom was on Beatport's hot 100 hard techno releases, all 4
tracks were on Filth Infatuated's top 10 tracks, and it's still
on Filth Infatuated's Popular Releases which is very humbling
and I'm honored to say the least. Jerome Baker did one hell
of a remix as well.
Describe your style.
On the DJ side, my style's diverse, funky, hard,
jacking, energetic, etc. On the production side, I've released
mostly hard acid, but I describe it as hard, jacking, acidic,
dark, energetic, etc. I try to push boundaries and make
every track better than the last. I also tell ravers in out
community to think of it as the midwestern region of the US
meets the UK.
What were the best and worst sets /
gigs you've ever played?
Well, your worst sets are always the sets you have
in the beginning of your DJ career so the sets in my first 2
years were definitely the worst especially when I debuted at
OB's Brau Haus's open deck night back in February of 2014.
Much respect for the venue though. I'm not one that likes
bashing crew's, DJs, promoters, etc., but Roofless Forest in
Michigan and the Throwback Family's Go Ham 4 were
definitely the worst. I've been honored, blessed, and
humbled to have had so many quality gigs so in no particular
order: Drop Bass Network's Even Furthur, Bass Harvest 2,
Kompound Weekender, Diversity Presents Sparnfunkel,
AME's Bass Harvest 2, RTDF Rave Radio Presents Techno
Tattoo 2 (Dolso in Brooklyn, NY) most underground gigs at
Appleton, WI's OB's Brau Haus, the shows I've played in
Dallas, TX (especiallythe past time at the Green Elephant),
and all of the Electric Lounge's As One shows have been
amazing gigs to say the least. The Electric Lounge is located
in Oshkosh, WI.
Tell us something interesting about
yourself?
I was an independent pro wrestler before I was a
DJ/producer.
would give to any newcomer trying
to get into the world of Techno or
dance music in general?
Do your research on everything, do what you
want to do, feel the music, keep your nose to the
grindstone, stay humble, respect other artists, avoid
drama as much as possible, know your budget,
criticism and rejection humble you. Get the DAW and
equipment that fit you the best and not because it's what the
"cool kids are using.", take classes on YouTube, fader pro,
other educational music site, get a good mentor, and hire a
good sound engineer. Michael Wenz of Wenz Mastering's
amazing and he's done a lot of good work for me. He's
mixed and mastered every track besides Techno Theory.
Also find your balance between work, family, music, etc.
What thing really annoys you about
the music scene at the moment?
Drama, artists who don't practice or respect the
craft, lack of support, artists with egos, poor etiquette, etc.
What is your favourite burger and
what's you're tipple of choice?
This is a tough one, but there's a spicy burger at
Sobleman's in Milwaukee I really like. As far as my tipple of
choice is concerned, I'm kind of a beer snob except I hate
IPAs, but Central Waters Bourbon Barrel Stout's one of my
biggest "go to beers" as well as OB's Brau Haus's
Dopplebock.
You're stranded on a desert Island
with a single record player and a fat
sound system, what 5 albums are
you playing.
Hooraa- Ruthless Dom EP
Hooraa- Riddim Must Die EP
Hooraa- Midwest Nightmare EP
Atze Ton - Druckbox EP
Finally, In your opinion what does the
future of Techno hold?
I think techno djs/producers will continue to push
boundaries which will lead to all techno genres getting
harder and darker until it slows down although I don't see it
getting over 170 bpms.
What's the best piece of advice you
10 ZONE-MAGAZINE.EU

O U T N O W

featureinterview
_________________
Words D4MIAN SMITH
______________________
Photography Thanks to Jerry
____________________________
Connect https://soundcloud.com/moel
Jerry Dandrige is a Madrilenian living in Barcelona
since 2008, this multifaceted musician, music producer
and of course DJ, is full of endless surprises. The same as
a Spanish concert guitar makes for you, like a dizzying
vinyl set with multiple subgenres highlighting techno, as
its calling card.
An inveterate music lover, he has been influenced by the most
diverse and diverse electronic styles since the beginning of the
90's. Chicago house, Techno and Electro in all its aspects...
30 years of career go a long way; from many residences and
he has shared the bill with world-class DJ's such as Surgeon,
Dave Clarke, Gaetano Pariso, Adriana Lopez, Paula Cavenaze,
Pearl, Kwarz, Carl Finlow and Oscar Mulero.
Vinyl lover and collector, he has reinvented himself over time
and has visited venues such as Pacha (Salamanca), Octogon
(Madrid), Factory (Madrid) and a long list of others.
In the field of music production, he has published his music on
many record labels and under different pseudonyms, including
his latest work with D4mian Smith, On the Portuguese record
label (Tekno4life records).
Our man in Madrid, D4mian Smith has a chat with this amazing
artist........
16 ZONE-MAGAZINE.EU

JERRYdandrige
" People have a very distorted view of what it means to be an artist.
An artist for me is the one who has a vision of something and try to
translate what he is watching or what he is playing, and try to make
you feel what he is feeling in that process "

When Did you start your passion
with music?
When I was a child , I went to flamenco's event
with my dad. I did not stop dancing when I was just 2-3
years Old. I learned to play guitar and then, I was a guitar
teacher and I started to electronic music at the end 80' s
You have been a DJ / Producer for a
long time, you are making your own
guitars too. What is more
complicated?
Well in both situations, you must work hard, listen
to your heart, well you create and put all your energy in
the process, but you never know, when it is gonna be, the
one.
What is the best and the worst in
artistic life?
The best is the way to create, the capacity to
make something that it is in your mind, and convert to a
song, or a video clip, or a spanish guitar.
From Madrid to live in Cataluña and
to play in every single club in
Barcelona. Was it a big change ?
No big difference to move from a big City to
another, I see the same problems everywhere, this is a
business and the most of the times they don´t have the
same interests and preference to choose the right DJ´s or
artists. It is complicate for young people that they do not
have a chance to show their talent in the best shows,
festivals events o big clubs.
How do you see Techno and
Flamenco in Spain in the next few
years?
We are the best in Flamenco. It is our music,
(Ramón Montoya, Niño Ricardo, Paco de Lucia). We also
have very good artists making music and DJ'ing. But
maybe the young people don´t have a big chance to show
their skills and talent.
know people from Detroit like Juan Atkins, here in Spain
Oscar Mulero, groups like Blue planet corporation.
Do you think people know what it
means to be an artist or DJ?
People have a very distorted view of what it
means to be an artist. Not because you sell tickets it means
that you are an artist.
What has been the best experience
on stage?
Fortunally, there have been many, but to tell you
one of the last ones was when I played with Dave Clarke in
Barcelona. It was a memorable night and the connection
with the audience was incredible.
Do you think they are deceiving
young people that being a DJ is
something easy and you make a lot
of money?
Absolutely, being a professional DJ has to be
something vocational and dedicate a lot of time to it,
you have to love it and try to compose something
different and original, be very selective with the music
you are going to play, and there are very few who really
make money .
What are your next projects?
I am preparing a show with a flamenco dancer in
which the purest of flamenco and the purest of techno are
together. With my guitars I have many projects. The latest
guitar is a replica guitar of Domingo Esteso and has had a
very good review. I can not stop creating, it is something
that I have not chosen, the art has chosen me.
Tell me the who you think is best DJ
in; Improvisation, technique, and
connection with the public?
Drexciya, Oscar Mulero and Stacey Pullen.
What have been your reference
both in flamenco and electronic
music?
The most important Flamenco for me was Paco de
Lucia, Camaron de la Isla. In the electronic music as you
14 ZONE-MAGAZINE.EU

How did your stage name Jerry
Dandrige come about?
I have given many thoughts about the issue of the
stage name. Jerry Dandrige was a fictional character from
the horror film Fright Night. A very elegant vampire that my
brother and I found very funny. Played by actor Chris
Sarandon by the way.
What do you advise people who are
starting out in music?
To create and to play music , you must to really
love it. If you have a real passion, you will enjoy they
process to make a track, you must to do it for yourself to
feel satisfied what are you doing. I advise them to be
constant and to enjoy the way.
What does it mean for you to be the
perfect artist?
People have a very distorted view of what it
means to be an artist. An artist for me is the one who
has a vision of something and try to translate what he
is watching or what he is playing, and try to make
you feel what he is feeling in that process. The art has
many intentions and questions. Lastly companies and
festivals try to contract people who can sell tickets, but not
because you can sell tickets it means that you are an artist.
And the best flamenco artist?
Paco de Lucia and Camaron de la Isla both they
changed flamenco forever , they updated it , they had a
vision of the future so flamenco did not lose its essence and
adapted to new times and future generations.
" Being a professional DJ has to be something
vocational and dedicate a lot of time to it, you have to
love it and try to compose something different and
original "

featureinterview
_________________
Words Paul Newhouse
______________________________
Photography Jess Middleton, Jye Harris,
Peter McGrath
_______________________________
Connect https://facebook.com/anthonypappa
Australia's Anthony Pappa is considered one of the nation's
biggest electronic music exports. From launching his illustrious
career in his hometown of Melbourne to rising to the top of the
global DJ elites, Anthony's journey has been a personal and
infectious ride, a ‘love letter’ to his fans and the music he has
devoted himself to for over 30 years.
He has been instrumental over the last 30 years in the contributing
to the electronic music industry, crafting mix compilation albums for
series such as – Global Underground, Renaissance, Balance, Platipus
Records, and DJ Magazine, with over 100 releases credited under
various guises, selling over 500 000 records, singles and
compilations, Anthony has consistently raised the bar in Progressive
House and electronic music globally, earning his revered status
amongst fans and DJs alike.
He has held prestigious residencies at some of the world's most
iconic clubs, including Renaissance (Nottingham UK), Twilo (New
York USA) and Womb (Tokyo Japan). whilst constantly headlining
major festivals such as Glastonbury UK, Creamfields UK, ID&T Holland,
Extrema Belgium, BPM Mexico, Tomorrowland Belgium, SAMC
Argentina, Ultra Miami USA and Exit Serbia.
Currently Anthony is joined in the studio with iconic Progressive
House stalwart, Jamie Stevens (also known as one half of live
electronic act - Infusion) to bring a fresh approach to the sound they
have championed over the last 2 decades. Together drawing on
their years of experience and long friendship, passion for making
music has led them to recently release on Dave Seaman & Steve
Parry’s Selador label, whilst remixing an assortment of releases on
Melbourne’s Recovery Collective, Flow Music, Mango Alley, Ugenius
music and Re:Sound Music

" The most successful release l had was Freefall –
Skydive. It became an anthem at all the super clubs
in the UK from Cream, Renaissance to Gatecrasher.
All the big name DJ’s were playing it "

Please tell us about the young
Anthony before the DJ and music.
Who was he?
The young Anthony before the DJ was very much a
big part of music but in a different way. I started playing the
drums at the age of 4. My father played keyboard in a band so
music was always in my house and in my life growing up as a
kid. I studied the drums and was taught by one of the leading
drummers in Australia. I would have lessons weekly and
practice for hours every day. This certainly helped me when l
decided to make the transition from being a drummer to
becoming a DJ. I knew what it took to put the work in, to
practice and the discipline to master the craft. Drumming
certainly helped me fast track my mixing skills as a DJ as l
had excellent timing and rhythm already ingrained in my
brain.
Tell us about the music Anthony. How
did it start, and what was it about
music that grabbed your attention in
the first place?
I was first introduced to electronic music via a radio
show in Melbourne called Dance Till Dawn. I started listening
to this show weekly from the age of 12 which was in 1985.
The music l was listening to back then was hip hop, soul, funk,
disco and hi energy. I would record each show onto cassette
tape and those tapes were always played on repeat. I loved
the music and l was hooked into the sound. I would use any
pocket money l had to buy records that l knew the names of
from the radio show. l worked 2 jobs every week to save up
for turntables. I was washing dishes in a reception centre on
Saturday night’s where my dad’s band was playing and
washing cars on a Sunday at my mums work which was an
Avis Hire Car franchise. At the age of 13 l had saved up
enough money to purchase 2 Technics 1200 turntables and a
basic BVL Mixer.
Tell us about the days of Technic’s
World DMC championships.
At the age of 15 l entered the DMC Mixing
Championships and l won in Melbourne, Australia. I had
only had my turntables for 2 years but as l already
mentioned due to my drumming background and the
hours of practice that l put in l developed my skills very
quickly. Winning this competition got me noticed by a few of
the judges that would later lead to me DJing and having a
weekly residence in Melbourne’s biggest and best venues at
the age of 18.
How did your parent feel about their
son DJ and wanting a music career?
I have been very fortunate to have both my mum
and dad’s support throughout my career. That being said at
the age of 21 when l told them l was moving out of home,
leaving Australia to move to the UK, they were not in favor of
my decision. I was determined to follow my dream, my
passion and my love for the music and to further my career as
a DJ. Nothing would stop me so l made the move to England.
I left home with a suitcase full of clothes and a box of records
in May 1995 and never looked back.
Tell us about your most successful
release, and why do you think they
did so well?
The most successful release l had was Freefall –
Skydive. It became an anthem at all the super clubs in
the UK from Cream, Renaissance to Gatecrasher. All the
big name DJ’s were playing it. It went to number 1 in the
charts in Germany and was on several compilations. It was a
massive record and the fact that it was a big vocal tune that
appealed to the progressive and trance DJ’s contributed to
that factor.
Tell us about your favorite releases
and why?
I really don’t have a favorite release. They have all
been a part of my music production and DJ journey over the
years. I’m proud of all the tracks that l have made, remixed
and the DJ mix compilations that l have put together.
What styles do you play now?
I play a wide range of music genres from house,
progressive house, break beat and techno. I really don’t like
putting labels on music. I just like to play good music in
whatever style it may be. If it’s a good tune then l keep it and
add it to my collection. Then it’s a case of selecting the right
music that is needed for each gig and this can vary depending
on which clubs and set times that l play.
You have released on countless
labels, which do you think you were
most excited about and why?
As a young producer your dream is to have your
music released on labels that you aspire to be on. These are
also labels that you would play music from in your DJ sets.
Some of these labels for me have been Stress Records, Limbo
Records, Bedrock, Renaissance, Twilo Recordings, Global
Underground, Yoshitoshi, Mango Alley and Selador.
Who have you not worked with and
would like to, if thats even possible?
I have been very fortunate to have worked alongside
all the artists that l have ever aspired to work with. I’m
always open to the idea of working with new artists moving
forward if it’s the right fit.
18 ZONE-MAGAZINE.EU

" At the age of 15 l entered the DMC Mixing
Championships and l won in Melbourne,
Australia. I had only had my turntables for 2
years but as l already mentioned due to my
drumming background and the hours of
practice that l put in l developed my skills very
quickly "

