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The Temper Trap announce highly anticipated Australian headline dates for September/October 2026

April 20, 2026

MEDIA PUZZLE UNVEIL NEW RACEHORSE: A SURREAL COMMENTARY ON MODERN EXISTENCE

April 20, 2026

SF WRENS DEBUT FRESH NEW SINGLE ‘THE FINISH LINE’

April 20, 2026

ACCLAIMED NZ PRODUCER & MUSICIAN SOLA ROSA RELEASES TENTH STUDIO ALBUM, IN...

April 20, 2026

Quiet as a Mouse premiere ‘Cocaine Soul’ and ‘From…To…’, taken from upcoming...

April 20, 2026

Interview: July Morning – Finding Light in The Colours of Darkness

April 17, 2026

SPIDERBAIT: Ivy & the big apples 30th Anniversary National July Tour Announced...

April 16, 2026

REAL FARMER new single I.D.K.T.S out now

April 16, 2026

ODD MOB ANNOUNCES HIGHLY ANTICIPATED AUSTRALIA VOL 2.0 HEADLINE TOUR

April 16, 2026

“Everything You Need” – Alexander Gallant introduces The Prince Of Birchy Head

April 14, 2026

Music Interviews

by the partae

Suit of Lights

Stanley Odd

Stanley Odd

Braxton keeps up his run of remarkable releases with his brilliant remix of Matt Fax feat. RBBTS ‘Set Your Sails’ on Colorize, out now. The label invited him to choose any track from Fax’ album ‘Progressions’ to rework, a vote of confidence fully justified by the result.   The Brighton-based producer is a by-word for quality and thoughtful composition, finding favour as a regular with imprints including Anjunadeep and Colorize. He has put lockdown to best possible use already, with his recent double A side ‘Torn/Chiaroscuro’ (Anjunadeep) gaining attention from Phil Taggart, Jaguar’s BBC Introducing Dance Show, and more.   His entrancing rework of the driving dance-led cut from French DJ/producer Matt Fax adds dreamy synth chords and a breakbeat element, giving full rein to the haunting, sumptuous vocals of European duo Anne Kalstrup and Hendrik Burkhard aka RBBTS. ‘Set Your Sails’ (Braxton Remix) is Out Now. Get it here: https://colorize.ffm.to/0227r1 Hey Braxton, thanks for speaking with us! Congrats on your new release, the absolutely stellar remix of Matt Fax ‘Set Your Sails’. Can you tell us how this remix came about?  Thank you for having me! Well Colorize got in touch with Matt’s new album and let me choose a track to remix, there were a couple on there I liked but this one really stood out.  Have you got much of a relationship with Matt Fax too, or is it more the label? How did you pick this song as the one you wanted to remix, what swayed you?  I think it was the vocals mainly, I prefer to remix tracks with vocals because it gives me more flexibility to bring something different to the track. I had a go at remixing another track but I struggled to do something meaningful with it, then this one came along and I could really get stuck in.   A lot of the tracks you’ve released have these really special vocals. Is this something you look for in a track you want to remix, is it one of the key components that grabs you?  Yeah absolutely, a lot of the music I make has a kinda anthemic quality, sometimes it’s subtle and sometimes it’s really in your face. I like my tracks to sit somewhere between the club and headphones, and vocals really help me to get that balance across. And when it comes to making an original track, what is it that you tackle first? Do you pick or write a vocal, then create the track around it, or the opposite?  It’s usually the opposite, but there’s never a right or wrong way really, the most important thing I’ve found is to let the track develop as naturally as possible. Sometimes vocals it will happen early on in the writing process, and it’ll involve humming along some sort of topline idea before getting the vocals down properly. Other times I’ve gotten to the ‘end’ of the process with a track before deciding I want vocals on it. I try and keep all options open at every stage as it allows much more freedom to experiment during the writing process.  What can we expect from you in the rest of 2020? You’re an Anjunadeep favourite, will we be seeing your name on the label again this year?  I very much hope so, it’s a label I’ve admired for such a long time now and to be working with them is still a little bit mind-blowing :)  And on a more personal note to finish – what has this time in lockdown taught you?  I learned that people deal with complex situations in completely different ways and we all need to show a lot more empathy in order to better understand each other. Thanks for your time!  No, no……Thank YOU! x

