Monthly Archives: September 2014

Museum of Love: The Who’s Who Of Who Cares [New Single]

‘The Who’s Who Of Who Cares’ is the third track to fall from the upcoming self-titled debut album from Museum of Love, the new project created by LCD Soundsystem drummer Pat Mahoney and Run Roc Records founder/The Juan MacLean touring member Dennis McNany.

If cruisy seductive funk is what you’re expecting to hear, then you will not be disappointed.

Museum of Love LP will be out on October 13 via DFA Records and you can pre-order a copy now through iTunes.

Serious Covers: Volume 19

Superhumanoids – Feel Good Hit Of The Summer (Queens Of The Stone Age Cover)

Rush Midnight – Little Bit (Lykke Li Cover)

Rigbi – A World Alone [ft. Miranda Sloane] (Lorde Cover)

YOUNG & SICK – Breathe (Télépopmusik Cover)

ZHU – Gun (CHVRCHES Cover)

Roma Senishin – Trouble So Hard (Moby Cover)

BAIO: On&On&On&On / Missive EP [New Music]

Vampire Weekend bass player Chris Baio, otherwise known simply as BAIO, has just dropped a new four-track EP featuring two new electrifying original jams ‘On&On&On&On’ and ‘Missive,’ as well as two remixes by Swedish producer HNNY and UK beat-maker Neville Watson.

On&On&On&On / Missive EP is out now through Club Mod and you can pick it up from iTunes.

Kasper Bjørke: After Forever [Review + Stream]

Words by Carlos Duarte.

On After Forever, Danish producer/DJ/musician extraordinaire Kasper Bjørke has fused elements of disco and 80’s synth pop to create an overall transcendent fourth album brimming with noteworthy guest spots.

Described by Bjørke as a record “good for dark, sad dancing,” After Forever takes on a more contemplative, brooding tone than his previous releases. The production harbours a romantic, mystical air that the featured artists exploit to the fullest.

Opening cut ‘Rush’ serves as the perfect lure, its music box introduction charming the listener into further exploring the song’s psychedelic soul vibe. Vocalist Tobias Buch allows his seductive falsetto to glide freely on the hook, drawing one further into a cavern of mellow, retro riffs.

The warm, oceanic synths on ‘Sylvia’ act as a prelude to the hypnotic, Sade-esque tones of CTM that wash over the ambient production. A similar soundscape forms on follow up ‘Marbled Blood’, which plays out like a poetic reading full of foreboding and drama thanks to Soho Rezanejad‘s strong presence.

As far as up-tempo numbers go, ‘Apart’ and ‘Lies’ serve as the resident dance-floor fillers. The former shines thanks to singer/songwriter Nomi Ruiz‘s beguiling vocals and superb penmanship, while the latter mesmerizes thanks to the spacey 80’s dance vibe and Sisy Ey‘s elegant voice.

After Forever stands as one of Kasper Bjørke‘s finest efforts thanks to its ability to make the old sound new again. The production’s nostalgic elements are always complimented by the featured artist and ultimately make for an interstellar musical experience.

Rating: ★★★★

After Forever is out now through HFN Music.

YACHT: Works Like Magic [New Single]

Last week we shared the news of a new EP from LA dance-pop duo YACHT called Where Does This Disco?, news that also came with the EP’s super infectious title-track.

Well today we have another track from that EP, this one is labelled ‘Works Like Magic,’ it is the first song the duo have written with their live-bandmates Rob Kieswetter and Jeffrey Brodsky and it goes a little something like this:

Where Does This Disco? EP is out on October 11 through Downtown Records.

Non-MixTape Mixes: Volume 42

Rufus Du Sol – Modest Life (Hermitude Remix)

Beni – Protect (ft. Antony & Cleopatera) [Foynes Remix]

Hoodlem – Firing Line (Rat & Co Remix)

B_U_O_Y – Open Close (Mammals Remix)

Yeo – Kobe (Chiefs Remix)

Oslo Parks – Twin (VIMES Remix)

Monarchy – The Beautiful Ones (SAFARI Remix)

Hatch – New Direction (UV boi Remix)

Atari Teenage Riot – Modern Liars (Klaxons Remix)

John Beltran – Faux (Four Tet Remix)

PROM: Flickers [New Music]

Words by Michael Hutchinson.

Ella Zoller and Gabriel Stanley are PROM, a brash duo from Brooklyn. Their new single ‘Flickers’ is a nothing short of a roaring indie-pop stunner. So set the Sat-Nav to direct you to the nearest beach, open the sunroof and blast this gem out of your speakers.