Give us the top 3 highlights of your
career in your mind, and why?
I’m going to go with 3 residencies that l had around
the world.
1 – My residency at Renaissance in the UK. Renaissance
was such an iconic club and brand. The mix collection by
Sasha and John Digweed had a massive influence on me so to
become a resident DJ’s at the club was huge.
2 - My monthly residency at Twilo in New York was
always an amazing gig. I would play for 7 hours from 10pm
on a Saturday night to 5am Sunday morning. Twilo was one of
the best clubs in the world with an incredible sound system.
Everything sounded amazing in that room on the Steve Dash
Phason sound system.
3 – My residency at Womb in Tokyo. Japan is such an
amazing country to play in and the crowd are very open
minded and educated. I would play for 8 hours from open to
close 10pm to 6am and it was always a musical journey from
house to drum and bass and everything in between. Womb
also had the same Steve Dash sound system as Twilo in New
York which was a dream to play on.
Tell us about the Mixmag & Ministry of
Sound DJ competition.
In 1993 Mixmag and Ministry Of Sound ran a
competition asking DJ’s to send in a mix tape and the selected
winning tape would get a to play a set at the Ministry Of
Sound. My mix tape won the competition so in October 1994 l
flew to England from Australia to play at the club. I was 20
years old at that time and it was such an amazing experience
that it influenced me to move to the UK 6 months later.
Tell us about Global underground, and
all the other mix compilations. Whats
your favorite and why?
In 1999 James and Andy from Global Underground
invited me to be there newest addition to the mix series
compilation. The concept was, something new and different to
launch the next generation of superstar DJ’s. Not that l’m
calling myself a superstar DJ but this was the idea of the
Nubreed series which mine was the first to be released in
2000. Following my Nubreed album saw releases from Danny
Howells, Lee Burridge, Steve Lawler, Satoshi Tomiie and
Sander Kleinenberg.
The timing was perfect as it was the turn of the
millennium and the music that l selected was a new sound
coming though that changed the direction from the 90’s to the
00’s. The Global Undergound album certainly helped further
my DJ career on a global scale. I have recorded many mix
compilations on loads of amazing labels such as Mushroom,
Stress Records, Renaissance, Platipus, React, Sony BMG,
Balance, Selador and l have also mixed front cover CD’s for
Mixmag and DJ Magazine.
what 5 release would you have with
you and why?
Massive Attack – Blue Lines. A brilliant album
which includes my favorite track of all time Unfinished
Sympathy.
Leftfield – Leftism. This album was so ahead of its
time when it first came out. Loads of amazing tracks on
arguably the best electronic album ever.
Renaissance The Classics Volume 1 & 2 – Six
discs of classic tracks that were the sound track to my youth.
Mixed by me.
Renaissance The Mix Collection – The holy grail of
DJ mix compilations. Three discs of gems from the golden era
of electronic music mixed to perfection by Sasha & Digweed.
Kruder & Dorfmeister – K&D Sessions. A diverse
super cool electronica album from down tempo to drum and
bass. I love this album.
In 30 years + you must have seen
some strange goings on in clubland.
Tell us about your best and worst
gigs.
I’ve played at loads of amazing clubs and
festivals around the world but if l really have to choose
one it would have to be Stereo in Montreal, Canada. In
my opinion it’s the best club in the world with the best sound
system.
I really don’t have a worst gig to say as l am always
grateful to be able to travel and play music to people no
matter how small or big the crowd. The worst thing that can
happen is if a promoter does not pay the artist or does a
runner with the money.
What does Anthony do when he is not
a DJ or making music?
If l’m not in the studio or DJing l am working on
music in other ways in preparation for gigs. I get sent a lot of
music to listen too approximately 3,000 tracks a month so
keeping up to date with promos etc is a daily job. Other than
that quality time at home with my family when not travelling
or touring.
Who were your influences in dance
music, and why?
Sasha, John Digweed and Dave Seaman have always
been my main influences in dance music. From the music that
they produced and to the music that they play as DJ’s. The
way they programmed their sets stood out to me above
others.
If you were told you had to live on an
Island alone for the rest of your days,
20 ZONE-MAGAZINE.EU

Tell us about your thoughts on the
social media importance, or not, or
what do you think?
Social media is very important and is a must in our
industry and how it functions today. I am very hands on with
my own pages so whenever someone gets a response it’s
actually from me and not a third party or manager. I do my
best to engage with as many people as possible and l find that
being true to yourself and and honest is the best way to be.
We have seen some great talent
unfortunately leave us too early.
Mental health is a big issue in music.
We are all more prone. What are your
thoughts on this, and how do you deal
with the stress and other elements?
Unfortunately, this is a sad reality that is a big
problem in our industry. The highs and lows of being an
international touring artist can be very challenging. It takes a
very strong minded person to be able to deal with this. One
minute you are on stage playing to thousands of people, and
then next thing you are on your own in a hotel room away
from your family and friends. With the introduction of social
media it has enabled artists to become overnight superstars,
going viral and instant spreading of content creates a quick
success of their music to the masses. As a result of this, they
are thrown into the deep end and put into the spot light, sent
on a hectic touring schedule that they are completely
unprepared for. They just don’t know how to deal with it. The
artists that have been in this business for 20 plus years have
organically grown over time as the scene grew. The touring
and schedule was a natural progression that happened over
years and because of that they got used to that kind of life
and knew how to deal with it.
With all this experience over a life time,
please give us all some words of
wisdom, and advice on the way to be
in this ever-changing industry.
I think it’s important to remain humble and to keep
your feet firmly on the ground with no ego attached. As an
artist always be true to yourself and stick to what you believe
in. Everyone draws inspiration from artists that they look up
too, but in doing this you need create your own style and
identity. Be grateful for the opportunities that are presented
to you when they come along, because it is up to you to make
it happen. You only get out what you put in. It takes years to
achieve this so stick with it and never give up. Also last but
not least be nice, be the best version of yourself that you can
possibly be.

I am a massive fan of the long DJ sets,
well I was when we were able to do
this, back in the 90’s when house
parties were the best. Why do you
think things are different now?
In my opinion sadly the younger generation don’t
have the attention span for anything long. They are used to
quick and instant responses and reactions. Social media is at
fault here as people flick through the posts and if it does not
grab them in seconds they scroll on. It’s this mentality that
we are now dealing with in today’s society. Also big festivals
with massive line ups booking so many DJ’s to sell as many
tickets as possible is another factor. They end up having to
squeeze all the artists onto the program with short sets. This
is the worst not only for the DJ’s but for the listening
audience. There is nothing better than seeing your favorite DJ
play a long set and really take you on a journey which also
allows the DJ to play a set of music featuring multiple genres
of music that they wouldn’t normally get to play.
If you were to do it all again, what
would you change, or what do you
wish was different?
Honestly l wouldn’t change a thing. I love what l do,
it’s the best job in the world and l am very fortunate to still be
able to make a living doing something l love so much.
COVID had a huge impact on people
and the music industry in particular.
Tell us your thoughts on this. Good
and bad.
It certainly wasn’t a good thing that no one saw
coming. It’s been sad to see a lot of businesses that didn’t
survive and were forced to close due to these times. It was a
forced reset for everyone l guess. All the touring and
travelling stopped. The upside to this was that it gave me the
opportunity to spend time at home with my family. I live in
Melbourne, Australia and our city had the longest lockdown in
the world which lasted for 262 days. I used this time at home
to sort through my record collection. A massive job which l
had been meaning to do for years but never had the time. I
also started doing a lot of live streams from home. The
streams were a great way to connect with people through
music during these times.
people and is an event for friends, and friends of friends -
hence the name Invite Only. l like to play long sets at these
events which l really enjoy doing in my hometown. Whether l
am playing to small crowd or a larger crowd l am just grateful
that l can share my music with other people to enjoy.
What is your favorite country/city to
play in after all these years?
Without a doubt it has to be Buenos Aires in
Argentina. They are the most amazing crowds to perform too.
Always full of loads of passion and energy and the atmosphere
is second to none.
Fake DJs?
I have no time for fake DJ’s or fake anything for that
matter. I personally think it’s an insult to the artists that have
spent many years learning their craft and skills. Being a fake
DJ will only get you so far and it’s only a matter of time before
people see them for who they really are. The cream will
always rise to the top.
Vinyl, Digital or CD’s, and why?
All of the above really. I started DJ'ing when vinyl
was the only format to play. I have approximately 35,000
records in my collection. Then in the 00’s l switched from
playing records to CD’s and then some years after that went
full digital on USB sticks.
I really love playing music on all formats and my DJ
booth set up at home is equipped for all of the above. I have
recently unpacked all my vinyl which was in storage since
moving back to Australia from the UK so if you follow my
social media pages you will see that l have been sharing some
video memories with various records.
Any last words you want to put out
into the world of dance music?
A big thank you to all who have supported me over
the years and that continue to do so. I love DJ’ing and will
continue to keep spreading my love and passion through my
music as long as l can possibly do so.
Festivals, super clubs, small clubs or
house parties, why?
I love all of the above for various reasons. It’s great
to be able to play at a festival to a large crowd with a massive
stage and lighting production. I also enjoy the smaller clubs
where it’s a more intimate vibe where you can really connect
with people. I run my own event in Melbourne 4 times a year
which is called Invite Only. Capacity is generally around 200
22 ZONE-MAGAZINE.EU

featureinterview
___________________
Words Thorsten Benders
_______________________
Photography Rutger Geerling
____________________________
Connect https://.facebook.com/showtek
After 12 Years, Legendary Multi-platinum Duo
Showtek Return to Their Hardstyle Roots with the
Massive 15-track Studio Album "360 Blue,"
Featuring Zany, DJ Isaac, Sub Zero Project, Steve
Aoki, Wildstylez, Radical Redemption, and more.
Out Now on SKINK.
Veteran Dutch DJ/producer-duo Showtek unveils their
massive new album 360 Blue, which continues their "360"
concept, started in late 2023, and sees the duo returning
to their hardstyle roots with the 15-track body of work.
Throughout their 20-year career, the brothers have
become sonic maestros who have shown passion,
dedication, and appreciation for many genres of music,
including house and big room, pop, indie, and, of course -
hardstyle, which has skyrocketed them to worldwide
fame over 2 decades ago.
"This is pure hardstyle music. We built a legacy in this
genre, and have a huge amount of fans worldwide that
have been listening to us since day 1. After taking a 12
year break from the genre, we have reignited it with new
gained experience, a fresh approach, more mature but
still Showtek. Melodic, anthemic, and with a message. This
is high energy." - Showtek

The genre that started it all for them takes center stage
on 360 Blue, which begins with "Dear Hardstyle" with Earl St.
Clair, an ode that thoughtfully mixes an emotive spoken
manifesto with upbeat, hard-hitting production that makes for
an epic anthem. Each next record embraces a unique variation
of the theme, from the festival-friendly heaters "Spaceman"
with DJ Isaac and "Mirror Mirror" with Steve Aoki and Jem
Cooke to the slightly ethereal "Dream (Adrenalize Remix)," and
more. Showtek finally rounds out the heart-pounding rhythms
with the memorable, haunting notes of "Heaven or Hell."
Showtek premiered the 360 Blue album at their soldout
show at the Sydney Showground Stadium earlier this
month. With almost 10,000 Australian partygoers, the
legendary duo took their new and old fans on a musical sinister
journey, performing for almost 2,5 hours, serving as a prologue
to more hardstyle events in 2024 where the duo will be
showcasing their new LP. Their first "360" concept came in the
form of "360 Yellow" last winter, which showcased their house/
big room sound, and the following "360 Red" is set to be
released later this year.
__________________________________________________
Thank you both for taking the time for
this interview. Big gratz on your new
album release. You must be pretty
excited releasing this beast finally to
your fans. What does this album/
release mean for you? And what can
fans expect from this album?
Thank you. It mean so much to us. We worked really
hard and it all started 9 months ago only. We had only one or
two edits and remixes. And felt so inspired after preparing
some music for our performance at Qlimax and Knock-out . We
were like, let’s make some new hardstyle it feels good. And
then now , 9 months later we have an album. Fans can expect
our signature and maybe the vocals are bit more pop then our
older stuff, but you can hear that we have been traveling the
world and meeting people from different cultures. We feel we
really put in something new.
Why the Title “360 Blue” and what
meaning holds this title?
360 is a series of albums we are putting out.
With each genre we are representing on each album,
with its own primary color. Yellow is our edm and
bigroom sound, mainstage and club music. Blue
represents our roots, hardstyle.
This album is jam packed with some
amazing tracks (collaborations). One
might wonder what your personal
favorite track is? And who was was the
most fun collaborator to work with
(any cool story to share)?
That’s really hard to say, every song we have a
connection with that’s why it’s on the album. Come back home
with Zany and DV 8 is specials because we have been friends
and working partners for so long all from the south ( *
Eindhoven ). The collab with Radical Redemption and the 27’s
or with Sub Zero Project , and Dj Isaac all were unique
experiences.
You both are traveling a lot for some
years now. How is it traveling
constantly with your brother? And how
do you work on such an album if you
are always on the road?
What we have learned is that you don’t have to be in
the studio to get creative or have ideas. I ( Wouter ) usually
sing my Melodies before I play them , or play them in the piano
first. We always have our laptops with us on the road and can
literally work anywhere. Most demos start in the hotel rooms or
on the plane even sometimes.
" 360 is a series of albums we are putting out. With
each genre we are representing on each album, with its
own primary color. Yellow is our edm and bigroom
sound, mainstage and club music. Blue represents our
roots, hardstyle "
ESSENTIALDANCEMUSIC 25

With this Album it feels like you keep
re-inventing yourself. Tell us the
process making this album? How do
you guys keep being so original yet so
innovative?
It’s always been a journey for us , following our
heart and passion. We always want to be and feel free to
express ourselves and explore new sounds and genres.
If it gets too repetitive it gets boring and hard to enthuse
yourself and the fans. So being in the studio without any
expectations and or barriers creates the most unique music.
Producing wise we keep coming back to either hardstyle , edm
and big room or more pop driven and reggae inspired music.
We have always been blending sounds and will just keep doing
that more and more. It’s refreshing for us and hopefully the
listeners.
We feel we keep it interesting if we constantly explore
and try out things, that’s how you learn and get to innovative
ideas and approaches. We keep putting everything we have
learned, heard and seen back into the music, to constantly
evolve and keeping moving it forward.
How was it to be back at climax at
being your first public appearance?
A euphoric and sort of emotional homecoming. Better
then expected even ! Playing dears hardstyle and legends at
Qlimax along ‘ xtc’ and ‘ spaceman’ was great on stage but the
feedback afterwards even more amazing.
Do we dare to ask. But what can fans
expect from you at PAROOKAVILLE this
year?
A showcase of our new music off course! And some
unreleased music if we get to finish it.
For those people that do not know
you. What three of your tracks would
you recommend to people to get to
know Showtek better?
fts, bad and booyah are our staple tracks. So people
probably already know these tracks. We would say ‘ Electronic
Stereophonic’, ‘ on our own’ ‘ burn’ are our hidden gems .
This year we saw you traveling allover
the world. What would you say was
your most memorable moment that will
stick with you?
We just did a Showtek 360 blue premier in Sydney for
9500 showtek fans . It was incredible. A huge venue packed
with fans from all ages. New and old, such an amazing
experience.
We appreciate taking time for this
interview and we know you are busy!
Let's wrap this up with a question.
What artist you haven't worked with
yet would you like to work with and
why?
We would love to work with Coldplay on a
collaboration. Huge fans !!
" It’s always been a journey for us , following our heart
and passion. We always want to be and feel free to
express ourselves and explore new sounds and
genres. If it gets too repetitive it gets boring and hard to
enthuse yourself and the fans "
ESSENTIALDANCEMUSIC 27

featureinterview
________________
Words John Ricketts
______________________
Photography Thanks To Mat
_____________________________________
Connect https://facebook.com/msolnusicartist
Mat McGovern, better known as his
musical alter ego Msolnusic has been making
waves in the scene in the North-East of the
UK and beyond in the last few years. Whether
it’s his energy-packed DJ sets or his
productions, garnering releases on, among
others, Separate Souls, Deep Compact and
now his new release Keep On, out now on
Digital Lounge, he’s a busy guy! We managed
to pin him down and get the lowdown on
what’s going on with Msolnusic.
" Although I moved to York to take a
teaching post lecturing in Music
Production I hadn’t actually released any
of my own music or even thought about it
to be honest. I was generally too busy
teaching full-time to focus on any of my
music "
28 ZONE-MAGAZINE.EU

