Interview & Substance Family Fiesta – May 26th @ My Aeon

by J-Slyde

Interview & Substance Family Fiesta

We’re back with one hell of a shakedown this May 26th!

Interview Crew and Substance are bringing it way back to the glory days where we all came together in beautiful dance music madness and mayhem. Ready the babysitter you old farts.

It all began in December 2005, at a wonderful city bar called Tilt Bar. Appropriately named due to the overwhelming amount of action this wonderful venue dished up. A couple of Technics 1200’s and a bunch of kids got together with thier mates and told Melbourne exactly what was going to go down. TUNES.

For many years after its inception, Interview grew and grew and became a place of worship for progressive and trance heads Australia wide. We all loved everything that was being created in this intimate and house party style event and loved to catch up with each other each month.

Leading on from the Interview crew, we had the incredible pleasure of seeing the Substance crew blast out onto the circuit and reap havoc in thier own brilliant way accross the scene. We are proud to incorporate Substance into the proceedings this year and bring the vibe in tighter and wilder than ever.

After such a long wait, Its now time to catch up with ‘our chosen family, maaan’ and laugh at how old we’ve all become. Leave responsibility at the door whilst the following caretakers show you how to misbehave again.

INTERVIEW (Downstairs)

Blinky (100% LIVE)
Ben Evans
Jules Plees
Mojo
Scott Bateman
Steve May
Mike Nichol

SUBSTANCE (Upstairs)

Dave Juric
Miza
J-Slyde
Simon Murphy
DJ Taran M
Alex David

PRICE

$15 On the Door
$10 Guestlist

CLICK HERE TO SUBMIT NAMES FOR GUEST LIST

Limited to 400 Patrons, first in best dressed.
Doors open 10pm till very late.

WHERE

MY AEON – 791 Sydney Rd, Brunswick VIC 3056

SHILOH and LUKE CHABLE ~ August 12th @ Brown Alley

by J-Slyde

Shiloh and Luke Chable @ Brown Alley - August 12th

Substance Sounds and LockNLoad are proud to present Justin Moreh, one half of Canadian duo Shiloh, and Melbourne’s own Luke Chable in an exclusive three hour back-to-back retrospective performance.

Having never toured or performed in Australia, Shiloh have been somewhat of an elusive act to Australian clubbers until now. With over 8 years of success at the forefront of progressive music, it’s hard to believe that neither of the brother duo have ever made it down to Australia, especially considering their close ties with Melbourne progressive kingpin Luke Chable.

Taking time out from their collaborative rock project, EMPIRE, Luke and Justin are set to deliver what will be one of their last performances before they knuckle down to work on the release of the debut EMPIRE album. Needless to say, for all self respecting progressive fans, this is an experience that may never be repeated and is definitely not to be missed!

Joining forces for the first time, Substance Sounds and LockNLoad will transform Brown Alley into a progressive house wonderland. Not one corner will be cut in order to deliver a memorable experience for all. A top of the line sound-system tuned to prog-perfection will ensure that the quality of sound is of the highest caliber. With a keen nod towards the vibe of yesteryear, a full color laser display will be in effect, provided and controlled by Melbourne based laserist pHotonCulture (aka JaseFOS). World renowned VJ, vdmo Kstati, will also be in the visual cock-pit, projecting onto large screens throughout the venue to complete this audio visual assault.

 

LINEUP:

● Shiloh (Canada / Baroque)
● Luke Chable (Lostep / Trojan Records)
● Steve May (Baroque / Armada)
● J-Slyde (Substance / Prognosis)
● Jules Plees (LockNLoad)
● Simon Murphy (Substance / Prognosis)

● Visuals by vdmo Kstati
● Lasers by pHotonCulture

 

WHEN:

● Friday, 12th August – 10pm till late

 

WHERE:

● Brown Alley- 585 Lonsdale St, Melbourne

 

TICKETS:

● $15 early birds from promoters – only 50 available. BE QUICK!
● $20 industry tickets from promoters
email tickets@substancesounds.net to secure

● $20 + BF online tickets from:
Festival Tix
Substance Sounds
Facebook – Click the TICKETS tab on the left hand bar

 


SHILOH (Canada / Baroque)

http://www.shilohmusic.ca/
http://www.facebook.com/shilohmusic
8 years into their collective career as Shiloh the Moreh brothers need no introduction. In such a fast paced high turn-over industry Shiloh is a godfather to the latest incarnation of the progressive dance music scene without a doubt. In fact, you’d be hard pressed to find a progressive house DJ or artist that doesn’t cite Shiloh as an inspiration and influence.