Braxton

PLANTS AND ANIMALS Share new single 'Le Queens' New album The Jungle out October 23

PLANTS AND ANIMALS Share new single ‘Le Queens’ New album The Jungle out October 23

Where are you currently based? London How did you first start producing and mixing? I came from a rock and metal background originally. I was never into actual instruments myself but my friends were and I loved being around that environment. I was lucky enough to have a computer at the time, and managed to start teaching myself how to produce. I was then introduced to Pendulum who were obviously the only people doing rock and drum and bass at that time, and it sort of stemmed from there. How did your career start? I got in with Monstercat when they just started, around 2010. I put out a few beat sample packs with them, but then Mike Darlington really encouraged me to go farther and that’s when I put out my first EP, The Takeover. How has your COVID experience been so far? It’s given me more time to work on music that’s for sure. I probably wouldn’t have finished the album as quick as I did if I had still been touring. It’s been rough not being able to test my songs live though! What influenced the sound and songwriting for your epic new album 'The Promised Land'? The whole album was inspired by a lot of different themes, mainly how nature and technology clash and interact. There wasn’t any particular moment that inspired the entire album but I went on a journey of discovery for the past couple of years, listening to a broader range of music and tying my vast range of influences into the album. What did you find most challenging and rewarding through the process of creating this album? This is my debut album so the finished product was the most rewarding. The most challenging was probably admitting that it was done, because I’m always looking to keep improving the tracks! Your sound has evolved from the stereotypical Drum 'n Bass sound to a more mature and cross-genre sound, please tell us about how and why this has come about: The main thing that I wanted to do with the album was start expanding from drum ‘n’ bass and start doing other genres. People have this impression of me, because I make drum ‘n’ bass all the time, that I only listen to drum ‘n’ bass and that’s completely untrue. People who know me know I listen to and love literally all kinds of music. I love everything from, as I say, film and video game scores to screamo to french house to electro house to old school garage to whatever. You name it! I listen to everything. I really tried to hone that in when I pulled influences for the album, just to show people that it doesn’t have to come from drum ‘n’ bass at all. A lot of them don’t even come from dance music. Very rarely, except maybe some sound design and mixdown things. The main goal with it was to start introducing MUZZ as a multigenre brand and artist rather than drum ‘n’ bass only.  Where do you see Drum 'n Bass progressing in the coming years? The future of any genre is to evolve it and mash it with other styles and new sounds, which is what I’ve always done since I started making music, and this album explores those new territories. I love the genre, and always will, but I also love many other genres and don’t want to close those doors.  What do you like to do outside of music? Gaming, food, traveling!  Which artists are you listening to at the moment? Grimes, Rezz, Charli XCX, Fade Black, Oakwite, Loathe, G Jones are currently on repeat for me. What is planned for the remainder of 2020? Just to continue promoting this album as much as possible. It’s been such a process having it come together, I’m so happy it’s finally out! Favourite food and place to hangout? You can’t beat Middle Eastern food, and I honestly just love being in my studio in my own world. Twitch: twitch.tv/monstercat YouTube: youtube.com/UKFDrumandBass Facebook: facebook.com/MUZZHQ