Can we start with your first musical
memories, have you always been
into music?
My first or should I say earliest musical memory has
to be all the time I spent with my dad and his vinyl
collection. I must have only been 10 years of age and my
dad had what me and my sisters called the sacred middle
cupboard in a large sideboard full of records. We would
spend hours just talking and playing records from the likes
of Bob Marley, Stevie Wonder, Eurhythmics, Diana Ross
even Bruce Springsteen and ZZ Top.
I guess you could say I’ve been surrounded by
music from an early age and there was always music been
played in the house whilst growing up at home. My older
sister would play mix tapes and use to attend raves around
the north east such as Galactica, Dreamscape, Lick and
frequently went to Back2Basics and The Orbit in Leeds and
Morley. She would always share details of her night out and
stories over breakfast, it just mesmerised me at a young
age.
What first got you into dance music?
What first got me into dance music was a friend DJing
in front of me at his house, we’d spend many weekends
hanging out and I was just fascinated with watching him DJ
and mix records together. I asked him to teach me a few
basics and actually didn’t own any records or turntables at
the time, so it was always his music and his decks where I
learnt how to DJ.
I very quickly got the bug and jumped at the
chance of buying his turntables when he offered to sell them
to me. So I learn beat matching on a par of KAM belt drive
turntables with a hand full of records. My go-to mix was Joe
Inferno – Tribal Church and Pan Position – Elephant Paw, oh
the memories.
What was your first DJ gig?
My first DJ gig was at the tender age of 17 and was
in Scarborough North Yorkshire in a nightclub called Toffs.
The club agreed to let me play as my sister’s boyfriend knew
the owner and managed to secure me a performance. I was
so nervous and made a few mistakes, but after playing
maybe a short forty five minute set I couldn’t wait for
another opportunity to play in front of a crowd and be back
in a club. I’ll never forget getting changed in a car park as
my sister was still at work, grabbed my records and headed
to the club. My sister did eventually join us and didn’t miss
my set. I have so much to thank her for.
Soul, Funk and Hip-Hop. This was the start of collecting a
vast array of music and opened my eyes to many different
genres and artists. I was moved to Leeds after a few years
to launch a brand new venue opening The Alchemist and
have been with The Alchemist for several years now. Whilst
being resident in Leeds I’ve had the pleasure of playing for
Tattu and The Ivy, I’ve also played rooftop parties had many
guest appearances and the opportunity to help with
promotions for Verve Clique, Moet, Smirnoff, Absolute,
Magners, Brew Dog.
Manchester is such a great scene and I’m honored
to have had five years down there playing across the city.
My favourite place to play was on the quayside of The
Alchemist Media City Salford Quays. It just such a musically
educated city and the crowd is very much open to new music
as well as the classics that came from the Hacienda days.
My all-time musical highlight was playing for
Defected in Croatia, such an amazing experience that I will
never forget. I travelled out there in 2019 and was one of a
select few who got given the opportunity to play the terrace.
Very daunting playing whilst some of my musical heroes are
listening. I vividly remember Masters At Work, Nightmares
On Wax, Luke Solomon all eating whilst I was playing. But a
firm handshake from Simon Dunmore at the end of my set is
a moment that will stay with me forever.
You have recently taken over as
resident DJ at Sotano’s in York. How
did that come about?
One name needs to mentioned here and that’s Marc
Harvey aka DJ Kodi Kooch, it was Marc that asked if myself
and close friend Alex Malam if we could cover a night in
Sotano’s. Obviously we agreed to help Marc out and went
down to play the basement. This was short notice so the
night didn’t even have a name and very little promotion had
been done as we had about two days to prepare.
After playing the night that was only meant to be a
cover gig, we were invited to a meeting with owner Andy
Kennedy who also owns the street level bar Kennedys where
Marc is resident. It was during this meeting with Andy that
he mentioned that the staff, and himself, had liked our style
of music, alongside our professional approach and attitude.
So this is where Juiced was born and a very quick decision
between me and Alex to name the night and set it up as a
brand. We did an official launch party back in December
2023 and have been running the night together on the last
Saturday of the month. Guest so far include, Atari Safari
(Manchester), HLN (Manchester), Al Bradley - 3AM
Recordings (Leeds), Darren Stewart – Soul Room Records
(Stirling), Sam Pratt & Seth Chohan – ABB (Leeds).
Any personal highlights?
I’ve been fortunate enough to have very good
residencies in Whitby, York, Leeds and Manchester. I started
playing in a café bar called Java in Whitby, a very low-key
intimate party just playing records to friends. This led to
guest appearances at club nights in my home town Whitby.
After moving to York to teach Music I was introduced to a
music agency that was looking for DJ’s. I joined the roster of
DJ’s in York and played regularly at the infamous The
Livingroom, I also had a residency at Vudu playing RnB,
38 ZONE-MAGAZINE.EU

How would you say the house music
scene is in York and North Yorkshire?
The house music scene in York is very different now
from when I first moved to the city. When I first moved to
the city they were many more clubs open than currently with
Richard Clark throwing the most notorious party I’ve ever
had the pleasure of attending going by the name of Freakin.
Fibbers used to be another favourite spot in the basement on
Stonebow. I need to mention The Crescent too as they have
thrown some brilliant DJ nights and managed to secure some
pretty big names. I take my hat off to Rich and all the lads
that ran Freakin as it was one of the best nights in York
showcasing some of the best DJs in the scene from all over
the world. Fibbers brought Craig Charles and the Funk N
Soul show to York and The Crescent has graced us with the
lovely Mr Scruff and his tea. Nowadays there are fewer clubs
and spaces for underground parties and the scene here in
York seems to have focused on student nights and the
younger crowd. Don’t get me wrong there are still a few
quality house nights here in York but most are in bars rather
than dark-edged spaces, warehouses and basements.
Leeds however seems to be bouncing back after the whole
lockdown period, with an abundance of spaces for hire,
rooftop venues and new bars. I would say Distrikt Leeds, is
one of the best clubs in the country. Back 2 Basics is still
very much alive with pop-up parties and there is just a
melting pot of talent, DJ, promoters, singers and musicians
in Leeds. Apart from Manchester, I don’t think there any
other city I’d rather play in.
What got you into production?
Although I moved to York to take a teaching
post lecturing in Music Production I hadn’t actually
released any of my own music or even thought about
it to be honest. I was generally too busy teaching fulltime
to focus on any of my music. Lockdown was kind of
a blessing in disguise as I decided to turn my hand to music
production and fire up the studio daily to pass the time. It
was so hard not playing gigs and not being able to express
myself creatively with a room full of people dancing. So
making music was the best alternative to the entire nightlife
scene being on hold. I must have made around forty tracks
during lockdown exploring many avenues like garage,
breaks, drum n bass but mainly I was making house music
in various forms such as soulful, deep, gospel and afro. I got
lucky with a few demos I sent off and I’ve very much just
tried to keep the routine I had in lockdown of studio time
and now have an extensive release catalogue of music and
I’m blessed to have worked with some truly talented names
within the house music scene. I’ve also done remixes for
various labels and artists so it’s just gone from strength to
strength really with my passion, focus and determination
always remaining the same. It’s such a difficult scene to
have a presence in and having music released just gives you
that extra edge as a DJ/Producer.
There are still plenty of people I would like to work with and
many labels that I hope to secure releases with in the future.
So me and my music aren’t going anywhere soon and it goes
without saying playing gigs with your own music is the best
feeling in the world.
Talk us through your studio setup,
any go to pieces of equipment or
vsts?
In the studio, I run Ableton Live and that’s run on a
PC for stability and reliability. Soundcard is a Focusrite
Clarett 8 pre with dual monitoring through Focal Professional
CMS50 and B&W DM601 S2, hardware in the rack is a Nord
rack 2X, Moog slim phatty, Vintage Keys classic analog
keyboards, compressor, limiter and Zoom RFX 200. On the
desk, Native Instruments Maschine, Arturia Keylab 25 and a
Novation Launchpad Pro. On the shelves, Korg Monologue,
Behringer RD-8, Behringer TD-3 and a few other synths. My
go-to VST is probably Lizard Lounge
Your new release is just around the
corner, how did that come about?
My next release is with the legendary Dan Laino a
house music producer from Denver Colorado. I’ve released
previously on Dan’s main label House Global Alliance so it’s
an absolute pleasure to be signing new music for his sublabel
House Global Alliance Deep. My single Msolnusic –
Deep & Delicious is two tracks which are a little deeper than
my normal sound and are full of lush chords, warm tones
and smooth vocals. Keep an eye out!
What’s next for you?
That’s an easy answer .. more music, more gigs and
definitely more Juiced. See you on the dance floor!
ESSENTIALDANCEMUSIC 39

featureinterview
_____________________
Words Antoney Mac Phiarais
_____________________
Photography JASON BUFF
________________________________
Connect https://facebook.com/savageandshe
Very few artists have made the impact that Savage & SHē have made on
the music scene, Savage & She are not just DJ’s,known for their deep,
infectious dance grooves and feel-good atmosphere they are an experience
combining turntables, percussion, vocals and other unique instruments to
create an eclectic hybrid experience With a devotion their craft, Sharing a
passion for audio Savage & SHē are a force to be reckoned with when it comes
to Their Artistry .
Having a wide range of polished tempos that have been refined into what they call
their “Sonic Journey”, a means of connectivity, intimacy and communication, Savage
& She have brilliantly captured it in their performances.
Originality is something that they definitely do not lack Having developed a
repertoire of unique sounds and samples. Their unique blend of Afro House, Melodic
Techno & Deep House will elevate your soul, get your head bopping and your feet
dancing all night long.
Savage & SHē live performances are nothing short of breathtaking, that give their
listeners memories that will last a lifetime. Signed to some of the most sought after
labels in the electronic music space, With homes for their music on labels like
Radiant, crosstown rebels, the soundgarden, ulu and Go Deeva to name a few.
These two talented composers came together in 2015 to create the musical duo
Savage & SHē are a force to be reckoned with Sheena an award-winning hair stylist,
designs and creates her own clothes, paints and is a model who also runs a fashion
brand Cris a former fitness trainer and bodybuilder shifted his focus and drive with
utter seriousness towards his artistic passion of guitar, percussion and music
production.
Headlining and support for likes of: Luciano, Audiofly, Be Svendsen, Andhim,
Hernan Cattaneo,Nick Warren & the Soundgarden , &ME, The Soul Brothers, Behrouz,
Solomun, Steve Lawler & Roger Sanchez. 2024 saw them launch their own label &
Party Series "Handz Of Time Records". Splitting their year between 2 continents;
Winters in Tulum, Mexico with residencies at Nômade, BE Tulum, Ahau Tulum & BOA
Beach Club & North and South America Dates.
Summers in Ibiza Performing at Blue Marlin, Destino Ibiza, Bennimussa Park, Sunset
Ashram and weekly gigs all over Europe.
42 ZONE-MAGAZINE.EU

Savage & SHē

Hello Sheena & Cristiano. How are you
both keeping?
We are great thank you, the Holidays we’re exactly
what we always seek which is home in Canada in the snow
with our family and close friends. Boxing Day through New
Years Day was non stop touring. We performed 5 shows in
Brazil; festivals, beach clubs, Clubs, and finished the last
sunrise of 2023 in the mountains above Rio De Janeiro. New
Years Eve was our debut in Punta Del Este Uruguay.
Where are you both from?
We are both from Canada, near to Toronto. We met
and started our project Savage & SHē in Toronto.
How did you meet?
We were set up on a blind double date from
Sheenas roommates. Everyone went the the club after
dinner and we made music together instead.
Can you tell us all about your
introduction to house music?
We had similar introductions to house music in our
late teens, early 20’s. Coming from Toronto, Canada we had
a vibrant club scene and spent the weekends out dancing
which led to us deciding it was time we brought our own
sound to the local community.
Growing up who were yoru fav
bands / Musicians?
Sheena- huge lover of feel good jazz and Talented
vocalists like Natalie Cole and early Mariah Carey. Also loved
indie and rock music like arcade fire, the XX and Mars volta.
Cristiano- from a young age I was in reggae and
ska bands, my earlier years went through many musical
genres. Listening to punk bands like Rancid & The Sex
Pistols, Hip Hop artists like Dr. Dre, Reggae artists such as
Peter Tosh all the way to Blues artists like Muddy Waters.
Music of all genres spoke to me since I was a child.
Starting out as DJ / Artists what
equipment did you use?
We started out on CDJ-900’s (Original) / DJM
750MK2.
Can you take us trough your live set
equipment now?
We are in the process of transitioning into a Full
Live Set. At the moment we perform a Hybrid Set which
includes:
Shure SM58 Mic, Roland Handsonic HPD-20, Midi Keyboard
(or) Moog Sub37.
How long are you based in Tulum &
what lead you both to Mexico ?
We had been vacationing and taking gigs in that
part of mexico since 2015 and decided it was time for a life
change in 2018. A plethora or reasoning behind this
including being offered a residency at the two best beach
clubs in Tulum at that time. And the year round tropical
weather was definitely a big factor in taking the leap.
You have releases on some stunning
labels, can you take us trough your
first few Eps?
We were fortunate to come into the music industry
with a high note our first release was signed to a very
established label RADIANT. From that point forward we
continued to pursue established record labels through many
genres and in the past year have honed in on the sound we
can truly call our own after 6 years of releasing music.
Labels like Radiant, crosstown rebels,
the soundgarden, and Go Deeva are
some of the homes for your music.
Did you find it hard to find homes for
your music projects at first?
Every release is different, we have been fortunate
to build a reputation now that allows us easy access to label
A&R’s but sometimes finding the right fit can be difficult, you
" Our most memorable show from last year would
be Universo Parallelo in Brazil. Performing for more
then 12,000ppl was a first and an overwhelmingly
emotional experience "

Can you give us a hint of exciting
releases coming up in the next few
months?
We are very excited about our up coming releases
early this year: Debut releases on, My Other Side Of The
Moon & Switch Lab. As well as returning to ULU for a 3 track
EP.
You guys have been playing a lot of
live shows at Nick Warrens
Soundgarden Shows and also a SG
release how did this come about?
We had the pleasure of meeting Nick and his wife
Petra a few years ago, they invited us to do a live stream for
Dance Television during the pandemic and that video had
tremendous success spanning over 2.5M streams across all
pages shared. That lead to us sending them music and
further into joining the family and performing in their global
showcases.
Can you tell us about your most
memorable shows from last year?
Our most memorable show from last year
would be Universo Parallelo in Brazil. Performing for
more then 12,000ppl was a first and an
overwhelmingly emotional experience.
Can you tell us about any tours you
have planned for this year?
We are almost always touring, last year we
performed in 32+ countries spanning the globe with more
then 189 flights. Touring is not so easy but it’s beyond
rewarding to share our music.

featureinterview
_________________
Words Paul Newhouse
________________________
Photography Thanks To Jimmy
_______________________
Connect http://egebamyasi.com/
Egebamyasi is a musician who is often recognized as one of the
founding fathers of UK Acid House music. Mr Egg's musical journey
began as a bass guitarist in punk bands. In 1984, he went on to form
the group Egebamyasi. Mr Egg is a seasoned hardware producer
and an indomitable force behind the pulsating rhythms and mind
bending 3egg3 lines that define the genregg.
Beakthrough camegg during their tour of Holland in 1990 when they
were discovered at the renowned venue "Milky Way" in Amsterdam.
This encounter led to the release of the highly acclaimed "EBY EP,"
and "Acid Indigestion series."
Egebamyasi embraced the use of the Roland TB-303 in their music,
helping to define their signature sound and contribute to the
development of acid house. EBY's early adoption and exploration of the
303's capabilities played a role in establishing them as one of the
pioneers of UK acid house.
Following their initial success, Egebamyasi, went on to release a series of
well-received singles. These singles were released on various labels,
contributing to the group's growing reputation within the acid house
scene. In addition to their singles, Egebamyasi released two highly
regarded albums during the era: In retrospect, these albums are often
recognized as exemplary works within the acid genre, showcasing
Egebamyasi's talent and their contribution.
EGEBAMYASI and Mr Egg will be celebrating their 40th anniversary in
2024. This milestone marks four decades of his contributions to the acid
house genre and their dedicated involvement in the music scene.
Playing the Roland TB-303 has been a significant part of EGEBAMYASI's
sound and musical journey. The iconic Roland 303 has played a crucial
role in shaping the distinctive squelchy and resonant tones associated
with acid house music. The fact that Mr Egg continued to utilize the
Roland 303 throughout the years highlights his commitment to his
unique sound and its continued relevance.
36 ZONE-MAGAZINE.EU