Shiloh LiveShiloh’s rise to the top came fast and furiously with their very first single, “Will U Ever Come Around“, signed as the theme to a reality UK TV series and was one of the biggest dance releases of 2003–getting hammered by Sasha and pretty much every one else for that matter. The progressive breaks genre that had taken over at that time was championed by Shiloh and you couldn’t crack a magazine or e-article about the scene that didn’t mention that fact. 2007’s “Café Del Mariachi” by the duo is another highly notable release–one of the biggest records of that year, getting constant play from Sasha for months. “Cafe Del Mariachi” firmly entered the cannon of all time great progressive house releases.

As producers Shiloh are an icon of the dance music scene. Their discography has grown too numerous to keep track of with well over 100 entries of originals, remixes, compilation appearances and video game credits. They’ve done remixes for EMI and Global Underground, been commissioned by Jaguar Motorcars, and their music has made it into a handful of Sony Playstation games. Their fans include Sasha, Paul Van Dyk, Tiesto, Armin VanBurren, Hernan Cattaneo, Paul Oakenfold etc. who have all given heavy support regularly playing Shiloh’s tracks for almost a decade. Their music has been remixed by greats like Nick Warren and their mix compilation appearances resemble a who’s who list.

Shiloh’s full length artist album “Bleed” was named DJ Mag’s “Album of the Month” receiving 5/5 stars, praised as “little short of magical” and compared to dance music legends Orbital for album track “Melt”. The praise continues on with M8 Mag’s 8/8 and EQ Mag’s 5/5. “‘Bleed’ is arguably one of the most anticipated album releases in recent memory. No doubt that Shiloh with ‘Bleed’ has created an album that will earn them a place in the top of the leader board between BT, Hybrid and Way Out West. I can’t praise this album enough, the quality and the pure pleasure of listening to this album will mesmerize you.” (Clubbing Magazine)

Shiloh’s BBC Radio 1 mix on Annie Nightengale’s show (one of the most listened to radio shows in the world) went off to massive praise. Shiloh are in the highest demand as DJ’s and regularly play in all the far reaching corners of the globe, taking top billing at some of the best clubs, parties, and festivals around the world in Europe, Asia, Africa, and North America–headlining to as many as 12,000 people at Russia’s DJ Parade Festival.

Shiloh’s illustrious journey through this scene hasn’t been driven by marketing specialists or press juggernauts. Their success hasn’t been fueled by gimmicks. In fact, one thing has spearheaded their career and one thing alone… their music. It’s this fact that has made Shiloh an undeniably revered treasure to all progressive-minded dance music fans–a sentiment that has withstood the test of time and will continue to for many years to come.

LUKE CHABLE (Lostep / Trojan Records)

http://www.discogs.com/artist/Luke+Chable
Luke ChableLuke Chable has been at the forefront of the international dance music scene for almost a decade. Since his first release, ‘Accelerator’ (under the moniker Traveller presents Quest) which sold out of four pressings and appeared on no less than eight compilations around the world, Luke hasn’t looked back.

It wasn’t long before Luke had a plethora of original releases under his belt. Club hits like ‘Eat Static’, ‘Sealer’s Cove’, ‘Midnight In Cyberfunk’ and ‘Bitter & Twisted’ were standouts. The quality of Luke’s songwriting and production skills was soon recognised by DJs across the planet and his tracks became regular favourites with the likes of Deep Dish, Sasha, John Digweed and Danny Howells. Following on from this support, John Digweed signed Luke’s smash hit ‘Melburn to his Bedrock label. This in turn put Luke on the global map and set him up for his overseas success.