MUZZ

So, Danny, you’ve got a few aliases, DNYO, Danny Olivera, Danny Loko... any more we should be aware of? Or just the 3?  There are a few more. These I like to keep hidden from the public. DNYO and Danny Oliveira already confuses people, imagine if they knew the other ones :)  Tell me about São Paulo. What's the music scene like there?  Big metropolis. Lot’s of everything really. My fav city in Brazil for sure, great night life, best food, best service. Culture speaks very loud in São Paulo, so the music is always kicking.  How did you get involved in the scene there?  I started making my own little parties, soon enough I started spinning at local clubs. But after living abroad I had a much better experience when coming back. Times were good. This was 2005 I think. There were lots of groups of different tribes making the night of the city back then. I miss how simple it was and the effect it made on so many.  Have you always been into electronic music?  Pretty much since I was 14. I got into my first club night when I was 15. I used to sneak into a few clubs at that point back in Miami. By 16 I was already hooked on Oakenfold, PVD, Tenaglia, Sanches, Calr Cox, all of the ones that came to South Florida, I was there.  How would you describe your sound/the music that you play?  If I’m spinning straight up techno Danny Oliveira night, that sound is not the typical Pop “Business” Techno you hear these days, as I don’t like the usual, never did, so the sound is considered to be designed differently, when there’s time for “loops” they will be there, when there’s time for serious arrangements and progressions, they will be there as well. If I’m spinning as DNYO, then it’s a whole different world. It’s deeper, sometimes melodic, but mostly hypnotic. I go through big chunks of House and Techno as a base and DNYO comes out. It’s a mixture of a lot of things put into one, there are no rules for DNYO, but it does concentrate more fans alike around the Progressive House styles.  What's been happening recently? Any releases that we should keep our ears out for?  Lately I’ve been working on a few ideas with some friends. These, consist of making a move towards some new ground for music here in Brazil, it’s a slow process due to our current situation in the world. I have some music due to come out on Juicebox India and Timeless Moment still this year but we’ll have to wait and see.  What have been your most memorable gigs over the last couple of years? Hmmm, Hyderabad last October. I get the chills just thinking about it. Forest Peak 2 years ago, it’s an intimate techno experience up in the mountains of Rio, that was something to remember. Spun at D.edge with a couple of friends, very close and intimate night, lots of friends came out, special night.  What are the best clubs for underground tunes in Sao Paulo?  Probably D.edge is the only place to go as a club with an underground agenda.  Where can we hear you DJ?  Really underground parties when I spin techno. DNYO gets way more exposure and dates outside of Brazil. We will have to wait for this pandemic to pass and see what holds for the industry, so that many of us can start planning again.  Are you on the streaming bandwagon like the rest of the world? Or will we have to wait until this whole thing blows over?  I’m not on that wagon, I’m outside, like a drone. Just flying through, watching and consequentially waiting for that wagon to crash and eventually die. The Napster People. It’s unbelievable how millions of artists and musicians simply let these smart guys take away their rights. Pull it from the inside out and drain it for 14% of 1 cent on the Dollar. No wonder the world is at where it is these days.  Can you give us your top 3 plugs in the studio at the moment?  Ovox from Waves is really good. Parallels from Softube and Thermal by Output.  Any advice for budding producers looking to go down the rabbit hole?  They can dive in and fight their way through, hopefully they can come in with some history in their heads cause this, where we are right now, is far from being the best model of an industry. Or they can stay in wonderland. This is the worst time to be a musician/ producer/ let alone a DJ. It has been for a couple of long years. I’m doing it because I still have some fuel left in me. Not everybody does. That fuel comes from a lot of things put together, a certain structure that is extremely hard to come by and that in the days of today, it’s just not possible, I don’t see it any other way.  What do you like to do away from music?  When I’m away from music I race. Unfortunately I don’t live in Germany, but I do my best to drive as fast as I can, anywhere I can. Gives me an edge. When I can’t, you can always find me racing in my favorite Simulators in an online lobby somewhere.  Who are you listening to at the moment? Any artists standing out for you right now?  Mostly, these days, Ambient. Sound healing. Apart from that, any thing that sounds new, futuristic, “fresh”. Forest Drive West. Barker, BAILE, John Gurd, Altus and Poemme, put these one and take a deep dive.  What's planned for the remainder of 2020?  No idea man. My releases are on pause due to this pandemic. Right now the plan is to stay sane and persist the inevitable.  Favourite food and place to hangout?  Grandma food is my favorite. There are a few places, but I’ll mention one that I’ve been going since I was a teenager, It’s called “Casa da Pizza” in São Paulo. It’s in front the Repreza do Guarapiranga - the main body of water the state. It’s a pizzaria. Best Pizza in town, best service in town. I usually grab a big table and make a lot of noise with friends, extremely friendly place, feels like home to me.  LINKS: https://linktr.ee/dannyoliveira