Egebamyasi
" The sound that went on to be acid was a new fresh
unusual individual sound back in the 80's and early 90's.
Fresh to the people doing it and the people who were
listening to it. In my opionion its an underground sound and
should stay there "

Hey Egebamyasi, well it’s an honor to
speak to you. Please tell us about the
young Jimmy before the DJ and
music. Who was he?
The young Jimmy was jist an ordinary wee guy with
no brothers or sisters growin up in Stirling, Scotland, with no
ambitions ti be anything other than play fitba pure and
simple/ He was into art at the school, liked to draw, paint and
did pottery as a craft, got classical music at the high school,
so probably where the lovegg for it started but never really
hit me till years later. Did plumbing after I left the school
although I wanted ti be a joiner, I got into trouble as you do
when ye were young bein a dafty and a bam was the thing.
As time moved on got stoned for the 1st time and the sport
went out the window and music was starting to take over as
other sounds and eggsperiences appeared.
Tell us about the music Jimmy. How
did it start, and what was it about
music that grabbed your attention in
the first place?
Glam rock in the early 70's, 1st record ever bought
was T Rex "Ride a white swan". Had all the David Bowie
records up to Aladdin Sane after as he gave up Ziggy
Stardust that was the end for me after that he got lost up his
own arsegg. Slade, Mud, The Sweet, Gary Glitter and the
Glitter band at that timegg were unique. 2 drummers and a
guitar sound way beyond its time. Unfortunately as we all
know G.G. was not the person we thought he was.
The old grey whistle test was on BBC2 thru that time
and was an ear opener to bands, watchin and listening
probably got me into wanting ti get playin, wanted ti be a
guitarist but could not get my fingers to play bar chords or
move fast eggnough for solos. Then was givin a bass. We
only have 4 fingers and the bass has 4 stings, so everything
fitted great. By then Punk came along and it was learning as
ye went. Got together with other like minded people some
worked out and others did not, but by 78/79 it kicked off
proper with The Cunts. Rehearsed in schools, community
centers anywhere we could get a practise but could not get
any gigs because we were called The Cunts. So the name got
changed to The Fakes, so we ended up getting booked as The
Fakes but playing as The Cunts. The Fakes had one 7" single
called "Production", which was reviewd in the sounds as one
of the worst song ever written..Faketastic ad say. It was
recorded at Cargo studios Rochdale in 79 and engineer by
John Brierley. Joy divison, The Fall, Teardrop Explodes, Echo
and the Bunny Men, Orchestral Manoeuvres in the dark ti
name a few all recorded theregg, and I think the sound of
Production makes it stand out. Aye it is dull, boring,
repetitive, a grind, monotone,t edious but its a classic and no
jist because I wrote it and play bass on it. It's still relevant
today, as it was 45 years ago. It's a working persons anthem
and it's what people go thru everyday all over the world.
Unfortunately the drummer was killed in a motorbike accident
later in 79 and The Fakes never looked for another drummer
so that was the end. Until The Fakes reformed in 2020 with
same singer and new drummer and guitarist. Did another
single called "Black Apple" n'was like motorhead without
lemmy. But I left them couple o' years later as they never
wanted to get better or be different and I carried on with
EBY.
Tell us about the days of 1984.
After The Fakes I drifted in and out of various bands
in the Stirling area, but 1 day while rehearsing with the
Mississippi Groovers, in a complex of cottages near Dunblane,
I went ti see another band who were also rehearsing in the
same complex this would havegg been 1983ish and then
everything changed for the future. They had a silver box not
being used and it was the Roland TB303. I heard the sound
asked ti borrow as they were not using it and then the rest is
history as they say. Likegg the Punk days it was a learning
curve jist likegg the bass playing. Pressing buttons and
turning knobs no having a clue how to work the machine but
getting new sounds out of it eggnough ti fall in lovegg with it.
I got a 606 ti sync up with the 303 and then ended up
playing what went on ti be know as Acid House, but in
Scotland then I new nothing about any scene or any Acid
House movement. I listend to John Peel thru the late 80's and
he would play the odd Ccid track, but I had no clue the
sounds was coming from the machine I had. I got the chance
of doing a gig in Stirling in 84. So a name was needed and at
that time I was heavly into Can (German band) and took the
name of their 3rd LP called "Ege Bamyasi" and although I had
no clue what I was going to do, took the gig in the Gates
Disco club in Stirling now known as the Fubar, but got thru it.
But other gigs dried up. Then I met up with other musicians
on the way played bit 303 bit bass as getting electronic gigs
in Scotland in late 80's was jist not happening, and was
unusual to folk ti be at gigs with macchines or backing tapes
and no drums and guitars, it took folk a bit of getting used to
not having the usual set up. Things drifted with various line
ups but after hearing more John Peel late 80's things changed
with Maurice "This is acid". Things with the 303 fell into place
regarding the sound. I did lose plenty patterns when the
batterys ran out thru ineggsperience of use. Another tune
that changed the lifegg was Sleezy D " I've lost control". I
bought a TR909 in 1990 for 500£ then an 808 no idea where
form, then another couple of tb303's. Shortly after that got
some gigs in Netherlands and Germany in 1991. I was selling
merchandising for the Finitribe, another band from
Edinburgh, I was also the support act. Played at the Loft in
Berlin at the time the wall was coming down the place was
nuts at that timegg. Played at the Milky Way in Amsterdam
as part of the same tour and was noticed by the label
"Groove kissing" part of Play it again Sam, in Belgium.
Recorded the Acid indigestion parts 1 and 2 along with the
EBY EP, and that really was the start of thing takin off. By
then I had ditched other members and went solo as I had
found the calling. The mcacid egg.
How did your parent feel about their
son DJ and wanting a music career?
As far as I know they were never into me doing
music, never spoke to them about what I was up to even
from when it started. Of course they new about something
but no detail, I had guitars and played music in my room but
thats as far as it got, I never saw eye to eye with them on
music and many things.
48 ZONE-MAGAZINE.EU

Tell us about your most successful
releases, and why do you think they
did so well?
Bubble from Acid indigestion pt 2 I think was up
there as it soonded fresh and bright almost quite trancie,
long before Trance became wankie, plus Lucy Robson who
sang on it was awesome and not the usual vocal lines you
would eggspect.
Sponge from Acid indigestion Pt 1 was dark
ferocious and savage, as far as I know it was very popular in
Goa and was massive in France thanks to Monsieur Patrick
Rognant and the radio show Rave up in Paris thruogh the
90's, and is still getting play theregg.
Also depends on what ye mean by successful? If all
the records sell out then thats a success, then if people want
more they get repressed thats a success. Everything I've
done has been sold so al takegg that as a success and folk
still want old records but I have none to give and am sure by
now all the labels will have none.
Tell us about your favorite releases
and why?
Apart from Sponge the tracks that I would say are
favorites are Pizzacid, which is more of a Teggno banger
than an acid track. There is a 303 on it but only because I
nad no other gear with bass sounds in it to use. It's not a
tune for a 303. It needed a pounding bass for another
machine. But as it stands it bangs along.
Remont is a favorite as its completely different to
anything else I have done. It was all based round a piano
melody and has Lucy Robson on it again and her vocal was
stunning and not what was eggspected. Lucy did not sing
words, she improvised using vocal techniques and took the
track out of this world. It's a cheery clear summery song.

Egebamyasi = Acid House = tell us
more about this.
The sound that went on to be acid was a new
fresh unusual individual sound back in the 80's and
early 90's. Fresh to the people doing it and the people
who were listening to it. In my opionion it's an
underground sound and should stay there. Its one of
the last genre's to be that way but it moving up, lots of other
music that started underground is no longer there. Drum 'n'
bass, Jungle, Garage. Once more folk get into it it rises out
the ground and become commerial, acid house was the
original Drum 'n' Bass because all it was was drums and the
bass. The sound just did something to me and I went with it.
There was no plan, it was as much luck, how the machine
and me met a Roland TB303, in Stirling, in 1983. FFS WTF!
You have released on many labels,
which do you think you were most
excited about and why?
It wis a buzz to record with all of them as it's not
something everyone gets to do make records so I
eggppreciate all labels even tho there was trouble with
some. Groove kissing of course because it was the first
proper chance EBY had ti make a mark, altho had no idea
that it was the start of bigger things. I remember sending
Groove Kissing demo tapes and they were mince, but they
still liked them so I went back to Amsterdam to record. I
have done much better demo tapes and fuck all happened
with lots of them. So it tells ye crap can be good to the right
ears. All this was the early 90's with no internet. In later
years when I got a computer I came across Discogs by
accident and found out Groove Kissing had licensed lots of
the track to labels all over the world without my knowledge
or input, fuck knows how much they made out of that.
Who have you not worked with and
would like to? And why?
Well 99.9% of the music industry, I can say there is
absolutely no one that jumps out to work with, anything I've
done with other artist came about by connections in various
ways. Did a weekend in Manchester early 90's with A Guy
Called Gerald as we had the same manager, there was some
weird thing with St Etienne and a bass line of mine but it
was all so long ago I cant remember what the detail was.
Plus working with folk is a pain, your not always on the same
page and there are awkward times when there is tensions
regarding parts and sounds I can be doing without that crap
and uncomfortableness.
Give us the top 3 highlights of your
career in your mind, and why?
1... Highlight but for all the wrong reasons was
glasgow 95/6ish...the roadie I had missed the gig at the
Circa club so I set up and broke down the gear. After I
played I went back to the dressing room ti cool down and
havegg more lines no doubt. Much later I came back out to
put all the gear away and the club was emptying I noticed a
space where 1 of the 303's was, but no 303. I thought it was
a joke by someone so was looking around for it to come
back and it never did. The machine had been stolen. I don't
think who ever took it knew what they were taking. It was
jist an easy bit of gear ti grab. Never heard anything about it
and the empty feeling wi hellish was likegg losing a family
member.
2...Recording at 142 studios in amsterdam owned by
vince clarke of erasure.i went there to work with sequential
for groove kissing,but i met vince in the kitchen and he was
reheasring for an up and coming erasure tour in UK.he wis a
legend friendy dowin to earth and not acting likegg a big
shot.when erasure came to edinburgh for a week at the
playhouse we met up again,had vince,s birthday in
edinburgh and they came to a gig i did in leith.he ended up
doing a remix for me on the track "remont"
3...Played 3 gig with the stranglers back in 1985
Glasgow appolo Aberdeen Playhouse and Edinburgh
Playhouse, playin ti that many people back then wis probably
the scariest things I've ever done specially at the Apollo in
Glasgow, the Stranglers audience did not like EBY, they
could not get their ears round a compleatly different sound
and band with no real instruments. I was never so glad to
get off a stage, I was eggspecting chairs bottles and fuck
knows what else coming on to the stage.
4....Milky way in amsterdam in 1991 as it was a different
buzz to play in front of a completly different audience in
legendary venue a different country for the 1st time,they
were more in tune with the sound and the place was
jumping.
Tell us about the Roland 303.
When I first heard the 303 on John Peel I used to
think who the fuck is makin this music as it was so different
and unusual they must be space men from the future. No
303 no Acid House and if it was'nt for Acid House there
would be no Teggno, as I said the 303 was first on the
scene, was unique and so was the acid genre. The acid
started underground and is almost still there but is becoming
more and more popular with the cheaper gear. Roland
created a monster but with the help of Behringer they fucked
it. It's now like Aldi or Lidl Acid House wi awe the cheap
gear, eggsecially when it comes to the Behringer TD-3 or the
Roland TB-3 the Acid House has lost it's cutting edge,
mystique it's underground the uniqueness it's all become jist
a sound. I used ti think the 303, 909, 808, 707 etc were
mystical numbers, but now it[s all bollocks with the 303 day
or the 909 day. One thing al credit Roland with was the TR-8
and the TR-8's being able ti write drums as ye were playing
livegg was a game changer and the fact it has all the Roland
drum machines in 1 machine, was the start of taking less
gear to gigs, so I stopped spending hours writing drums in
the house, I jist put in basic patterns and left the jamming to
livegg performances, never wrote basslines livegg tho. Av
not been playing much acid for a while, have been turn off
by it all, am still into it but its not top of my list atm. Got
everything set up but been getting more into and playing
Garage, Future garage and more bass music.
40 ZONE-MAGAZINE.EU

If you were told you had to live on an
Island alone for the rest of your days,
what 5 release would you have with
you and why?
Fad Gadget - Back to nature as pure a bit of electro as
you'll get.
Capt Beefheart - Trout Mask Replica (double album) to
be able ti play music like that with real instruments off its
bake.
Chopin - Piano Pieces for feelings to stop ye in your
tracks.
Maria Callas - Orphee et eurydice act 4 it's relaxing an
vocally stunning.
Olive - Your not alone classic lyrics with a sound and
melody that captured the era and an eggsellent E tune.
Who were your influences in dance
music, and why?
My influences came well before dance music was a
thing and by the time dance came along I did not need any
influences. I was inspired by the likes of Can and Capt
Beefheart, they have nothing to do with dance music. Later
there would have been an influence from Bam Bam and
Adonis, but they had no influence in my character or
behaviour only development of sound. I never sat down and
thought how do I be likegg them I did not want to be like
them,a m not into music to compete with anyone, they used
the 303 I used the 303.
In 40 years + you must have seen
some strange goings on in clubland.
Tell us about your best and worst
gigs.
say, evereyone was fairly drunk before we went there. We
partied on in the bit o' the boat where the sailors ate and
more drink was flowing and the lines racked up. Music on
and apart frae bein oan a boat wis awe the usual party
action, altho tryin ti understand some o' them was hard an
others could talk no bad English. I thought they were after
the lassies but nuhin dodgy or uncomfortable happened, but
the fuck up came much later. We were fucked and they said
we could crash oan the boat ti come too before we went
back ti the others with the van. I remember wakin up aboot
10am or what ever and the boat wis movin. Head still
spinnin abit but I knew something was not right. Turned out
the captain hud set sail not knowing folk were oan board
that should not be there. He never new some o' the crew
had had a party, fuck knows where we were but the boat
had to turn round an take us back to aberdeen FFS.
Early 2000's I asked Robert Armani if he would do a
mix and gave him the bits for it as he had agreed. Payed him
500 bucks, then few weeks later no mix, few months later no
mix. Never heard back from him after tryin to contact
eventually he got in touch to say he did not know how to
make a wav, but still no mix months later. So while in
Belgium for a gig we got a bunch of his records and burned
them in someones back garden. There was a video made of
it an put up on you tube which has been taken down years
ago. Some time after that I got a message from a well know
Chicago acid artist who asked if it was all true. Sometime
after that I got the mix back from Mr Armani and it was
mince from what I can remember very uninteresting, the
mix was never used and fuick know what happened to it
probably binned.
Vinyl, Digital or CD’s, and why?
Vinyl cause it classic, digital cause it handy, CD's I dont
play anymoregg.
After a gig in Aberdeen 1985 we were invited to a
party on a boat moored in the harbour, me 3 girls who were
dancers for me at the timegg went for it as it was a bit
unusual. It was a swedish fishermans boat and fairy big at
ESSENTIALDANCEMUSIC 41

