Mumbai Science is the brainchild of two mild-mannered Belgian’s Maarten Elen and Jonas Kiesekoms. In a previously life they were scientists and also played together in a rock band, where they covered Soulwax tracks. Now, they are the first in line to be the kings of Future techno.

Future Techno is a new off-shoot which it takes the darker, more unhinged sounds found in the basements of Berlin, and combines them with the high-energy and impact of French electro to create Mumbai Science’s unique sound.

The follow-up release to 2011 anthem ‘Lotus’ is ‘Unified Theory’. Three EP’s that will be released over the next three months. From the moment you listen to ‘Researchers’, you know that you’re listening to producers heavily influenced by the DeWale brothers, we’ve said it before but ‘Researchers’ sounds like long-lost DeWale techno.

The whole track is underpinned with a sublime vocoded vocal, which is then scientifically sliced and diced to create a mind-boggling electro track than seems to continually build upon a crescendo of white noise and big drops.

‘Commandments’ is a much more deranged, darker offering – more Berlin basement than Paris disco – it hypnotises you with uneasy basslines, deep vocals and jittery percussion. They’re the two sides of the same coin, but show-off perfectly the dark and light side of the Belgium duo.

HBF Rating 4/5

Mumbai Science took some time out of their schedule to answer some of our questions. It went a little something like this….

You have three EP’s coming out in quick succession. What was the concept behind this?

Martin: Well, I guess, we started out by making loads of tracks, and we couldn’t decide which ones to release. We loved them all and really couldn’t decide which ones we should release. We couldn’t do it as a single EP; as there are too many tracks. And there weren’t enough to do an album; it’s not big enough – so we decided we would compromise and release three EP’s in a row.

Unified theory Part 1 explores the sound between techno and electro, but how do the other two parts differ?

Martin: Well, the second EP is quite a bit different. It’s deeper and darker, and the third is similar to the first. If that makes sense.

Jonas: Yeah. It’s the typical trilogy thing – like Star Wars. The first one is pretty normal, then the second one is really dark and then the final part of the trilogy no one knew what to expect. What we do know, is everyone is going to have an opinion on the final part.

There are know remixes in Unified theory Part 1.  Are there any planned?

Martin: Nothing yet, maybe later. We wanted to focus on our original tracks, for now. There are six tracks, if we got some remixes then it become 12 and it would become too much – so we aren’t really thinking about it. But, maybe later.

How long have you been working on the tracks? Do you work together or separately when writing music?

Jonas: We’ve been working on them since the summer, just after the release of ‘Lotus’. We took a week off and made some of it then. Martin can’t stop making tracks, he always making something new, but its taken quite a while to get them finished.

Martin: Our studio is at my place. So the tracks are made at my place, I send them to Jonas for feedback, and I implement the changes and we work it like that. We’re constantly sending stuff back and forth. We use both software and hardware. We tend to use Logic, with loads of plugins, but we also have our Moog and other bits of hardware. But, to be honest, I don’t have a strong opinion either way on what is best. So we work with both.

Belgium has had a big influence on Electronic music. Is Belgium more open to electronic music than the rest of Europe?

Martin: I don’t know whether we’re more open. But we do have a big history of electronic music in Belgium. You’ve got the New Beat of the 80’s, then you have 2 Many DJ’s & Soulwax who opened a lot of doors for Belgium producers. They’re a big inspiration for a lot of young people out here and for us. But, I think there’s a lot to get inspired by and influence by, because there’s a lot of coverage in mainstream media, not just the internet. So you definitely get a head start here in Belgium.

What’s the story behind the name Mumbai Science ? You used to perform under different name? Tell us about that.

Martin: Yes. We used to perform under the name Project Cyborg. But, it was time for a new chapter in our professional lives and our musical lives. It sounds really heavy when I say it like that. But, basically we changed the name when we signed the Lektroluv. The science part is because we both really into science. We were both scientists before we came to be producers and DJ’s. So when you look at like that it’s quite obvious. We’ve never been to Mumbai, but we’ll be there in January. So were pretty excited about it. Although we have no idea what to expect. According to Facebook, we have load of fans in India, but that might be because of the name Mumbai, than the music, haha.

Lotus was charted by loads different acts from Boys Noise to 2 Many DJ’s. For you what was the main highlight of 2011?

Martin: It’s has to be I Love Techno.

Jonas: I Love Techno.

Martin: I was a few weeks ago, we were there with all the big acts like Boyz Noise and Tiga. We had such an amazing set there, we closed the festival from 5am to 7:30am on the last day. There were still thousands of people dancing into the early morning. We got to talk to a lot people about the new EP and got great feedback and Boys Noise finished his set with our new track which was pretty amazing.

Jonas: We grew up with this festival, we used to go when we were 14. So when we got the chance to close it, that was a pretty special moment.

You’ve obviously have a history playing Live. Is this something you want to do with Mumbai Science?

Jonas: It’s certainly something we want to do someday. But, we haven’t really got anything planned. I guess if we were to do again, it would have to be perfect, but at the moment, I just can’t see our songs played live. I just don’t think we’re big enough to do it yet.

Martin: I love to DJ, and there’s too many great tracks out at the moment, so I’d be too hungry to do more if we were only doing live shows.

Jonas: the only reason why I think about it now is I miss it, it’s totally different when you play live then when you DJ.

Martin: If we do an album, it obviously would be the next logical next step. We would have worked on it for a long time and the music would be in our blood  - then it would be obvious to do a live show, but as we’re not there yet, we haven’t really thought about it, but maybe one day.

Have you begun to work on a Mumbai Science album?

Jonas: No, we’re only just finishing the final series of the EP’s, so were not speaking about it right now.

So we can’t expect an album in 2012?