DNYO

DEBUT ALBUM, SLOB STORIES OUT AUGUST 28

Dave The Band

Summer is an exciting season for artists and audiences alike, with an increased demand for new music to fuel outdoor activities, summer flirtation and the general highlife that comes with it. Tiahi’s new single “Get Loving On” does exactly that and after the success of his previous release “Free” we reached out to the Berlin-based singer-songwriter and multi-instrumentalist to chat about the story behind “Get Loving On”. P: Tiahi, Get Loving On is definitely a love song with a creative storyline but at the same time also a true summer song  - what was the inspiration behind it, where did you write it and is it based on a true story? T: Yes and no (laughs), it went like this: I was in Vienna for a workshop and one night we went out to party. We were all buzzing from the day and then there was this beautiful girl that I just had to get to know. We really hit it off and I guess it was a bit of love at first sight, if that still exists. P: And then you got your loving on? T: No, actually we didn't (laughs again). As if the distance Berlin-Vienna wasn't enough, I was flying to Costa Rica for 3 months the following week and I found myself on the beach, thinking about all the things I'd want to do with her if we were closer and that's how I wrote the song basically. P: Wow, that's an amazing story. But with a bit of a bittersweet ending I guess.. Sounds like you didn't get to do the things you are singing about after all, so how does performing the song now make you feel? T: Oh I feel great about it, I'm thankful for the feeling she gave me, the inspiration and the buzz. Takes me right back to Costa Rica and reminds me that there is more love waiting out there.. P: No doubt about that. One last question that I just have to ask: how do you come up with a line like "Water so clear you see right through / Jump off a plane in Tuvalu"? Have you been? T: That's a good question (laughs). I was traveling in the South Pacific, 10h ferry ride in Tonga where I met this guy from France who'd been in the area for ages and he told me a lot of stories and one of them was about him jumping off a plane in Tuvalu, skydiving. I never forgot about it and when I was writing the song it popped up in my head and I was like 'yep, that's it'. P: Fantastic, Tiahi, thank you for your time and all the best for your upcoming releases T: Likewise, thank you for having me!  Listen to “Get Loving On” on your platform: http://smarturl.it/88gq0i  Find Tiahi on Facebook: www.facebook.com/tiahiofficial Find Tiahi on Instagram: www.instagram.com/tiahi.music  YouTube: https://youtu.be/7hs-mZpFetM

Tiahi ‘Get Loving On’

CRYSTAL CITIES announce second album and return with the sharp and hard-hitting new single DON’T SPEAK TOO SOON

Crystal Cities

PETRIC RETURN WITH STRIKING NEW SINGLE "DÉJÀ VU"