What does Jimmy do when he is not
making music?
I listen to Radio3 as I likegg hardcore classics. I
used to listen to Classic fm but they were not eggstreme
eggnough. I go to Skye and the surrounding area to see
friends and eat seafood. Walks up hills and mountains and
I'm trying to build a pyramid out of eggbox's. So that takes
a lot o' timegg. Being with my childrens when I can, we
livegg hundreds of miles apart but I lovegg their company
and being with them is a buzz and awesome laughs, big
shouts to Soph Mc and Chaz Mc the double yolkers.
Tell us about your thoughts on the
social media importance, or not, or
what do you think?
Think it's awesome, handy for people who maybe
don't actually havegg a personal website, using facebook
(cuntish tho it is) is good for shamless self promotion for EBY
and also instagran although I'm not so up on instagran other
than posting pictures of the places been and intresting
photos. It can have it's down sides as I and some friends
have been on the down side of it with personal attacks and
accusations, but on balance it's eggsential and entertaining.
Mental heath is a big issue in music.
We are all more prone. What are your
thoughts on this, and how did you
deal with the stress and other
elements?
I suppose we all have a "thing" we are dealing with
am suregg I have a few. Theres different stress in different
situations for eggsample am not a great flyer and I get thru
it more or less by reading altho that does not help when the
plane is taking off, but it does in flight. Theres a bit stress
before gigs until I know the gear is going to work or the
playing area is fine and if it no I just dont play until it is.
With all this experience over a life
time, please give us all some words of
wisdom, and advice on the way to be
in this ever-changing industry.
Do music for yerself and not for others, dont suffer
bullshitters and liers. There's something in the music biz that
makes folk like that, individuals acting more important than
they are. Don't let disappointments rule your life, focus and
dont givegg up.
are different now?
An hour and a half is as long as I have every
played, altho sometime I feel like playing on but its not been
possible due to others on the bill. I'm really unaware of long
sets, clubs and festivals probably want a lot of artists on the
bill as having 1 or 2 names would look a bit empty. Probably
folk would lose interest if the same person was playing for
hours these days.
What is your favorite country/city to
play in after all these years?
Belgium is ma second homegg. First played
there in mid 2000's thanks to Arkanoid who got me
over and that was the start of lovegg for the Belgiums
food, drink and music. Belgium always had a boring
reputation but thats long gone its an eggsellent place.
Before I went o belgium and Oostend I told arkanoid to dress
as a chicken so i would recognise him since we had never
met, really jist for a wynd up. When we arrived at oostend
train station we noticed a crows in the car park, and when a
space appeared there was a guy sitting on the wayy in a
chicken outfit. It was him. Played Gent many times along
with Oostend the audiences r a bit nutty. Kuf Kuf club in
Gent was an awesome set up with top class crowd and
atmospher, altho av not been there for 2 or 3 years.
Manchester way alwys a good night.
If you were to do it all again, what
would you change, or what do you
wish was different?
To be able to play the piano properly, it's the only
instrument that moves me in a way no other instrument
does, and play the bagpipes more to noise people up and
head into battle. Scene wise ad still keep it underground am
not interested in chasing the monies or changing the sound
to suit people or kiss someones ass to get on.
COVID had a huge impact of people
and the music industry in particular.
Tell us your thoughts on this. Good
and bad.
COVID in general of course was hellish with what
happened to folk in the entertainment world along with
people dying, altho I never got it and had 13 weeks off work
and used the time to music and videos everyday, I eggjoyd
the lock down and time off.
I am a massive fan of the long sets,
back in the 90’s when house parties
were rockin. Why do you think things
42 ZONE-MAGAZINE.EU

" Belgium is ma second homegg. First played there
in mid 2000's thanks to Arkanoid who got me over
and that was the start of lovegg for the Belgiums
food, drink and music. Belgium always had a boring
reputation but thats long gone its an eggsellent
place "
Festivals, super clubs, small clubs or
house parties, why?
Of course they all have a different appeal. Festivals
r great because they are likegg big circus's with all the weird
and wonderfull mixed in with a few animals, altho in saying
that if yer playing it can be a fuckn hastle. Getting gear close
eggnough to the tent does not always happen, then the
camping is a pot of pish, I am not a camper, don't like ti be
wet and mingin. Super clubs what ever they are do not
appeal to me all sounds too wank, folk up their own arses
and more record players takin the pish because folk who run
the club are lettin them get away with it. Mind you the folk
who run the super club are probably twats ony way. Have
played to many and av played ti few and the few I mean
couple o' hundred or less and they have been some o' the
best night av played. House parties can be a blast and
probably more of riot. Eggspecially when ye don't eggspect
shit to happen. Myself an Foxy played 1 where their was
plenty weird characters, we played in the living room and
after a certain time of night most of the girls got naked, if
what was going on doon stairs was anything to go by a
dread ti think aboot up stairs. But it was all about the music
and we remained professional.
Fake DJs?
Am not a DJ never havegg been, it's never been
something in the music industry that I wanted to do. Back in
the days of glam rock and discos DJ's or record players jist
played music for young bams to dance to. It' all got out of
hand now. With CD and USB, teggnology was always going
to move av done it myself with using ableton live over the
hardware at times. But for me its how busy you are live,
playing vynal your busy. CD's or what ever I jist don't see it,
eggspecially with lots o' so called artist jist takin the piss
with all the dancing and hand in the air etc....if your hands
are in the air your doing bugger all with the CD decks as
they are playing the music while the DJ's are dancing. Fuck
knows how they get away with it, am sure there are a lot of
CD jockeys who are playing for real and not fucking about
but it just looks like the CD's / Digital are doing all the work.
Tell us about your new label. Release.
Reactions.
Foxbam Inc is run by Foxtrot and myself a long
time Edinburgh DJ who I met at a free party during the
Scottish independence referendum. Foxy is a vinyl DJ of the
auld school and he kens what its about. We both have
different tastes as hes more clued up on whats new. We are
locking futuregg ground breakers and past legends for ever
on wax. Also part of the crew is Aga Doof aka Mastek Blastek
who is also an eggsellent vynal DJ in her own right and both
Foxy and Aga are branching out inti livegg as well, in the
short lifegg of the Foxbam inc the reaction hus been good,
neggst up is a solo EBY 40th anniversary 12" and Solo debut
12" from Foxtrot. We also have other artists lined up but I
can't say anything incase things fall thru. It's not a money
making project, it's all about the music and as long as we
are selling product we can do moregg, the label is still a
baby but it is growing and I thank everyone who has helped
up to now and in the futuregg.
Tell us about the Albums.
In reality I've never made an out and out album. How to
boil an egg and Mother Goose were CD's unless thats classed
as an album, dance albums dont cut it for me, ad rather do 5
or 6 12" than a dance LP. Infact if I was going to do an
actually vynal LP it probably would havegg any dance music
on it, or very littlegg.
Any last words you want to put out
into the world of dance music?
Music is nothing without fans so bam it up.
ESSENTIALDANCEMUSIC 43

featureinterview
________________
Words Paul Sawyer
________________________
Photography Dominic Johnson
________________________________
Connect https://facebook.com/musicbysonas
The musical project of UK based musician,
producer, DJ and live performer John Ricketts,
SONAS moves away from his previous
incarnation, into a more diverse musical
world.
With over a decade’s worth of production and
performing experience behind him, SONAS draws in
elements of ambient electronica, as well as more club
orientated sounds.
SONAS uses elements of Ambient and Classical with
techno and progressive house music to create an
emotional and reflective soundtrack. A sound of two
halves, with punchy techno at one end, and delicate,
reflective electronica at the other. Influenced by
Composers such as Christian Henson and Hanz
Zimmer, and his club orientated material having a
sound akin to Jon Hopkins and Max Cooper.
His albums have received praise from fans and
industry peers alike, and his singles have been played
to dancefloors across the UK, europe and beyond.
44 ZONE-MAGAZINE.EU

" It's impossible not to be inspired and influenced
by people you work with. However, I always feel
that everyone needs to tread their own path to
stand out "

Hi John, how's life? Talk us through a
typical day for you.
Hi there! Life is good! Busy! Typical my day starts
with walking the dog (non-negotiable) before sitting down at
8.30am. I’ll work through till 5 or 6, but the evenings -
unless there’s a pressing deadline - are strictly for time with
my wife and chilling out.
I think the biggest influences for me in the last few
years have been the variety of work other than writing
‘Electronic Dance’ music I’ve done in the last few years.
Scoring work and music to picture is completely different to
writing a dance track, and has naturally directed me to use
more orchestral influences in the music I write. I think that
naturally also pushes you to be more daring and bold
melodically as well as experimenting with tempo, drum
programming and sound design.
Work can consist of several things. Whether it’s
something creative such as some scoring work or some
sound design, running my own audio business, Sonas Audio
Services, mastering other peoples music, or the other side of
the coin, responding to emails and catching up on admin for
my label Likeminded Music.
No day is ever the same! I’ve just finished writing
an album of cinematic breakbeat for a music library company
so I’m in the midst of mixing that. Alongside this I’m
currently studying an MA in Music Production so need to fit
that in somewhere as well!
Busy indeed! Let’s start at the
beginning. What got you hooked on
electronic music and who were your
inspirations?
To put it simply, two words: Big Beat. I was 15
years old when The Chemical Brothers and Fatboy Slim were
taking over the world and they well and truly opened my
eyes to electronic music. From there I got really into hunting
for the samples they used so naturally found an interest in
funk and then hip-hop. At that time as well it was
inescapable to get away from trance and progressive house
as well so acts like Bedrock, Futureshock and Sasha were
huge influences on my musical tastes growing up. It was
such an exciting time around the turn of the year 2000, so
much creativity and experimentation going on.
Now you’re a professional audio
engineer, working with some of the
scenes biggest artists, how do you
feel your work life bleeds into your
own productions?
It's impossible not to be inspired and
influenced by people you work with. However, I
always feel that everyone needs to tread their own
path to stand out.
If you try and imitate something that’s popular now,
you are already behind as the next wave of trends is already
on its way in the underground. That’s where you need to
focus and draw inspiration from. But as I say, be unique and
have faith and confidence in what you’re doing.
As an artist yourself, you’ve released
4 albums plus countless singles.
D’you ever wonder when that ‘big hit’
will catapult you into stardom or are
you content to make music other
people enjoy?
The thing with me is that I am pretty much always
writing. The previous 4 albums were the product of that and
were very much a record of me learning my craft as an artist
and a producer. You can hear the music develop in structure,
melodic content and also in production value as the albums
were released.
I’m sure many fellow artists and producers can
relate to having folders full of unfinished projects. I write
music because I enjoy the process of creating something
from nothing. The fact I don’t actually play an instrument or
have any knowledge of music theory means my process of
actually writing anything melodic is quite long winded, but
it’s a great feeling when things click.
So what I did a couple of years ago is make a
conscious effort to get everything that was worth finishing,
finished. The result of that was about 40 tracks that made
up a lot of things that were used in scores, other kinds of
media as well as used for other people. The ”Big Hit” would
be great! There’s no point denying that. Everyone who writes
music wants it to be listened to by as many people as
possible, and it gives you validation to what you’re doing. I’ll
keep doing what I’m doing though, and hopefully it’ll come.
Aside from a Beatport number one,
have you afforded yourself a
moment to daydream about how it’ll
do on release day?
I don’t know, the feedback from DJs has been
amazing. Support from Anthony Papa, Nick Muir,
Kasey Taylor and Just Her (to name a few) has been
brilliant and the feedback has been amazing. People
have been playing out all three versions and getting a
great response. Who knows! I’ve got a good feeling about
it though.
46 ZONE-MAGAZINE.EU

A lot of labels these days seem to
release music that gets lost in the
ether. What sets a label apart from
the rest for you, and is that what
informed your previous signings?
ASTIR is a great example of a label that takes an
active approach to its releases. Right from the start there
was a dialogue between Simon, Mark and myself about what
the plan was. I think that is really important for artists to
feel like they are important and that the label is not simply
“sitting on their music”.
necessary evil or just plain evil?!
It is a necessary evil infuriatingly. As a means of
listening to music for consumers and as a tool for
discovering music it’s great, no one can argue with that.
As a means of artists making any kind of income
from their hard work it is a piece of sh*t. The key thing
about it is that it has from day one been run as a business.
It’s a means of making money for Spotify and their
shareholders. It’s never been about the artists and their
music. Music for Spotify is a product, a means of making
income. Unfortunately, the genie is out of the bottle, and
consumer’s chosen means of listening to music is streaming
now.
It’s a great feeling to get something signed but then
all momentum goes if nothing happens for ages. Simon was
great at keeping the momentum going, and also he has a
great network within dance music. It’s something myself and
Dom (co-owner) also aim for with our own label Likeminded
Music. We’re fairly new to this aspect of the business, and
we’re learning something new with every release, but we
always try and push the releases as much as we can and get
it to the DJs that will play them. David Guetta was playing
one of our first releases, so we must be doing something
right!
Talk us through the game
soundtrack you're doing with York St
John University. How different is the
writing process compared to say
working with a singer or band?
A crazy project! It is an interactive augmented
reality “game” created by a company called Epic Science for
primary school pupils to help them learn about science, and
in particular the environment and climate change. I was
brought in as sound designer and had to create the
personalities for 5 characters and also the environments
they inhabit. This kind of sound design is so much fun to do!
It was incredibly rewarding and it’s just finished beta testing
so it’s great to see the reactions of the pupils to the whole
thing.
Unless another format comes along that is more
convenient to listeners, it’s not going anywhere. A good
alternative and a great way of discovering underground and
undiscovered artists has always been Bandcamp, I just wish
they’d make their UI for listening to music better! But if you
really like a piece of music or a track, try and hunt it down
and buy a copy.
Its been a blast to meet you, John,
thanks so much for your expansive
answers. Is there anything you
wanted to chat about we didn’t get
to?
Thanks for having me! Just like to give a shout to
Mark for being an absolute don, we’ll actually meet and have
a beer soon mate! And thanks to Simon at ASTIR for putting
his faith in the music.
Finally and this is a bit shameless, but big up to
Dom, and all the artists we’ve had on Likeminded Music so
far, 9vega, Ruokki, Origin of X, RØØKIE, Ashtone and
Thommo. You’re all amazing. There’s more to come, keep
‘em peeled.
Oh yeah, I’ve got a new album out later in the year.
Let’s finish off strong. Spotify! …
" The feedback from DJs has been amazing. Support from
Anthony Papa, Nick Muir, Kasey Taylor and Just Her (to
name a few) has been brilliant and the feedback has been
amazing. People have been playing out all three versions
and getting a great response "

featureinterview
________________
Words Terry Hobbs
______________________
Photography Reef Rounding
_________________________________
Connect https://facebook.com/saragarveyhere
Sara Garvey aka Comfy Bellais the crop of an organic musical adventure
which began in vocals and songwriting and evolved to DJ-ing and producing.
From starting as a teen hip hop free style vocalist on the northern UK scene,
known for being able to spit vocal hooks off the top of her head in any
environment whilst studying to be a contemporary dancer to rapidly getting
signed to BMG Publishing for her writing & vocal skills, going on to work with Flood
(U2, Nine Inch Nails) to nearly being signed to Dr Dre’s label Interscope co-writing
a song with Chris Martin / Youth / MJCole and more to world touring & writing with
Nightmares on Wax for a near decade.
Garvey is also one of the most sought after and respected female DJ selectors, DJ’ing
alongside some of the biggest names in the industry (Dimitri From Paris / Floating Points /
Mr Scruff / Maribou State / Chaos in the CBD / Little Dragon / Groove Assassin / Graham
Park / Norman Jaye / Grant Nelson / Dave Lee ...the list) and founding, hosting and curating
2 notorious Leeds club nights, LIT Ibiza Takeover & Moonunit and most recently setting up
new vinyl label Moon Unit Records with 1st release (vinyl 12”) Change The System due out
end 1st April via Juno.
With prior releases on Warp Records / Peppermint Jam / Future Boogie / Café Del Mar to
name but a few, 2018 saw Garvey under her moniker Comfy Bella making a very well
received pioneering solo producing debut with vinyl EP, ‘Konkahs’.
Two KDJ / beatdown style house belters that received major support from Motor City Drum
Ensemble, Gilles Peterson, Bradley Zero, Stamp The Wax and Glenn Astro to name a few,
with huge radio support from NTS and Worldwide Radio sitting comfortably alongside
artists like Henry Wu, Floating Points and FunkinEven. Her follow up single in 2021 ‘Tell Meh’
featured on CC-Disco’s First Light Vol 2 (Soothsayer) was named as stand out track of the
compilation.
Sara’s most recent single release ‘All I Need’ with Steve Silk Hurley under her own name on
Hardtimes records has had major support from BBC Radio 1, Pete Tong, Paul Woolford,
ANOTR and The Blessed Madonna. Currently Sara is finishing off her debut solo album, due
to be released later this year.
Also a firm favourite DJ at events such as Lost Village Festival, We Out Here Festival,
Beatherder and many more under her belt. Her eclectic DJ sets known her rhythm
selections from dusty leftfield house to tech house to garage to disco and all the deep and
soulful chasms in between also now and then for live lacing her sets with her vocal
microphone techniques. Combining her essence of live performance with her DJ sets.
Zone Magazines' Terry Hobbs caught us with Sara during her recent visit to Spain
headlining at the What The House 5th Birthday weekender........
48 ZONE-MAGAZINE.EU