Keep your eyes and ears peeled for PROM’s debut EP Keeping Company which is out October 14.

Zoot Woman: Star Climbing [Album Review]

Words by Michael Hutchinson.

I first heard Zoot Woman back when people bought CDs; it was a lifetime ago (2009 to be precise) whilst scouring for some new tunes that I spied a sticker that highlighted Stuart Price’s name. I’d heard of him under his Thin White Duke, Les Rythmes Digitales and Jacques Lu Cont pseudonyms and took a chance on Things Are What They Used To Be. It was love at first spin, as they say.

Price has worked with more artists than you can poke a walkman at and if the Grammy Award-winner has taught the music world anything, it’s how to produce an album. The Killers (‘Day & Age’), Pet Shop Boys (‘Electric’) and even our Kylie Minogue (‘Aphrodite’) have him to thank for success.

Alongside brothers Adam and Johnny Blake, the trio have been making music as Zoot Woman since 1996. This, their fourth full-length studio album Star Climbing, was three years in the making.
The album’s opener ‘Don’t Tear Yourself Apart‘ continues where TAWTYTB left us, with a smooth yet scintillating groove. On the other end of the spectrum (and album), the lyric-less ‘Elusive’ is a slow building instrumental abyss of untamed flicks and brooding bass guitar.

‘Rock & Roll Symphony’ shifts gears to a gentle throttle, but ‘Lifeline’ takes it that one step further. If you’re a Zoot Woman fan you’ll know ‘Saturation’ from TAWTUTB was kind of a big deal, but here ‘Lifeline’ takes it to another level. Suffice to say I’ve struggled to put into words just how good it is; “infinitely amazing” is going to have to suffice. The thumping, plucky bass hooks you in an instant and right now it’s my favourite song I’ve heard this year.

There are several album highlights; the themes are generally uplifting and lyrically positive, Johnny Blake’s smoky vocal range and the inverse paces that keep you on your toes.

Zoot Woman could quite easily produce an album using guest vocalists, such is their strength in creating, nay perfecting, that 80’s synth-pop sound, but Johnny’s vocals give emotive depth few could match. Keeping it all ‘in house’, whilst perhaps pigeon-holing themselves to the confines of one sound, encourages the challenge to better what they’ve previously created and reads as a strength than a weakness or hindrance.

The trio have an uncanny ability to produce a cyclic sound or lyric without it being annoying, sound quite expansive and yet most of the tracks manage to clock in radio-friendly time. The familiarity of sound may not impress some, but within the predictability is an assurance of a high quality which few other acts can muster. It’s nothing if consistent with their previous albums, so why mess with the formula?

Rating: ★★★★

Interview: Duke Dumont

Words by Alex Milne.

Late last week we caught up with the infamous Duke Dumont – he was in his kitchen wearing a bird jumper. Here are his musings on remixes, the future of mainstream music and his upcoming show at Stereosonic.

Where are you and what are you wearing?
Well I’m just in my kitchen and it’s pretty cold right now in England so I’m wearing a jumper with birds on it, I’m really embodying the wild life of an international DJ. I’ve got my laptop in the other room and I’m working on my light show for a few shows I’ve got coming up in Europe and I’m just about to make a cuppa.

With your latest track, ‘Won’t Look Back,’ you’ve used a fairly unknown vocalist. How do you pick who you collaborate with, and who would be your ultimate dream collaboration?
For me it’s about working with the best artist, they don’t necessarily have to be the most famous. It’s as much about having heart and soul – I really like to work with soul – based singers. The artist has to be a reflection of my music.

Your remix of HAIM’s song ‘Falling’ is one of my favourite going out tracks. But I wouldn’t have expected that from a HAIM song. What was it about ‘Falling’ that made you think that it would work?
Well if you listen to the lyrics they’re really uplifting and motivational which is always around in dance music. I listen to the lyrics and the vocals and then do my own interpretation.

There are a lot of different remixes of all your songs on your Soundcloud. What’s your favourite?
I really appreciate the time and the effort that remixers go to when remixing my songs but my favourite is the Skream remix of ‘Need U 100%’

So you’re obviously very welcome to new remixes of your music and not too concerned about them damaging your artistic integrity or anything like that then?
I respect each remixer to do their remix with their vision. It’s certainly not something that would destroy my career or anything. I see it as an alternative way that people can warm to the song and I’m respectful of that.