Petric

Zero

Zero

Among The Restless

Among The Restless

Rich, you’ve been one of the more recognisable names in Australian progressive house for a while now, can you tell us a bit about how you became a part of the scene? Were you always into electronic music? I only began delving into underground electronic music at around 2003 when I was sharing a house with someone who collected vinyl records and liked to play them most afternoons after work. Prior to that I was 100% into heavy metal and guitar bands (which I’ve recently started to return to, just for some added inspiration!). Becoming part of any music scene in a town as small as Brisbane is definitely a challenge but when I first decided to give it a go I wasn’t aware of that nor had any set goals to strive for, I just knew I wanted to a) get behind a DJ booth in public, b) run my own night-club events, and c) host and meet as many international touring DJ/producers as possible without going completely broke. Looking back at the progression (pardon the pun) of the last 14 odd years I guess it has worked out rather seamlessly and sequentially, but it’s been a great learning experience and regardless of any musical or artistic benefits I feel being involved in the underground music scene has completely revealed my inner self in ways I doubt would have been possible otherwise. I’ve heard a couple of people say that the scene in Brisbane, where you’re based, is a bit unique. How would you describe the music scene there these days? Is there much room for progressive house or the more underground genres of electronic music? As I alluded to with the earlier question, yes it’s tough getting a foothold and staying relevant in such a small scene but there are definitely as many positives as negatives. These days the Brisbane nightclub world is very regimented, structured and defined in terms of not only musical genres but desired clientele, fashion trends and most definitely age demographics. Unless a promoter is happy to host events outside of the dedicated entertainment precincts, and rely more heavily on their own promotional skills or focus 100% on building their own fan network, they’re very restricted in the choices they have when running those events. I guess that’s not necessarily entirely a bad thing as it allows the crowd to be more informed and discerning, but there are only so many nights per year for events to take place and only so many dancefloors available. Put it this way – I’m glad I no longer have to promote events!  Recently, you welcomed a new member into your family, which is huge, btw, congrats! As someone who is normally quite busy in the studio, did that affect your production? Thanks! Yes Violet arrived 9 months ago and has turned “normal” life into something else! I consciously made a decision prior to her birth that I’d close off any studio activity until the newborn routines had stabilised enough that I could once again successfully multi-task. I didn’t want to deal with the stress of pushing myself to be musically productive at the same time as learning how to be a Dad, and so far it’s been the right move. I’ve used the last 10 months to completely rebuild my studio setup, install a few gadgets and finally buy some bass-traps which have made such a difference with my confidence in front of the speakers. The brain is currently over-flowing with musical ideas so I’m super keen to get back into a production routine, hopefully within a few months time.  How would you describe your sound? As a DJ I try to hover between a few genres, obviously progressive house and techno, but since around 2016 also breakbeat. Playing longer gigs in South America over the years has taught me that musical energy is as important as technical skill and track selection, so throwing in 15 or 20 minutes of breaks in a prog set has a huge effect on dancefloors when I’m playing gigs, as well as in recorded mixes which can get a little monotonous after a while. As a producer I’m obviously locked into the progressive genre and continue to find inspiration in productions from the masters such as Guy J but also weird and unique masters such as Maceo Plex. I guess prog is my “safe space” when in the studio but I still enjoy making it so have no real need to take risks at this stage of the game. I find your sound quite unique, which is a huge accomplishment in the overly- saturated progressive house market. Were you actively trying to produce something different, or has it always been organic? That’s good to know, because yes I have always wanted to have a different sound if possible. Most of the time if I’ve got something unique going on it’ll be a happy accident however, as I’ve never been deeply interested in synthesis or the nitty-gritty of sound design – I just like trying as many synths, drum-machines, arpeggiators, effects units and manglers as I can find, seeing how far I can bend and twist traditional sounds and hopefully capture what comes out the other side. Luckily I have a steady day-job so I don’t need to rely on music to make a living, but if I did I honestly think I would get bored with studio production due to having to churn out tracks on a schedule and focussing on my own “sound”, as I know so many producers do. Expression and inspiration go hand in hand for me, if I was unable to be inspired (because the studio was a workplace) I doubt I would be able to express myself musically! Your podcast “Resolutions” started 10 years ago, and still goes to air each month on Frisky radio. That is a hell of an accomplishment, congratulations! Tell me, what was the motive behind starting that? 10 years, such a long time! Other than just loving to make DJ mixes the motive for the podcast was two-fold, a) to keep myself in a regular routine of track-hunting, technical practice and label/artist research plus b) to boost my DJ profile and have something to promote myself with. At the start of it all I was obviously still too fresh to be getting booked for gigs so having a mix-tape/CD/podcast to hand around