SaraGarvey
" I love anything outdoors. I feel you can play
anything you like and it’s a different more open
experience. So yes love festivals. My favs that I’ve
played are Lost Village and We Out Here, both in
the UK "

Let’s start with a bit of history. What
was the music that inspired you most
growing up and how has that
influenced the music that you produce
today?
I grew up listening to all kinds of music growing up,
my mum was African and listened to a lot of African music +
pop, my dad European and ONLY listened to classical music
and had it on in the house from morning till night.
When I moved to the UK at around 8, funk, reggae & hip hop
were what I was exposed to mostly. We actually lived next
door to DJ Martin’s of LFO parents house and he would give
me records like Elektro’s which gave me an education beyond
my years. I feel like all those influences are what I draw on
instinctively. I recently made a record with Steve Silk Hurley
which was insane as I remember Martin playing ‘Jack Your
Body’ and me being obsessed with it. I actually appreciate
the classical music now (not that I particularly enjoy it yet)
but I think I know how to compose in layers due to this.
How did you start out as a dj, what
music got you into the dance scene,
what did you start out playing?
I always wanted to DJ, since being. A little girl
watching DJ Martin and my brother & his friends playing
records but I didn’t see other women doing it so assumed it
wasn’t viable. Also, I could sing so I had a place in music.
I went through a period where I just didn’t want to
write or make music and found myself listening and digging
for music. That got me excited and made me fall back in love
with music and also I wanted to share what I was playing. I
asked a friend of mine, Malcolm WeLove who ran parties if I
could do a DJ set (never really thinking he’d say yes) and he
booked me straight away. I didn’t even know how to use a
CDJ lol but I had tunes so I had a go, and it went well. I know
that 212 was on the playlist as was Hudson Mowhawke &
Henry Wu.
I did go on to play live sets as I was more
comfortable with that, coming from a live back ground so I
used an APC40 and did loads of live edits, stuff like that. I
went on to vinyl and digital. My thing was low lung jazz
broken beaty house / minimal and garage haha!
What music do you normally play at
home these days?
My music lol I’m in the process of writing an album
so I tend to listen to what I’m doing and intentionally stay
away from looking for music just in case it takes me off
course. I am about to start doing a radio show on Balamii so
that will force me out of that.
Tell us about the clubs you like to play
in? and what do you prefer…..festivals,
clubs, bars?
I love anything outdoors. I feel you can play
anything you like and it’s a different more open
experience. So yes love festivals. My favs that I’ve
played are Lost Village and We Out Here, both in the
UK. My favourite little underground party was a party called
Hold The Relish. The ethos was vinyl only B2B sets. Was
always the best crowd and such fun to play. I love small
intimate clubs too and mid size, I think I’d be scared of a
huge club environment. I like to have a connection with the
crowd.
So, what are some of your favorite
clubs that you’ve played in and why?
My favs are a few in Leeds Distrikt, Wire, Freedom
Mills and Mint. In all honesty I’ve not played many clubs
outside of Leeds so no offence to anyone lol. Love Distrikt,
they allowed me to put on my 1st party Moonunit booking
Sweely who was pretty much unknown at the time in the UK
so big shout to all they do for the music scene.
Tell us about your next projects, what
does the next 12 months have lined up
for Sara Garvey and the Moon Unit
brand?
So, like I said I’m writing my 1st solo album so that’s
taking a chunk of my year up. Ive just released the 1st
release on my new label Moonunit Records. It’s vinyl 12” with
my friend Sy Sez on the A Side with a amazing track that I
have personally tested on every dance floor called Change The
System and one of mine on the other side called Knights with
is a low slung jazz house tune with (even though I say so
myself) an ridiculous bass solo at the end curtesy of my longtime
friend and sick bassist Hamlet Luton. It’s a very exciting
year!
You have been running a weekly
terrace party during the summer LIT
Ibiza in Leeds over the 8 last year,
how did that come about and what
were the highlights? Any Favourite
DJs
I love LIT! It happened by accident really, I started
to do Sunday afternoons on city centre terrace in Leeds
through summer and it started picking up attention. I then
asked Café Del Mar if I could licence their brand for a summer
Café Del Mar curated summer series and they said yes. It
went from there really and I’m hugely proud of it.
My fav DJ’s is hard to say as there have so many! A
hight light was booking Little Dragon tho (huge fan) Sebb
Junior is insane. TBF all the DJ’s I booked were fav’s that’s
why I booked them. Self indulgent but hey…
50 ZONE-MAGAZINE.EU

featurearticle
____________
Words LOUK
_________________________________
Connect https://facebook.com/loukcompulzion
Making Music On A Budget Part 3
Hi all! When lockdown hit in 2020, many had to stay in
and couldn't work. Thankfully due to the nature of my
work, I could work from home, but this is also where
my studio was which had been put into use producing
solo music, or engineering & co-writing/producing with
friends. For some periods where lockdowns
happened, everything changed, and for all of us who
had to stay in and also those who were furloughed
and couldn't work, I put a list of resources online for
many free VSTs, software, guides and music tools, for
those who had free time, were wanting to learn music
production and didn't have very much money.
I wrote the first two parts of this guide in the previous
issues of Zone, and here is the final edition. If you
followed all the advice in the first and second issue,
you should be well underway with a selection of
plugins, samples and decent environment both
physically and digitally to work in, as well as a good
back up system in place.
52 ZONE-MAGAZINE.EU

SAMPLES
I am guessing if you are reading Zone Magazine, that
you have a strong interest in dance music in whatever genre.
A predominant feature of the genre is samples. I started out
working exclusively with samples and only 4 channels when I
started and the creativity was bursting. So here are some
recommendations for some excellent sample packs and MIDI
packs that should help you with whatever genre. Here are
some sample pack creators, which I've utilised extensively.
- Freshly Squeezed Samples have a multitude of sample
packs, in particular the Dave Parkinson series has been a
welcome addition over the past decade! https://
www.freshlysqueezedsamples.com/dave-parkinson-tranceessentials.html
For synth recommendations, please check previous issues
where I review both hardware and software.
Finishing A Track
When you've finished a track and are happy it and
want to get it out to the world, the next step is exporting a
WAV/AIFF of it. To do this I'd ensure every single channel is
below 0 dB and also the stereo output gives you at least -6dB
of headroom, if not lower. This will ensure a mastering
engineer can have a decent headroom to work with.
I'd advise after playing the track on as many systems
as you can and comparing it to mixes you like, though I'd
advise to take into account the tracks you like will have been
mastered at this point so yours probably won't sound quite as
polished, but aiming to get it close sonically is a good start!
- The Soma Records team, apart from having a really decent
record label have an ace collection of sample packs at a
bargain price too - https://www.somarecords.com/shop/
samplepack/1/
- D.A.V.E The Drummer - Tekno Toolbox - is a must have for
any producer of Techno but lots of quality atmospheres on
here too. https://www.producerloops.com/Download-
Industrial-Strength-Records-Dave-The-Drummer-Tekno-Tool-
Box.html
- Vengeance Sound - The mainstay of many a dance
producer! I still use Vengeance Essential Clubsounds 1-5 in
my productions regularly. https://www.vengeancesound.com/samples.php
- Jon Doe - A collection of awesome sample packs for £5 each.
Really high quality. - https://www.jondoe.net/blank-page-1 -
- Toolroom - Lots of excellent drums in particular to really
beef up your production. https://toolroomacademy.com/
shop/sample-packs/
Also the Hard Trance Europe & Stoneface & Terminal
sample packs are a worthwhile addition I covered recently.
There are numerous free resources out there as well,
Point Blank gives a really extensive guide. https://
plus.pointblankmusicschool.com/7-essential-sites-todownload-high-quality-free-samples/
Also it's worth checking out out of print older
sapmple CDs from Time & Space, Best Service, Ueberschall,
Creative Essentials and more.
Finally, if carefully and creatively done, there is no
harm in sampling a kick from a track or a percussion loop or
the odd sound here and there from Records & CDs! Rarely do
you find a producer who hasn't done this.
A recommended sampler for manipulation is Renoise
Redux (https://www.renoise.com/products/redux). I use this
on every tune, but also Kontakt (https://www.nativeinstruments.com/en/products/komplete/samplers/kontakt-7/)
and the budget option TAL-Sampler (https://tal-software.com/
products/tal-sampler) are worthwhile too.
What Next?
Recommendations for people to master tracks on a
budget? I've been using Jon Doe for the past 10+ years.
www.jondoe.net - he also offers an advice service to tell you
what mixdown improvements you can do.
Give the track (or at least most of it/an edited version to
protect piracy) to some producer mates and DJs you know
and ask feedback. You'll find many are more than happy to
listen and point you in the right direction of where to send it /
who would play it.
When you have a version you are happy with and
want to target labels, I'd say write to a label you like the
sound of and buy releases on and try and find out who is head
of their A&R, send them a polite email with one or two tracks
maximum and see if they like the track. Fingers crossed it all
goes well, but don't be too disheartened if you are rejected.
One target label here for a client I worked with they
didn't like the first track, then we sent them the follow up and
they signed it straight away, and there is no harm in aiming
high as usually the worst a label can say is no (provided you
are polite and target them specifically)
Another avenue is giving early copies to a handful of
DJs and radio stations and approaching a label once you've
had some hype. Although you may not sign the track with
them, it might lead to remix work (which has happened to us
before).
There you have it, I hope that helps and you have a
long and fruitful career of music production. Although it's now
a secondary hobby for me, at the time of writing I have been
producing music for 25 years and been releasing many tracks
and releases for over 20 years. Something I never thought
would happen when I first booted up my Amiga to make
music in late 1999.
I have started writing a guide on making money from
your music and protecting your intellectual property.
Something I hugely neglected when I started out and am
passing on advice to friends who are musicians. If I finish it,
hopefully it will end up in here!
Good luck on your musical journey!
54 ZONE-MAGAZINE.EU

Wednesday 7 th
CENTREFORCE X CLOCKWORK ORANGE - Buy Tickets Now
Thursday 8 th
NANCY AJRAM - Buy Tickets Now
Friday 9 th
GENERATION:MUSIC
Saturday 10 th
PETE TONG IBIZA CLASSICS - Buy Tickets Now
Sunday 11 th
DRUM ‘N’ BASS CLUB NIGHT
MARBELLA ARENA
7 th - 11 th August 2024
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DJ CHARTS - issue 041 2024
Frank Dueffel [Germany] [Vandit Records] [Trance]
1. Frank Dueffel - Sky In Flames [FSOE]
2. Ali Wilson & Chris North - Nitrite [TEKELEC]
3. Wehbba - Nitro [HIFN]
4. Jesabel - Control [Zerothree]
5. Medway - Resurrection (Roo J's 'Deep SW' Mix) [Hooj Choons]
6. Tess - Cybertrance [Bonzai Classics]
7. DNA Project - Stargazing [Vandit Rec.]
8. Nick Muir - All One World (Trilucid Midnight Mix) [Visceral]
9. Frank Dueffel - A Summer Fairytale [Vandit Rec.]
10. Energy 52 - Cafe del Mar (Orbital Remix) [Superstition]
Terry Hobbs [UK/Spain] [What The House] [soulful]
1. Sy Sez - Change the System [Moonunit Records]
2. Jo Paciello - Concentrate & Relax (Mo'Cream Remix) [Large Music]
3. Maysa ft. Chris Walker - Down With Me (The DJ Spen & Reelsoul Remix)
[Quantize Recordings]
4. Session Victim, Ras Stimulant - Screen Off [Delusions of Grandeur]
5. Pat Bedeau, Hannah Khemoh - Dangerous (S.Diaz Ext. Rmx) [Bedfunk]
6. Khenya - Here Comes The Sun [Ulu]
7. Kasango - 6am in Sao Paolo [Shen]
8. Groove Addix, Annette Taylor - Faith (S.Junior Ext. Rmx) [Soulfuric]
9. Masters At Work, Louie Vega, Kenny Dope - MAWcid [MAW Records]
10. Kid Fonque, Jonny Miller, Zaki Ibrahim - Migration (Extended Mix)
[Stay True Sounds]
DJ Samer [USA] [Pangea] [House/Progressive]
1. Tropics - Daybreak / Navigate [all my thoughts]
2. Simon Firth - Resistance (Tim French Remix) [Pangea Recordings]
3. Alexander Church & Vincenzo - Pacific Rush [Configurations of Self]
4. DJ Samer - Janna (Original Mix) [Hooj Choons]
5. Jelly For The Babies, Gav Easby & Phonic Youth - Back to You
(dub.format Remix) [inU]
6. Breeder - Twilo Thunder (Lee Jordan's Twisted 909 Rmx) [Hooj Choons]
7. Thebassmonkey - Enceladus (Nomad in the Dark / Seth Vogt Remix)
[Pangea Recordings]
8. Subandrio - Winding Pathway (Original Mix) [Vapour Recordings]
9. BT & Shingo Nakamura - Lifeforce (Extended Mix) [Monster Cat]
10. Floormagnet - Nocturnal (Original Mix) [FM Recordings]
Jerry Danbridge [Spain] [Techno]
1. Hotflush - Bodhi-Orison [Hotflush Recording]
2. Interview - Arc [Bitterfeld]
3. Aventurine E.P - Ignez [Token Records]
4. Phara - Evoke / Fuga IV [Token records]
5. Gemini leaks - Xilo & Uncrat [Bpich control]
6. The sweet and the salt - Oscar Mulero [Token Records]
7. Oh I forgot - Ruman [Subsist Records]
8. Lockes club - Bird up [Private persons records]
9. El gran imperio cobra 2 - D4mian Smith & Jerry Dandrige
[Tekno 4 life Records]
10. El sótano de jerry - Jerry Dandrige [Geometrical Records]
Amber Leigh Melby [USA] [Trance]
1. Markus Shulz, Daxson - Frantika (Extended Mix) [Coldharbour]
2. Allen Watts, Awaken - Detonator (Ext Mix) [Nocturnal Knights Fusion]
3. Yotto - Heartbeat (Extended Mix) [Odd One Out]
4. Athzira, Trientale Clear Mind(Original Mix) Shamanic Tales
5. Jerome Isma-Ae - Hold That Sucker Down (Hel:slowed Ext Mix)
[Armind Armada]
6. Will Atkinson, GURLI - Calling Your Name (Ext Mix) [Bebe Recordings]
7. Trance Wax, Sneijder - Ascend (Sneijder Ext Remix) [Armada Music]
8. Billy Gilles, Betsy - Fair (Extended Mix) [Big Beat Records]
9. Indira Paganatto - Blackbird SR-71 (Extended Version) [Cercle Records]
10. GMS, Dickster - Midnight In Paradise [Nano Records]
Mark Neenan [UK] [Techno] [Filth Infatuated]
1. Angel Attack - Vortex [House Of Reptile Records]
2. Hundzhan - Teenage Mutant Ninja Jungle [Refined Format]
3. David Oblivion - Void [Hydraulix]
4. Not A Headliner - Barracuda [The Rose Island]
5. BLAP – Bang 01 [Filth Infatuated]
6. RAHO - I have A Dream [Arkham Audio]
7. Sola Cantagio - Elicum Ipnotico 04 (PTTRNRCRRNT Remix) [Prophet
Recordings]
8. PRZ - Back From 89 [Cultivated Electronics]
9. Syntax Error - Just Add More Trash [Indicator Records]
10. K.E.N.Y.U. - Generator Part 1 [Filth Infatuated]
LOUK [UK] [Chillout] [Zone Magazine] [Retro Chart]
1. Biosphere - Sphere Of No Form / Substrata [Origo Sound]
2. Aphex Twin - Stone In Focus [Warp]
3. Pulsation - Pulsar [Harthouse]
4. Astral Pilot - The Day After [Harthouse]
5. Basic Channel - Lyot Remix [Basic Channel]
6. Apex Twin - Xtal / Selected Ambient Works 85-92 [Apollo]
7. Ecstasy Orchestra - Paradise [Outer Limits]
8. Global Communication - 76.14 [Dedicated]
9. Orbital - Belfast [FFRR]
10. The KLF - Chill Out [KLF Communications]
Anthony Pappa [AUS][Global Undereground][House/Tech]
1. Sasha & Super Flu – Astra “Sasha Daydream Mix” (Last Night On Earth)
2. Frankey & Sandrino & Charlotte Riby – Memories (Innervisions)
3. Levi David & Abigail Bailey – A Better Place (Selador)
4. Cristoph, Pete Tong & Paul Rogers – Where’s The Music Gone “Extended
Mix” (Anjunadeep)
5. Enamour & Paraleven – Rune “Extended Mix” (Rose Avenue Records)
6. Sascha Dive – Airborne (Bedrock)
7. Fabricio Mosoni – Influenza (Isolate)
8. Leftfield – Melt “Four Candles Bootleg” (Not On Label)
9. Ivan Aliaga – Ordinary Crazyness (UV)
10. Sean Harvey – That Groove (White Label)