In an interview with THUMP, about ‘Need U 100%’, you talked about there being a cultural chain reaction that paves the way for new music and that eventually establishes what becomes the mainstream. Now that electronic music has become the mainstream, where do you think the mainstream will head next, or do you believe that electronic music is the way of the future?
I think that EDM has been dominating for a while but I think that a more relaxed sound will come through and have a snowball effect. Myself and Disclosure have had a lot of success in the USA with our own music but there are alternatives emerging and house is getting a lot bigger and I think will be the next big thing.

You’ve got Stereosonic coming up in December, but last year you played at Listen out, a significantly smaller venue. When you tour, do you prefer big epic gigs or small intimate venues?
I think that as long as the crowd is having a good time I don’t really mind. Listen Out wasn’t really all that intimate; there were still around 10,000 people there. But it was great. I played alongside some really good artists like Disclosure, Aluna George and Azealia Banks. I’m looking forward to Stereosonic because I’m going to be playing alongside Disclosure again, Diplo and RL Grimes. Our stage will be very different to the main stage. It will be a step up and be more varied on our stage. I’m really looking forward to it.

Finally, if you weren’t a DJ, what would you be?
I think I would be unemployed. I can’t really do many things other than DJ. I did have a few office jobs when I was around 22 and 23 but I’ve put all my energy and time and effort into my music and so I haven’t gotten good at anything else.

If you want to catch Duke Dumont while in the country, you’d best grab yourself a ticket to Stereosonic asap. You can find all of that info right here

Interview: Just A Gent at Stranded, September 2014

Words by Corey Brown.

We spoke to Just A Gent fresh off the boat at Stranded festival on South Stradbroke Island last weekend. After blowing up in 2014, this seventeen year old prodigy has already been all over the country, and is about to see the rest of the world.

We talk genres, touring, and communicate in onomatopoeia.

You’re about to embark on a huge international tour, are you starting to focus your attention abroad?
I’ve mostly been focusing on Australia to try and build my name here, and when it comes to performing, that’s what you really need to do. But lately I have been focusing some of my attention abroad as well, and all for the same reasons.

There seems to be a big competition with young producers on SoundCloud with how young you are; I’m sure you don’t want people to like you because of how young you are, but by how good your music is right?
I used to brag about how young I was all the time. Then I realised, you know what, people aren’t going to take you seriously if you’re young. So I just got rid of my age [being displayed on SoundCloud] when I was 15, but somehow people still all know.

When did music become your main focus?
I think I was like 14 when I got full on into making electronic music, sending to blogs and stuff. So it’s been a few years, but it’s only been the last year that things have started to be serious for me. And I’d never gone into a club – I still shouldn’t be in clubs – but I went into my first club this year at Ivy in Sydney.

On SoundCloud you categorise your tunes as a particular genre. Is that something you consciously decide on when you approach the track, or does that happen during the writing process?
It varies. Sometimes I start making a track, then I’ll title the track when I save it, and I’ll save it as the genre name that I’ve made up. All my working titles are “Lovetrap #1, Lovetrap #2”, and then after I finish them, I listen to them over and over again, and that’s when I’ll get the name. Which I think a lot of other people do as well. Unless you’re writing lyrics of course.

You don’t write lyrics?
No, I do write lyrics.

Are you ever going to sing on a track?
I don’t sing. I can’t. Well, I have sung, but I vocode. So I’ve got tracks coming soon that are me singing, but you can’t tell it’s me. You don’t even need a feature vocalist!

You just toured with The Aston Shuffle, how was that?
It was really fun, they’re really cool guys. It’s kind of crazy, because the first electronic album I listened to was the mix they did for Ministry of Sound in 2008, so they kind of got me into the scene. So, it’s a pretty big thing for me to go on tour with them.

You labeled your remix of ZHU’s ‘Superfriends’ as ‘Djentstep’ on SoundCloud. Do you actually listen to djent or progressive metal?
Not really…I mean, I like listening to all different types of music, but it related to me, so I’m going to get into it. I used to work in a toy store, and the guy that I worked with was heaps into it, and he’s the one that told me about it. So then I went and started listening and I sort of got into it. And all it basically is, is “djent, djent”…

“Chugga chugga” 

Chugga chugga! And the reason I called that track “djentstep” was because I was always trying to find a track I could actually finally label djentstep. It’s kind of my heaviest track and it had a bit of a “djent” to it.

Will there be more djentstep?
There will be more djentstep.

How many djentstep working titles are there?
Only 3.

What goes up the highest?
Lovetrap. It was 63, but I made a new one yesterday so it’s 64 now!

Just A Gent is a huge brand now, do you think you’ll branch off and try other things too, or will that be your sole focus for the foreseeable future?
I’ll definitely branch off, but I’ll always stick to this…everything I’ve done was always leading up to it. I used to produce progressive house.