at events and to promoters helped massively even with such a small audience. Being hosted by friskyradio these days is a great privilege as it’s always been such a steady, reliable and well-respected home for progressive music even now with the uptake in streaming platforms such as Spotify. In recent years I expanded the show to a 2 hour format so I’ve been opening up the 2nd hour to a few guest DJs here and there, for the most part focussing on like-minded DJs from Brisbane, of course! Have there been any stand-out years in terms of quality, music- wise? Have you ever found yourself struggling to compile enough decent tunes? To be honest no, there has never been an especially lean year or a stand-out year that I can recall. I’ve always found way more music than I could ever hope to play and there has never been a struggle even just relying solely on Beatport and not having to branch out to the other smaller retailers. I guess I have put in a lot of time over the years when tune-hunting and researching labels, so that must have paid off compared to what other DJs are experiencing. It’s amazing how much good music is out there at any point in time! After so many years at it, has your objective with that mix changed much over the years? Resolutions episodes have always been something I’ve wanted to be able to listen back to myself, to feel that they capture a certain essence of the time they were created both from the point of view of tempo and genre, but also where I was at as a DJ and where my career was situated. For example any episode after mid March 2013 would probably take on more of a melodic, hypnotic and subtle feel due to me having visited South America for the first time and observed how the people respond to those kinds of aspects of the mix. I think anyone can create a weekly or monthly podcast but if those mixes are created purely as a promotional vessel for the chosen tracks (or even just for social-media clicks) and there is little or no consideration to the flow, the energy, the emotion, then they’ll be more difficult to enjoy let alone remember. Speaking of changes, I saw you post something about a new project called "Meld" recently. Can you tell us all what that's about? Meld is a concept suggested to me by my friend, Filip, in the USA who has been a big fan of Resolutions for many years. Filip is not a DJ but loves electronic music. The idea was for him to curate a batch of electronic tracks that he loved and I would then piece them together in the studio making a special one-off DJ mix just for him. I think it’s a fantastic idea which allows fans to connect to the DJ, melding the two different yet intertwined passions for music. I’m hoping people will approach me to make more Meld mixes in the future, who knows it could actually become a “thing”!  You were due to tour South America for the 7th consecutive year in a row this year, obviously you can’t due to Covid-19, what’s the plan for you now? Travelling and gigging through Latin America has become such a regular part of my life since 2013 that to not be over there at all this year really does feel odd. I’ve made so many friends there over the years and it’s rather painful to think of what they’re going through with constant quarantines and plummeting economies. Along with all the other out of work DJs I sure can’t wait to see a vaccine or some other end to this whole debacle but who knows when that is likely to occur. Clearly my plan right now is to stay locked indoors but as soon as the borders are opened up again and it’s safe to take long-haul flights overseas I’ll be hunting down gigs again and dusting off the old Spanish-language textbooks! What’s your DAW of choice in the studio, and why? I’ve only ever used Apple’s Logic when in the studio, mostly due to a lack of time to delve into any other DAWs. I’m keen one day to try Ableton and I believe the latest version of Logic actually shares many of the same workflow features so it could be a seamless switch. But after more than 10 years using Logic it’ll be tough to beat! Top 3 plug-ins of the moment? I’ve actually been researching lately into the world of Channel Strips and Pre-Amps, in a software-sense. So initially my answer would be biased towards the Arturia, Black-Rooster and Univeral Audio products in that category as they can add such a nice subtle colouring to any sound. In terms of synths I’d have to call out a bunch of Kontakt (Native Instruments) 3rd-party libraries that easily stand out from the herd, such as Tronsonic and Phono Loop’s Texture Mozaik. There’s so many options out there for making sounds so my money will always go towards the plugins that make weird and unique results without too much effort or technical know-how. Who are you listening to at the moment? Any names that are standing out for you? There’s always someone new and fresh popping up in my crates so this is a pretty easy question to answer: Jonas Saalbach, Hansgod and The Micronaut come to mind. Well worth checking out! What's planned for the remainder of 2020? Aside from continuing to push Meld and Resolutions further along I’ll also be returning to making originals and remixes in the studio by the end of 2020, but am more excited to finally be getting some traction on mine and my mate Verve’s new record label idea. In a similar fashion to Meld we are trying to stand out from the crowd and the releases we’ve planned will be very different in format and content than your regular electronic music label. Stay tuned for that, the label is called Context Digital and will be coming to all the good music retail stores very soon! Genre: Progressive / Melodic Techno Booking Requests: richwool@gmail.com Beatport DJ: http://dj.beatport.com/richcurtis Beatport Artist: http://www.beatport.com/artist/rich-curtis/161317 Soundcloud: soundcloud.com/rich-curtis/ Hearthis: https://hearthis.at/richcurtis/ Mixcloud: http://www.mixcloud.com/RichCurtis/ Resident Advisor: http://www.residentadvisor.net/dj/richcurtis Facebook: https://www.facebook.com/Rich.Curtis.DJ