Luke’s defining moment on the international scene came from a collaboration with Danny Bonnici from seminal Australian electronic act Nubreed. ‘Ride’, a melodic, progressive house bomb was signed to major dance label Alternative Route and the rest is history. The instant success of ‘Ride’ set Luke up as an international powerhouse. In 2005 Renaissance invited Luke to do a compilation mix CD with Dave Seaman before embarking on a year long tour of the UK, Europe and the United States to support the release.

Off the back of his solo success, Luke has been a remixer in demand. His thumping main room sound has been sought after by labels such as Bedrock, Positiva, Ministry of Sound, Yoshitoshi and Black Hole. Some of the big names Luke has remixed include Steve Angello, James Ash, Tune Brothers, Stockholm Syndrome, Kasey Taylor and Shiloh.

More recently Luke has been collaborating in the studio with Australian dance legends TV Rock. This partnership has proven to be a killer combination with the hugely successful releases ‘Happiness (I’m Hurting Inside)’ and the hit ‘In the Air’ – feat Rudy which was released on Axwell’s Axtone Records. Luke has also remixed numerous TV Rock originals such as ‘Everything Changes’, ‘Times Like These’.

More recently Luke has provided remixes for UK superstar Dizee Rascal, ARIA winner Bertie Blackman, TYDI, Tin Alley, Sunlovers and Kaz James.

 

The Digital age of music from slim beginnings to what we have now

by Taran M

The internet was inevitably the Trojan horse of the music world. The unknown steed was wheeled slowly into the fort of the music fraternity, mystified by this technological gift, speculative about its power, amazed by the sheer beauty of its concept and above all ready to exploit the power that lay before them. Unfortunately what lay inside that was given to the secure guarded palms of the music industry was the very thing that would reshape it forever. In June 1999 the beast slay the confines of the walls and revolutionised the consumption of the musical world. From here in the metaphor ceases and so did the sure-shot multi-billion dollar industry we here on planet Girth call…music.

Ableton LogoNapster turkey slapped the music industry, slept with its sister and then defecated on its parent’s bed and introduced itself as the arsehole “Johnny Rotten” Boyfriend of a virginal industry that had never really been threatened. Sure record companies had been competing against themselves for sales, signings and strength. But now they were all challenged by their own product, their own sales had turned around to them, repacked themselves and gone AWOL. It’s the equivalent of the Navy Seal team storming Bin Laden’s safe house, kidnapping him to the outer regions of Mongolia and demanding a ransom. How would Barack Obama deal with this, he’d “kill em all” and that’s exactly what the major record labels did.

The “I disappear” fiasco which triggered Metallica’s famous court case against Napster, subsequently initiating hundreds of others, gave us the very clear reality of what was at stake, more importantly what we sometimes fail to see with peer to peer sharing. While the reaction from the public was especially skeptical of a multi-million dollar band complaining about losing a few thousand sales, Metallica was not just drawing a line for themselves, but for the other bands or producers that they supported. For every major label success, there are six failures. Bands that get a record deal get forwarded $60K to make their record and more often than not, fail to meet sales expectations over three albums. Three albums times $60k is a lot of money for producers and bands to recoup when they’re earning roughly $2 per album sold. So to appreciate exactly why Napster became the target of nearly every record label and most bands is understandable. Napster is great for free exposure, but I would never base a foundation of a music career on the basis of peer to peer websites if I was an unsigned artist.

CDJ200 USB inputNapster cut the wound and for a time the wound was stitched. Record labels realised however the imminent threat. When Napster went to a paid website, the whole medium of how music could and should be distributed by record labels entered into a whole new realm. The effect on this especially rippled through the dance scene. Music consumption has developed considerably since the late 90’s through to today by a combination of the way music is played and how it is purchased. It’s funny to think that the cutting edge of dance music, the new technological revolution, up until about 2004 was banged out with a device originally conceived in the late 19th century, the humble turntable. As 2005 hit the CDJ cut the swathe through the electronic scene, tearing through the rotary drive denon CD players like the sword named Excalibur. Suddenly in no less than six years, turntables are an “Analogue clock in a digital age” to quote George Clooney in Oceans 11. DJ’s no longer carry 300,000kgs of vinyl that they might play, or not. The advent of the latest Pioneer CDJ’s allows the DJ to wander into the club with two USB’s (If he has enough faith). Macbook, Serato, Ableton, Traktor, Dongles and APC controllers now litter the dance scene, the humble Technics 1200 is sitting at the unemployment line or the pension office muttering its jaded diatribe “The scene has changed man” or “It’s not like how it used to be in the olden days”. Yes the discontinued 1200 is now eating cat food, wandering around the pub and hoping that number 6 in race 3 at Randwick is going to pull through, just so it can buy some budget steak for dinner. In short it’s dead and technology is the box they are going to bury it in.