Yeah, I saw your “Jacob Grant” stuff.
Oh no! [laughs] I was producing under Jacob Grant for a long time, and I made so many tracks and I was sending them off to get signed. I started producing Lovestep stuff under Jacob Grant, then I made Just A Gent. I wanted to start fresh, I had no brand as Jacob Grant, it was just a dude with headphones and a Hurley shirt. That was my press shot. I’ve also got a duo with $aturn, we’re called Chilled Velvet. We uploaded a remix of Coldplay, but it was taken down due to copyright.

Here is Just A Gent‘s latest offering ‘Warlock Masquerade’

Just A Gent is currently on tour with just a few dates left in Australia before heading off to the USA. Pick one of the dates below and go see him do his thing.

Just A Gent - tour dates - acid stag |

Thom Yorke: A Brain In A Bottle [New Single]

Over the weekend Radiohead frontman Thom Yorke gave no warning as he unveiled a brand new single called ‘A Brain In A Bottle,’ the first to come from his latest full-length solo album Tomorrow’s Modern Boxes.

The album is available to buy right now via the world’s first ever paygated BitTorrent – trust Thom to come up with a whole new way to sell music.

Tomorrow’s Modern Boxes track-list:
1. A Brain In A Bottle
2. Guess Again!
3. Interference
4. The Mother Lode
5. Truth Ray
6. There Is No Ice (For My Drink)
7. Pink Section
8. Nose Grows Some


Music + Video | Channel 7

Channel 7 | Program Guide:
1. Tricky – Sun Down (ft. Tirzah)
2. Glass Animals – Hazey
3. Elliphant – One More (ft. MØ)
4. Fear of Men – Tephra
5. jr. hi – C-A-R-A-M-E-L
6. SAFIA – You Are The One
7. SBTRKT – NEW DORP. NEW YORK. (ft. Ezra Koenig)
8. Luke Million – Light and Sound
9. Say Lou Lou x Lindstrøm – Games for Girls
10. Anna Lunoe – All Out
11. Yelle – Complètement fou

Friday MixTape #209

This weekend’s motto; PLAY, STOP, REWIND

Friday MixTape Download

1. Luke Million – Light & Sound (Young Franco Remix)
2. YACHT – Where Does This Disco (Jerome LOL Remix)
3. Cosmo Black – FOMO
4. LANY – ILYSB (Ferdinand Weber Remix)
5. Karen Harding – Say Something (Bodhi Remix)
6. Wookie – The Hype (ft. Eliza Doolittle) (ISLND Remix)
7. ODESZA – Say My Name (ft. Zyra) (Max Liese Remix)
8. Jill Scott – It’s Love (Invoker Remix)
9. Jessie Ware – Say You Love Me (Gorgon City Remix)
10. Lemaitre – Wait (Jenaux Remix)
11. WhoMadeWho – Heads Above (Aiden Lewis Remix)
12. Young Franco – Close 2 U (ft. Joy) (Benson Remix)
13. Rey & Kjavik, Dirty Doering – Black Cat
14. BAIO – Missive
15. Sam Smith – I’m Not The Only One (Grant Nelson Remix)
16. The Magician – Sunlight (ft. Years & Years) (Watermät Remix)
17. Henri – It’s Like This It’s Like That (Irregular Disco Workers It’s Like Acid Remix)
18. Sam Sure – Hunger (Jaded Remix)
19. Cut Copy – Meet Me In A House Of Love (TJANI remix)
20. Shit Robot – Do It (Right) (Fft. Lidell Townsell) (Lidell Townsell Remix)


Ta-ku: Create & Explore [Stream + Watch]

West Australian beat-maker Ta-Ku has started up a new creative project he is calling ‘Create & Explore,’ a project he says is a conversation between mediums, from visual to auditory.

Ta-Ku (Reggie Matthews) will be partnering beat-makers with photographers to create and explore the power of creative collaboration, and first up we’d like to share the audio component of ‘Create & Explore.’

And now for the stunning visual aspect:

You can stay up to date with the project via the ‘Create & Explore’ website: |

ennui: Telepathic Beat [Album Stream]

Telepathic Beat is the debut album from American muso Jim Doutrich, who’s been making his tunes under the alias of ennui.

The record showcases ten glorious tracks of infectious, 80s Euro-dance grooves, a collection that will make a fine contribution to your Aussie summer soundtrack.

If you’re picking up on ennui‘s Telepathic Beat, go pick up a copy of the album from Mush Records.