https://www.discogs.com/seller/Redbox-Vinyl-Shop/profile
Pascal Kleiman [France] [House & Techno]
1. Paris - Blaktone [ATLANT]
2. Soda - Notre Dame [Diynamic]
3. Invercargirl - Eden Burns [Public Possession]
4. Brutal (Extended Mix) - Mark Knight, Nitro DeLuxe [Toolroom]
5. Panko Day (Extended Mix) Sebastien Leger, Roy Rosenfeld [Lost Miracle]
6. Flores (Meera (NO) Remix) Emanuel Satie, Maga Scenarios [Scenarios]
7. Distant Memories - Hernan Cattaneo, Hicky & Kalo [Watergate Records]
8. Whatever We Call It - Tripolism, Meera (NO) [Ultra]
9. Arrastra - DJ Fudge [United Music Records]
10. One - Briqs [ELEMENTS]
DJ Hooraa [USA] [Chicago Jaxxx] [House/Techno]
1. Hooraa - Submissive Adrenaline [Filth Infatuated Digital]
2. Hooraa - Ruthless Dom [Filth Infatuated Digital]
3. Perc - Fett 23 [Perc Trax]
4. Atze Ton - Drescher [MiniTek Records]
5. Maraxe - Groove Messiah [Mechanikal]
6. Luciid, Lorenzo Raganzini- Sleepwalking [HEX Recordings)]
7. DJ Geto Man, Mark Beltrami- Flash Point [UKR Special Series]
8. Jerome Baker - Cavern [Olympian]
9. Michael Wenz - Echoes Of The Vanished [Naked Lunch]
10. Primal - Bone Seeker [Mastoid Kollektive]
D4mian Smith [Spain] [20adm.com] [House/Techno
1. Deep underground - DJ Frankie Guess [Tekno4life Records]
2. Tekno con papas - D4mian Smith [Independiente]
3. Techno trip to Lisbon - D4mian Smith [Carps]
4. Littl fingers - L3v1n, Christina Monoxrom, Simon M. [Z.City records]
5. Girl$ (extended mix) Don Dolla [Three six zero]
6. Jerry ! Jerry ! - Marco Polo [Robin entertaiment]
7. Role model (extended version) Fatboy Slim [Southern friend records]
8. Dablitz - Valdritz Ferraro [Modus vivendi records]
9. Forget the world (Factomania remix) Ismael Rivas [Ready mix records]
10. Zw systems - Oscar Mulero [Faut section]
Karlos [UK] [Subcode/Arbor Recordings] [Prog House]
1. MursiaVar - Concentrate (Extended) [Riythmica]
2. Quivver & Dave Seaman - Not This Time [Poker Flat Recordings]
3. Aman Anand, Rockka - Locked In [RKP]
4. Fran Garay, Diego R - Dmt [WARPP]
5. Gastón Rodríguez (AR) - Eclipsed (VegaZ SL Remix) [SINCITY]
6. NUFECTS, Luciano Scheffer - Trifinio [RKP]
7. Ruben Karapetyan - Orophile [For Senses Records]
8. Rockka, VegaZ SL - Ntropy (Redspace Extended Remix) [Polyptych]
9. B.Lawson vs Menkee - Sonic Horizons (P.Hamilton Remix) [Pro B Tech)
10. Sean Harvey - Spacialised (kebin van reeken remix) [Mango alley]
Tim French [UK] [Hooj Choons] [House / Techno]
1. Fran Garay - Palomar [Fractal Noise Records]
2. Gai Barone - Via Fermi [Music To Die For Recordings]
3. Tim French - Such a Feeling [Hooj Choons]
4. Tom Baker - Train to Yakkyn (Quivver Remix) [Stone Seed]
5. Tim French - Tiny Moments of Joy (NOLAN Rmx)[Configurations Of Self]
6. Simon Firth - Resistance (T.French In The Sky Mix) [Pangea Recordings]
7. SONAS & Mark Zowie - Accordance (Zoo Brazil Rmx) [ASTIR recordings]
8. B. Lawson, Menkee - Sonic Horizons (Menkee Rmx) [Pro B Tech Music]
9. Kamilo Sanclemente & Sebastian Valencia (Col) - Doom [Selador]
10. Spencer Brown - Body Dub [diviine]
Gav Duffy [Ireland] [Groove Gallery/Play FM][House]
1. Aaron Rutherford - Found my Way (Extended Mix) [Remmah Music]
2. A.Taylor, G.Addix - Faith ft.A.Taylor (S.Junior Ext. RMX) [Soulfuric]
3. M.Migs, U.Rucker - Connectivity (Migs Jazzy Touch Rev.)[Salted Music]
4. Bora Uzer - Magic Kind [Nervous Records]
5. Sam Curran - Boogie Nights [Paradise]
6. R.Carroll - Let's Stay Together (R.Earnshaw Ext. RMX)[Category 1 Music]
7. Next Phase - I Ain't Got Time (R.Earnshaw Ext.RMX) [Sub-Urban]
8. J.Montenegro - Can't Get High Without U (25th Ann. Mix) [Z Records]
9. Blaze - Lovelee Dae (Franck Roger Extended Remix)[Slip n Slide]
10. The Trip (UK) - Take You Higher [Tessellate]
SONAS [UK] [Techno / Prog House / Electronica]
1. SONAS & Mark Zowie - Accordance [Astir Recordings]
2. Ashtone - Time and Space [Likeminded Music]
3. Sasha & Sentre - Glastacy [Last Night On Earth]
4. Seyah - Empathy [Mango Alley]
5. Nowa - Jacker [ISOLATE]
6. Origin of X - Nylah (SONAS remix) [Likeminded Music]
7. Msolnusic - Keep On [Digital Lounge Rec]
8. Mark Zowie and Chillipunk - We Call Na [Likeminded Music]
9. Paul Deep - Odyssey [Proton]
10. Matter - Embrace [Meanwhile]
Gez Varley [UK] [G-Man / LFO] [Techno]
1. G-MAN - QUO VADIS (Davinson & Kusserow remix) [GMR RECORDS]
2. Obscure Shape - Tsubasa [MTB013 records]
3. Jardinage - WTMF [unknown label]
4. Oliver Roseman - Devil’s deal [MSDMNR025 records]
5. Slam - Exhibit [SOMA records]
6. Dave Vincent - New weapons [SOMA records]
7. Norbak - Soro EP [Sora records]
8. Roll Dann - Livro de Familia [Unknown label]
9. Dario Evangelista - Pleistocene Future 4 [DROMORNITHID AE]
10. Blanka - transversal [SK-X records]
Sammy Dean [UK] [A Very Important House Party]
1. The verve - bittersweet symphony (James hype remix) [White]
2. Tita Lau - The Madonna [Promo]
3. Fast Eddie, Andre Zimmer - Yo Yo Get Funky [Black Book Records]
4. Hotswing - Work It [There Was Jack]
5. Twolate, NIINE - Balcon [Toolroom Trax]
6. EDEF - Jumping Pumping [Beat Circus Records]
7. Castion - Feel it ya [Toolroom]
8. Bruno Furlan - Sugar Daddy [TRACK ID]
9. Marie Davidson - Work It (Syncia reworks it) [White]
10. Hatiras - Miamimita (Low Steppa and Nolek remix) [Spacedisco

SY SEZ/COMFY BELLA – CHANGE THE SYSTEM/KNIGHTS
Moonunit Records / MU001
www.moonunitrecords.com
Emerging from the depths of Yorkshire’s dance music underground, Moonunit is a new label from Leeds lass Comfy Bella, a long-serving scene
stalwart aka Sara Garvey, singer, songwriter, DJ, producer, and event promoter whose varied CV includes 10 years touring with Nightmares on Wax,
studio sessions with Flood, collaborations with Chris Martin, Youth and MJ Cole, and – most recently – an anthemic summer single alongside house
legend Steve ‘Silk’ Hurley on Hard Times Records (the superb ‘All I Need’).
Moonunit started life many years ago as a sporadic party – an excuse for Comfy to throw occasional events rooted in dancefloor-friendly musical
eclecticism, featuring like- minded DJs who had previously never played in Leeds before. The inspiration to launch a spin-off label came earlier this
year, when Bella realised that the ‘secret weapon’ she’d been playing in her sets for years was in fact the work of her good friend Sy Sez, a DJ/
producer best known for his regular Mi Soul Radio show, residency at London’s legendary Soul Heaven parties, and previous releases on Defected
and Soul Heaven Records.
Fittingly, that track, ‘Change The System’, opens the first Moonunit 12”. Unlike anything Sez has put out before, it recalls the breath-taking sonic
weight, early morning sleaziness, soundsystem culture influences and analogue-driven headiness of early Yorkshire bleep & bass. Beginning with
smoky samples from the iconic Peter Tosh, the track’s conscious message is underpinned by a raw, mind-mangling bassline and marked out by heavy
percussion, grooving melodic motifs and strobe-lit, warehouse- ready intent. It’s genuinely brilliant and could easily become one of the most raveigniting
tunes of 2024.
It comes backed with a particularly personal track from Garvey as Comfy Bella – a song called ‘Knights’, which was originally inspired by the tragic
murder of her brother some years ago and is (in her words) “an ode to young men and women out there in these streets”.
Featuring live bass contributions from Garvey’s longtime collaborator Hamlet Luton (NOW / Peven Everet) and Kenny ‘Hurricane’ Higgins of the
Haggis Horns, ‘Knights’ is deep, dusty, unflinchingly emotional, and gently musically expansive piece, with live, looped instrumentation and Garvey’s
impeccable vocals riding hypnotic house beats finally descending into what can only be described as one of the most incredible angst filled jazz bass
solo’s, beautifully finishing off this expansive soul provoking track.
Favourably compared to the work of Detroit house masters Kenny Dixon Jr (Moodymann), Amp Fiddler and Alton Miller, as well as Chicagoans Roy
Davis Jr and Ron Trent.
This, though, was not forged on the mean streets of the Motor City, but in the bedroom studios, backroom parties and basement clubs of Leeds. It
offers a first snapshot of
what’s to come from Comfy’s forthcoming debut album, which is set to hit the streets in 2024.
https://on.soundcloud.com/L4ESu
https://on.soundcloud.com/yu9ge
EARLY INDUSTRY FEEDBACK:
MOVE-D ‘such a dope record!! BOTH sides’
NIGHTMARES ON WAX ‘Change Da system track is
heavy! Comfy Bella’s track is a nice smokey number’
SIMON SCOTT – DIMENSIONS FESTIVAL / TRIBE
RECORDS ‘Great old skool Yorkshire bleep & bass
vibe’
MARCUS NASTY ‘New sound! Road house! Gangsta
house! The sound of what’s popping in London right
now!’