With all these advents in technology of course the way users and abusers of music purchase tracks is going to change. After its initial inception in 2004 and then re-release in 2007, Beatport opened…….. a port…… to true online music purchasing for the dance music scene. There was no more shipping, no more waiting for that Aust Post slip to say tracks had arrived. The whole art of relic hunting for the likes of 5:55 by Durango was gone.

Beatport LogoWith every action there is a reaction of course and as Beatport inspired others to do the same, major dance labels stopped pressing as much vinyl and their stores evolved into online digital download stores. Slowly but surely the likes of Vinyl Warning shut up shop, focusing on equipment only. Beatport’s inception, and the digital age in general, inspired Producers to not look for a major label to support their quest for promotion and fame. If you can hook onto Beatport, or any of the boutique labels our production talents can be wormed all the way through the world. Just think right now DJ Novi Stoalstarki from the small nation of the Ukraine could be banging out Blinky’s “Kiss not a Kiss” or any number of Kalus’s tunes to a bedroom crowd, to 800 people at the “Capitol to Central” (I hear it is Moldova’s biggest nightclub) or to himself as he hunts down wild game with a rusty coat hanger and a picture of Jennifer Love Hewitt. The fact is that this Digital sphere has harnessed the world of electronica and shortened the very big distance that needs to be covered by producers in Australia. Australian artists like Steve May, Blinky and NFX have their tunes played by the likes of Tiesto, Dubfire, D-Nox and Beckers and maybe even DJ Novi Stoalstarki (If he even exists) and for them I know personally this is extremely humbling.

The other effect of this last five years has been the closure and the slimming down by major labels in the dance scene due to technological advances. As I mentioned before producers are able to farm their tunes off to boutique labels on Beatport and if marketed right can expect some degree’s of royalty payments. The major labels are no longer the shark in the pond, just a slightly larger fish in an ever expanding sea. Two weeks ago Kevin Energy announced the subsequent closure of the “Nu energy Collective” sighting all of the above as explanations for the dwindling sales. For those that don’t know of Nu energy, they have been strong in the Hard dance, free-form and Happy hard scene for over 15 years. There are more to come in both the electro, hard dance and tech scene’s, that I know of personally. The big cause again comes down in part to that ugly beast, that we all love and use… Peer to peer sharing.

Carl Cox 'avin it large on some Vinyl back in the day!I really wonder if the whole torrent thing is a backlash by people who think the music and now motion picture industry are just greedy. Peer to Peer sharing has never been so out of control and don’t ho and hum, unless your brethren or you haven’t looked at a PC since 1985 you have illegally downloaded something. Everybody wants something for as next to nothing as they can get it. With torrenting as rampant as planking at the moment I guess we can’t really tell what is going to happen next. I guess for the best part that is why they call the future the unknown. I’m sure if you told Carl Cox ten years ago that one day his set would just comprise of him playing solitaire and Ableton instead of working up a sweat with three turntables, he might have a heart attack. But that’s the way it goes, who knows what is going to happen next? We just might have to brace ourselves for some pretty interesting developments as the life of dance music continues to embrace adulthood.

Melbourne’s Beautiful Scene and why it’s the centre of the earth

by Taran M

When it comes down to brass tacks, we all know which city in Melbourne will forever hold the title of Australia’s electronic music capital and it is of course…Melbourne.

From the very first times I started going out, on reflection it was always clear to me that there is something special about the Melbourne scene. Whether it be Progressive, Tech, Psy, Hard trance, electro, drum and bass our beautiful city carries its flag highly on our mantelpiece.

So why does Melbourne work? Why is it possible? Who wrote the book on love and why does the toilet flush when I haven’t even pressed the button; I think I am digressing a touch.