Rich Curtis

Alex Hosking

Alex Hosking

Where are you currently based? I’m currently based in Perth, Western Australia. How did you first start playing music? I was singing as a hobby from a young age but my proper start came in when my cousin and fellow artist, Rosel, asked me to join a studio session a while back and I thought I’d get on the mic and give this a go. After the session, I had my first feature on an original song called Nightfall. What's been happening recently? As you know, I just released my debut track ‘Mean That’, but I’ve also been working on A LOT of original music, and some collaborations in the Dance music scene, keep an eye out! Your new single 'Mean That' is out now, what influenced the sound and songwriting? ‘Mean That’ is my first piece of original work that I’ve banked for a while and I’m really happy to put this out. I wrote the song while I was going through some relationship struggles. People say things and don’t mean it and when you leave the relationship they go back to saying things they don’t mean to get you back. It’s like a never ending cycle and I wanted to portray it. The track overall has a very RnB and pop vibe, which mesh well together. But it would be great to hear from everyone what they thought about the track, my DM’s are open! Where and when did you record and who with? I probably finished recording ‘Mean That’ at the start of 2020 with FRAAN, an incredible producer from Perth. He produced the track for me too!  What do you like to do away from music? I am a huge sports fan, so there’s a lot of games I keep up with on the weekend. I play sports and love to hit the gym too. Along with this, music and my day job, I try find time to keep a social life! Who are you listening to at the moment? As you’d expect, Drake is one of the main artists on my playlists but I’ve been vibing a lot of Bazzi and Stanaj lately. What's planned for the remainder of 2020? It’s going to be a busy few months for me, I’ve got a few collaborations and original work releasing soon. As I said, be sure to keep an eye out. Favourite food and place to hangout? There’s nothing better than being at the local pub watching the footy or soccer with the boys, then having a chicken parmi (laughs)! Listening link:  https://tiny.cc/coreyhollandmeanthat  Socials:  https://instagram.com/coreyholland_ https://facebook.com/coreyhollandofficial https://www.youtube.com/coreyholland 

Corey Holland

John Markey and Oliver Melling's new three-track EP is a pristinely produced house record, placing themselves and budding new label Jackie Knows Karate Records at the forefront of Scotland’s dance music scene. The record is the sixth impressive release to come from the label and sees the pair confidently step into the House genre. Deep and atmospheric, March Last Year is one for the afterparties. The opening track tao b.u is a wafty 6-minute number that ebbs and flows over arpeggio synths, building heat until the final fifth-minute drop. TSDM is an altogether more visceral house track that manages to retain the same level of atmosphere while a dark, driving riff means the track is at home on the sweatiest of dancefloors. Raw and dramatic, the third and final track, Tokens, delves a little deeper. A slower-burner than its predecessor, the energy radiating from this track pulls the groove forward until the middle-break when the dancefloor is given some breathing space before  he final drop carries the EP home. Oliver Melling said: “These tracks were conceived at a time when we were playing longer, heavier sets in all manner of weird and wonderful places. Taking to the booth often three times a weekend was frenetic. “The energy was wild, exciting, exhausting - so many thoughts and goals were all swirling around during this period in which these tracks were produced. I think that while they're obviously designed for certain environments - dropping an early version of TSDM closing the Dockland stage at Riverside Festival cemented this - they reflect that period of our lives accurately and personally: heavy, raw, and sleepless.” Hailing from Glasgow, We Should Hang Out More are longstanding champions of the city’s thriving dance music scene. Since arriving on the scene in 2014 Oliver Melling and John Markey have evolved from fresh-faced upstarts putting on small parties on the fringes of the Glasgow scene, to becoming two of the most celebrated DJs and party curators in Scotland. Known for being trailblazers of the underground, WSHOM operate on a ‘good music for good times’ ethos. It is no surprise then that blossoming homegrown label Jackie Knows Karate Records is boasting their latest release. Centred around a philosophy of “No BS. Just Pure House.”, the label has already accumulated an impressive stream of releases that have gained support from the likes of Patrick Topping and Shiba San. https://www.facebook.com/weshouldhangoutmore https://www.instagram.com/we_should_hang_out_more/

We Should Hang Out More

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