Buried Tresure
Albums - Dance
// Jay Dobie [Progressive House Classics]
With progressive house now entering its 32nd year its safe to say there's a multitude of tracks out there just waiting to be
discovered. Unlike today many tracks were far less accessible back in the early 90's. We shared music via audio tape and generally
you'd have no tracklist, identifying a track name could at times turn into the hunt for the holy grail! These days things are much
easier and with Buried Treasure we hope to bring you some recommendations of obscure, rare and esoteric remixes and productions
that may have slipped under your prog radar. Happy Diggin!
Playtime Toons – The Shaker Song (White Label)
Now this is not a progressive classic but it is a track that saw a lot of attention from DJs who would go
on to champion the progressive sound. Originally a 1990 release, its had a couple of re-issues over the
years with the last one in 2000 featuring a couple of remixes but its the original you need to head for.
A kind of Balearic acid house affair that features a catchy chord progression over an electro
programmed TR-909 beat. The track was produced by acid house legend Trevor Fung and was very
popular with Sasha at Shelleys and reportedly an end of night anthem at the Hacienda in Manchester.
https://www.discogs.com/release/22426-Playtime-Toons-The-Shaker-Song
SAS – Amber Groove (Final Vinyl)
Perhaps one of the biggest progressive tracks of 1992 it samples Gems for Jem – Everybody Groove Me
and features a rumoured vocal snippet from Mr C of the Shamen. Produced by Clive Henry (Peace
Division) and David Hedger (part of the West London Deep remix outfit) the release features 3 solid
mixes that turned up in many prog DJs boxes. In an interview about the Sunday daytime club Full
Circle, Terry Farley talked about Tony Humphries playing Amber groove three times in three hours
which was a pretty big deal for the then youngsters Clive and Dave.
https://www.discogs.com/release/64218-SAS-Amber-Groove
Way Out West – The Gift (Deconstruction)
A breakbeat trance fusion from Nick Warren and Jody Wisternoff that went on to be used in building
society advert, but don't let that put you off. One of the key tracks from the critically acclaimed
eponymous album Way Out West, The Gift features a Joanna Law sampled vocal from the 1990
Citybeat release 'First Time Ever' over an uplifting breakbeat with a big breakdown, did well
commercially peaking at No2 in the dance charts and still occasionally surfaces as background music on
various TV shows and indents. Fun Fact - Its rumoured that in his earlier days Nick Warren was turned
down for a mortgage by the very building society that licenced the track for their TV advert!
https://www.discogs.com/release/11701-Way-Out-West-Featuring-Miss-Joanna-Law-The-Gift
Funtopia feat Jimi Polo – Do You Wanna Know – Gut Drum Mix (PrimaVera)
Released across double pack vinyl head straight for the 'Gut Drum' version as featured on the first
Renaissance album mixed by Sasha and John Digweed. The track is remixed by Paul Brogden and
Justin Deighton. Paul is the guy behind POB, and a member of Granny, Union Jack and Clanger all of
whom have recorded and remixed for Platipus Records. Justin was partners with Johnny Walker in
State of Mind and Ashley Webb, Colin Martin in Cowboy Records band Talizman. Its a deep prog house
outing perfect for warm up or mid set.
https://www.discogs.com/release/52830-Funtopia-feat-Jimi-Polo-Do-You-Wanna-Know
Progressive House Classics Office Top Ten
1. J.T Company – Feel It (Evo Dubby Mix) [Muzik Without Control]
2. 808 Stae – EX:EL [ZTT]
3. Bedrock – Foundations Granite [Bedrock]
4. Cowboy Records - The Album Volume 1 [Cowboy]
5. DJ Vertigo – Goldrush [White DJ Mix]
6. Platipus Records - Volume 1 [Platipus]
7. Moby – Into The Blue (Buzz Boys Mix) [Mute]
8. Jayn Hanna – Lost Without You (Edge Factor Dub) [Virgin]
9. Aurora – Hear You Calling [Positiva]
10. DJ Gordon – Moonshine Boogie [Superfly]

TUNES
// HOUSE & TECHNO // John Ricketts
TOP TUNE //
10
Sasha & Sentre – Glastacy [Last Night On Earth]
9
A name synonymous with trance and progressive house, Sasha teams up with Sentre to
bring this epic progressive house monster. A simple chopped-up vocal loop acts as the
foundations upon which layers of synths are built upon. Whether it’s a soaring pad or the
subtle acid line that runs pretty much throughout, it’s a slow build to a soaring
breakdown. This is textbook euphoric stuff from one of the best out there, and he shows
no sign of his creativity and production prowess slowing down any time soon. Absolutely
essential stuff.
https://sasha.bandcamp.com/album/glastacy
Msolnusic – Keep On [Digital Lounge Rec]
York based producer and DJ Msol brings his unique production skills and musicianship to
Digital Lounge. Following on from releases on Play This! Deep Compact, Separate Souls and
more, Keep On is a tribute to the sound of the pioneers of the scene such as Marshall
Jefferson and Mr Fingers. Smooth organ stabs and vocal chops sit on top of the solid kick.
Supporting this the percussion and hats shuffle along nicely and give the movement it needs.
Simple elements, utilised well and clever arrangement means this will certainly do the
business.
https://www.traxsource.com/title/2291164/keep-on
RECOMMENDED
Seyah – Empathy/Dope [Mango Alley]
9
Igor Yevtushenko, better known as SEYAH, drops this 2 track EP on the ever-consistent
Mango Alley. Empathy is an atmospheric and moody progressive house roller. Shuffling hi
hats and a growling bassline form the basis, with techno elements being used to add
atmosphere, before the simplistic main riff enters in the breakdown. It’s a groover alright.
Dope continues the theme nut ups the energy slightly. Maze 28 and Kyotto take on Dope and
strip it down to a deep tech roller, whilst Kiz Pattison takes Dope into darker techno territory.
A great release, one for the dark early hours.
https://themangoalley.bandcamp.com/album/empathy-dope
9
8
Nowa – Taped Diva [ISOLATE]
A cracking 4 track EP from Cyprus-based producer and DJ Nowa. Title track Taped Diva sets
the tone with an almost jackin’ feel to it whilst still being definite techno. This is built upon
with the appropriately titled Jacker. Vocal chops are used to add rhythm and character to the
broody techno elements. Gimme Hug takes things a bit darker, with a haunting vocal and a
wall of moody synths. Finally Neverland ends things with a more upbeat tone, drawing to a
close a fantastic debut on the label.
https://www.beatport.com/release/taped-diva/4584569
Benicci – IONARI [Polyptych]
One for the progressive house heads here, with dropping a 2 track EP with 2 stellar remixes on Polyptych.
Title track IONARI is a roller with sparkling synths and growling low pads. Andre Gazolla takes things in a
deep tech direction with his remix, building on the elements of the original whilst putting his style on it.
Benicci then teams up with SUBM Ä RS for Into You, which kicks off with dark moody synths before
transforming into a bright and airy progressive journey. Finally, Antonio Farhy puts his spin on Into You,
with a dark and moody interpretation. Great stuff.
https://polyptychmusic.bandcamp.com/album/ionari-incl-remixes-by-andre-gazolla-antonio-farhy
60 ZONE-MAGAZINE.EU

TUNES
Albums - Dance
Albums - Dance
// TECHNO & HARD TECHNO // Mark Neenan
TOP TUNE //
10
Angel Attack - New Frontiers EP [House Of Reptile Records]
9
9
8.5
US East Coast based Angel Attack takes influence in the UK Techno and Electro scene
with this awesome EP titled New Frontiers. The five tracks all deliver a powerful punch
with the fusion of experimental electro, heavy breakbeats and techno, all characterised
by hard, bass-heavy beats and inventive soundscapes.
All five tracks are of sheer underground quality but my two picks are ‘Grounding’ which
has an intense warping bassline and is a proper crossover of breaks and electro (Ben
Pest style springs to mind) It has some gnarly off beat drums and moody atmospherics.
’Vortex’ is the one though, it’s bloody insane! Straight from the school of Richard D
James, this wonky mind bending slice of quirky electronica has glitchy FX, loads of
bleeps, weird clever patterns and some stupendously heavy beats and bass. Now I just
need to figure out how I’m going to fit this in my sets. Amazing work!
https://houseofreptile.bandcamp.com/
RAHO - Strange People In The Jungle EP [Arkham Audio]
Italian producer Raho seems to be a regular of my sets (and reviews lately) This time he is on the great Arkham Audio
label (another popular label for me) with this big 8 track EP. Davide's latest techno release is a masterclass in the raw,
underground sound. Hypnotic Pulsating rhythms drive each track of his and we are treated to four great remixes also.
Uncertain (Boriqua tribez) gives us a funky Hardgroove version of ‘Persistence’ which is packed full of chopped disco
samples. Man of the Moment ‘Maraxe’ remixes the title track and turns it damn right hard and nasty with some excellent
acidic synth work and tough marching percussion! ‘TWR72’ takes us on a deep atmospheric journey with his version of ’I
Have A Dream’ whilst the ‘Yoikol’ remix of ‘Don’t Touch Me’ is a dark and tense thumping affair with lovely crisp hats. My
favourites of the originals is ’I Have A Dream’ which is an energetic rumbler packed full of tasty modular synth sequences
and cool vocal work and the title track ‘Strange People In The Jungle’ which has it all. It’s a sci fi sounding epic journey
full of bell-like percussion, distorted vocals and crazy intricate hypnotic synth work. Love it!
https://criducoeurarkhamaudio.bandcamp.com/album/machines-vortex
RECOMMENDED
Hundzhan - Gut Shuffler [Refined Format]
Hundzhan makes his debut on A.P.’s mighty Refined Format with four excellent and quirky tracks. ‘Breadrunner’ is an old school
hoovertastic rave ready cut. Tight percussion with a tough rolling underbelly featuring the vocal ‘I’ve said it before and ill say it
again, no more f**king Abba!’ Title track ‘Gut Shuffler’ is a deep, dark rumbler with some eerie synth action, whilst ‘Shag Off’
goes back to the old school, this time with some classic sounding pads and tonnes of crazy FX and edits in this driving tough
techno journey. Quality EP this is on a great label, I’m loving the final track the best ‘Teenage Mutant Ninja Jungle’. Liam is a
producer who isn’t afraid to go off kilter and this fine track is a fusion of old school jungle vibes and cutting edge modern techno.
A must hear for fans of genre blending electronic music. Great work mate, looking forward to more Hundzhan on Filth Infatuated
https://www.beatport.com/release/gut-shuffler-ep/4599472
Syntax Error - The Syndicator EP [Indicator Records]
10
Hamburg’s Syntax Error is a bad man! I’m a big fan of his work and this is Brutal! Four raw and heavy underground
tracks are supplied with the emphasis on wobbly sub heavy basslines, piercing analogue bleeps, aggressive snares and
frenetic synth action! My two favourites from the EP are ‘Just Add More Trash’, a brutal analogue journey with some top
wonky synth work and tough driving beats (reminds me of some early Thomas P Heckman gear from the 90s!), and
‘Sub Bottom’ which Is unapologetically intense and the ‘Sub’ is speaker blowingly heavy! This is a real hard sonic
experience, with ace percussion patterns and delightful drones. One for the Hard heads this! Play loud!
https://www.mixcloud.com/Indicator_Records/syntax-error-vinyl-only-mix-june-2024/
Sola Cantagio - Elicum Ipnotico EP [Prophet Recordings]
I’ve not had the privilege of hearing Sola Cantagio before, well he has a new fan now! This nine track Ep is freaking
wicked! It is a masterful blend of futuristic, tough, and hypnotic sounds. Each track rolls seamlessly into the next,
creating a captivating and relentless energy that defines ‘proper’ techno. Sola uses sophisticated production that just
gets you properly immersed in the rhythms. Great work! Stand outs for me are Elicum Ipnotico 01 which is tough and
rolling, full of deep groove and spacey soundscapes and I just love the PTTRNRCRRNT Remix of Elicum Ipnotico 04, a
hard clanking version full of dark de tuned zappy synth stabs, a growling and angry bassline, space themed FX and
clever shuffled percussion. This is proper futuristic gear this! This whole Ep needs a listen with other notable originals
and remixes from David Reina, Future 16, plus two ambient techno tracks that round off the EP nicely. Check it out!
https://prophetrecordings.bandcamp.com/album/elicum-ipnotico
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Not A Headliner - Desobediencia Como Virtud EP [The Rose Island]
Madrid based ‘Not A Headliner’ (Jose Garrido) serves up an absolute beauty of an EP for the second release on
new label ‘The Rose Island’. Four tracks of hard rhythmic techno heavily influenced by the Detroit sound. Title
track Desobediencia Como Virtud (which translates as ‘Disobedience as a virtue’) and ‘Cashflow’ are both cool
sounding Detroit rollers. For me though it’s all about ‘Barracuda’ a fierce and industrial powerhouse, with its angry,
energetic beats and hypnotic groove, it echoes the raw intensity of the legendary ‘Stigmata’ label. This track
pulsates with relentless energy, drawing listeners in with its dark hard hitting sound. Pure savagery this is!
‘Pseudofan’ finishes the EP off in style with its quirky electro tinged bleep vibes. Deep, futuristic and full of electro
funk! Great release on this new label, that I for one will be keeping tabs on!
https://www.decks.de/track/not_a_headliner-desobediencia_como_virtud/cmx-eb
Quincy & The Machine - Hypocrisy EP [Keep On Techno]
Quincy & The Machine are a duo (I’m guessing) I’ve not come across before. Here they serve up wicked label ‘Keep On
Techno’ with a growling synth bass heavy track which is packed full of crazy wonkiness titled ‘Hypocrisy’ very quirky and
cool track this. On remix duties we have ‘Adam Element’, who doesn’t detract too far from the original ‘elements’ (See
what I did there!), but turns in an ace harder edged rework. Lastly (but by no means least) we have my mate and fellow
Collide resident ‘Cinquedea’. Deb’s goes in hard with added sirens and cool vocal edits before the track drops down and
that crazy analogue synth comes in and propels the track (and the dancefloor) into hysteria! Great remix this is, if you’ve
not come across Cinquedea’s work before you should check it out, she is steadily making a name for herself with her
studio work as well as on the Underground DJ circuit! Another fine release this by the consistent Keep On Techno label.
https://www.beatport.com/es/release/hypocrisy-ep/4609156
David Oblivion - Void EP [Hydraulix]
Huge fan of David Oblivion (aka David King) and I’m pretty chuffed that I gave him his first release on Filth Infatuated a
couple years ago. Since then he has gone from strength to strength with huge releases (Digitally and on Plastic) on some
massive labels. Part of the Dublin Underground scene, which seems to be thriving (I really must get to a gig over there!)
Here he supplies Henry’s amazing Hydraulix imprint with two beauties! ‘Void’ is a modern warehouse techno track which is
a dark, thrilling ride with twisted basslines and clever vocal edits. The highlight is an epic, eerie breakdown that immerses
listeners in a haunting soundscape before catapulting them back into Oblivion! (Pun Intended) Perfect for those who crave
a deep, atmospheric experience on the dance floor. ‘Rebel Party’ is another slammer in his own cool style, packed full of
pounding drums, clanking percussion, ripping synths and more excellent vocal work. Top drawer this mate!
https://www.beatport.com/es/release/void-ep/4575827
PRZ - Lost Art [Cultivated Electronics]
Gal Perez (PRZ) supplies a huge Electro double album for Sync 24’s epic Cultivated Electronics label. This modern electro
album is a mesmerizing blend of twisted basslines, psychedelic synths, and a dynamic mix of 4/4 and broken beats. There
are nine tracks on offer from the deep 4/4 journey of ‘Back From 89’ to the beautiful acidic soundscapes of final track
‘Miss you’ it has everything in between. My picks are ‘Voice Over’ - an energetic and hypnotic 4/4 squelcher which is
packed full of psychedelia, bleeps and driving wonkiness and the broken beats of ‘Velocity Shift’ which is more along the
classic 80’s electro sounds, with lush strings, futuristic synths and some grimy bass. This album is a standout for those
who appreciate cutting edge and genre blending electro music.
https://www.delsinrecords.com/release/8810/prz/lost-art
Kev D - Techno Basics [Perennial Recording Network]
Ah, this dropped in my inbox literally an hour before the deadline. It involves two of my good friends. Ollie Stamp (Label
owner) and my old Filth Infatuated buddy and Techno legend Kev D. I remember Kev playing this to me a good few years
ago (Secret weapon he kept for his sets), and it’s great to finally have a home. The original of ‘Techno Basics’ is a modern
hardgroove techno track which fuses old school pianos with syncopated breakbeats, full of infectious energy and nostalgic
elements make it a standout on the dance floor, perfect for those who crave a mix of classic vibes and contemporary
grooves. Feel good summertime techno at its best this is which is guaranteed to cause big smiles, with Kev’s production
qualities shining through as always. The three remixes on offer are all of the Breakbeat ilk and are all excellent. ‘GavTech’
goes deep and rolling, with a lush reese bass and some added vocals in his traditional breakbeat version. ‘Electrom’ goes
down more of a modern breaks / electro version with some epic analogue synth work and funked up beats whilst label
owner ‘Stampatron’ strips things back into an epic slice of Slow Electronica. Perfect for early mornings or after hours
chilled vibes. Have a listen to this quality release on Perennial Recording Network, its rather good!
https://www.perennialrecordingnetwork.com/
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