From the time I first started going out late last century (no really 1997!) the thing even as a newbie party goer that I noticed was that the different genre’s of electronic, majorly techno, House and trance/ hard house all intertwined in some way. Whilst purists and pundits did exist there was co-existence and intermingling between all factions. From its inception Hardware insisted on blending tech and house, there CD releases on Shock Records would be split into a house disc and a techno disc. From the onset of both Hard Kandy and Bass Station, Hard trance and house music and electro was always paralleled albeit in a side room. Hard Kandy went as far as having two house DJ’s playing on rotation for warm up sets. The much famed and missed NRG parties run by smile Police always encouraged a plethora of music styles and whilst very much a “rave” spectacle never failed to mix genres on any stage at any time. This establishment of diversity and working together basically galvanised relationships and genre based promoters. And while at any given period a genre can hold popular demand it has never been seen to issue “coup d’état” amongst the others.

All you have to do is look at the festivals that Melbourne holds to understand exactly how deep Melbourne’s scene runs. Since the hallowed Days of Every Picture tells a story, Belfast and the early years of Hardware there has always been an “Enjoy Music” at major events. Rainbow Serpent, Summerdayze, Welcome, Good Vibrations, Stereosonic, Hot BBQ, and Future music are festivals that Bred from Melbourne promoters and have become state and even national success stories. At grass roots smaller scale promoters have been encouraged more than discouraged by the bigger promoters. More so Melbourne has bred promoters to appreciate the party more than the cash. It is amazing how quite a few of the middle tier production companies run at next to nothing budget’s just to throw a party, just to get people shaking it…like a 35mm picture.

There has never really been any such “stand over” tactics by larger scale promotion companies to undermine smaller event organisers. There is a healthy buffer and intermingling between the likes of lower, middle and upper tier promoters that helps breed a pro active approach to maintaining and growing electronic music. There is always going to be the fuckwit promoter who doesn’t pay his DJ or the arrogant, self absorbed money hungry promoter/ rapist that springs up from time to time. The only problem is that us promoters all talk to each other in one form or the other and sooner or later the evangelistic, fly by night promoter is found out, I can think of a few that have all to quickly sunk under their ego’s own mistakes.

It’s always going to be about the talent and in the words of Hunter S. Thompson in Fear and Loathing “We’re chock full of that!”. Australia’s first two early superstar DJ’s came from the Melbourne scene, Will E Tell and Richie Rich. I think sometimes we are spoilt to the point of under appreciation of the amount of talent around in Melbourne. Whether they be DJ’s or producers the quality of the gene pool in Melbourne cannot be under estimated. Whether you’ve loved Hard trance/ house, love it now or hate it with a passion; you cannot ignore the talent we have in Melbourne. The original Kandy crew of Scott Alert, Ajax and Krash are still some of the most talented producers and Dj’s you will find. NFX is one of those producers that can only be truly found once in a blue moon (I think we can claim Dr. Willis as well!).

Producers of all genres whether it be the Progressive/ tech stylings of Blinky (Beat Geek Records), the tech house/ electro antics of Kalus, Trance extraordinaire Steve May (5am/ Armada) showcase the depth of Melbourne’s talent. So much so that many of the above names have featured on the set lists and podcasts of such international stars as Dubfire, Armin Van Burren, Tiesto and Carl Cox. We can’t forget our biggest national dance music export, TV Rock who also hail from our beloved city. We have even thrown a major contender into the ever popular “Mash arena” in the vein of Substance’s own Mouka. Seriously this guy makes Girl Talk sound like a poor man’s Bob Hope. To list the talent in Melbourne in terms of DJing would require an almost dictionary like bible. Melbourne is “Spin city” a haven for the master of the pioneer, mac and now the almost extinct 1200’s.

Finally this article would be a miss without giving praise to the Melbourne crowd. I have partied in every city and played in most of them as well and I can easily say that WE ARE THE SHIT! You won’t find a friendlier crowd on a dance-floor than in Melbourne. More so Melbourne’s regular punters don’t just go out, they live and breathe the scene. Not so much as scenesters, but more as crowds that love their music, support their cause and promote our city for what it is, the centre of Australia’s electronic music scene.