Martin: No. If we make a Mumbai Science album it has to be perfect. We want to take our time. You have only got one debut album, and we’d want to make sure it’s just perfect.

If you’re studio was on fire and you go back and save one thing, what would it be and why?

Jonas: hahaha, I would recover Martin, hahaha.

Martin: I would recover the hard disks.

Jonas: Ah c’mon, that’s harsh. You’re breaking my heart.

Who have been big musical influences when you were young?

Jonas: The Chemical Brothers and Daft Punk. It’s everything we know.

Martin: Laurent Garnier was a big influence for me, he was one of my first experiences with dance music. For non-dance music it would have to be Soulwax. We even used to cover Soulwax tracks in our band. Against everyone’s advice, though.

How do you see the electronic scene evolving in Belgium?

Martin: At the moment Dubstep is really big with kids over here, we tend to make music that we think people will like. We would never make dubstep. I just don’t see what a dubstep Mumbai Science track would sound like. It’s a cool genre, but it’s not something we would never do. I like to listening to it, but not to rave too. But, that’s because I don’t think I could actually dance to it.

Techno-wise who has been a big influence on you?

Martin: We don’t know a lot of about Berlin or Detroit techno, but we just try and incorporate that underground vibe into our music. We would go to clubs, and there would always be a dark room playing techno, we wouldn’t know the songs being played, but we just really liked it, and wanted to bring those influences into our music.

Who should we be looking out for in the 2012?

Martin: Attaque, who releases on Bad Life. He’s making some excellent music.

Jonas: TWR72, their tracks really surprise us everytime we hear them, and even more when we play them out.

Unified Theory is out now, buy it here: http://www.beatport.com/release/unified-theory-part-1/849961

Groove Armada present their Red Light at Coloursound’s Season Closing party on December 3rd at Stylus, Leeds. As a Live band they were legendary; The Red Light shows though open a new chapter. A four decks, multi F-X, audiovisual DJ experience rooted in the warehouse, delivered stadium style.

Over the past decade, Groove Armada have become established as one of the planet’s most-loved and biggest selling dance acts. The duo, Tom Findlay and Andy Cato, have stormed the charts and headlined stages at the world’s biggest festivals. Then, in 2010, they redefined the GA sound. Black Light, their 6th studio album, achieved massive critical acclaim, and a year headlining festivals from Australia to Moscow ended in Los Angeles and a Grammy nomination. Also playing on the night are DJ Fresh, Kenny Dope, Dariius Syrossian, Johhny Cade, Waifs & Strays, DC Breaks, Heidi and many more…

HBF: Hi guys thanks for your time. 2011 saw the launch of Red Light. How has the year been so far? Any particular highlights?

We’ve had another great year on the Space Terrace. We took care of every detail in that room – from where the podiums are to the brightness of the bar lights. The result was electric. There have been some super sized Ibizan free parties we’ve done on the beach as well. Alongside europe’s usual festivals and weekends from Kazakstan to Korea, it’s been a good summer.

HBF: So what is Red Light? How does it differ from your old Live show?

It’s a whole new experience. The last live show was just that – live. We spent a long time working out how a band could play electronic music that was happening there and then but which sounded properly heavy. Once we got that system nailed, we had 8 years of amazing gigs.

The Black Light album saw us record that onstage sound and with it, make our best record. The tour that followed was the high point of the whole GA Live experience. So we decided to leave it there – at the top. Red Light is the opposite of all that. A return to the warehouse.

To the decks and fx where it all started. So it’s a DJ thing, a warehouse vibe, but delivered stadium style.

HBF: Judging by Trax Vol 1 you guys have revisited your deeper, more underground electronic roots. Quite a shift from the large ‘dance’ records of the past, not to mention albums like Black Light and Soundboy Rock. Why the shift back to more traditional house and techno?

The sound has always been there. We’ve been in DJ booths all over the world for a long time. But when the band was on the road and there were those kind of albums to be made, we didn’t get the chance to make the kind of music we love to play as DJs. That and being stuck on a major label where tunes take 2 years to come out. When we stopped the band, we also finally fulfilled our original record contract and now we’re free to do what we want, go deeper, make the tunes we feel like.

HBF: Do you guys pay a lot of attention to what’s happening in the electronic scenes at the moment? Who are you feeling?

Yes we get out there, stay on top of it. We’re DJing all the time and we run a festival so we’re in amongst it all. There’s a return to the basement vibe all round. What happens in the basement is a free for all at the moment. There’s the jacked up return to the old house sound

- something we’re right into – but there’s also a harder take on the berlin scene, NYC disco antics, good time Hip Hop stuff – whatever, whenever, and loads of it is sounding great.

HBF: You’re known for your collaborations. Of those you have yet to work with, which artist would you most like to do something with and why? (Any genre)

Bob Dylan. Anyone who can make Blonde on Blonde is worth having a beer with.

HBF: Number 1 albums, headline slots across the globe, grammy nominations. What else do you want to achieve with Groove Armada?

What we’ve always tried to achieve. Music and gigs we’re proud of, spreading good music as far as we can.

HBF: You’re headlining the big Coloursound event in Leeds in December. What can the crowd expect from your headline show?

Leeds is always a special one for me as it’s where I was brought up and where my house music experience began. The opening night of Basics remains one of the all time top nights out. Kaos, Soak, The Gallery, seeing the Stone Roses in the Warehouse. Good times. Our gigs there have always been some of the best. The Red Light experience is now in full swing. It’s an audio-visual, decks and fx journey, rooted in ’88 but delivered 2011 style. See you there.

We Love..Coloursound Indoor Festival – Saturday December 3rd at Stylus, Leeds University Complex

Tickets from http://www.ticketarena.co.uk/leeds/leeds-university/we-love-coloursound-association-w-we-love-space-ibiza-0

Or call 07813450668

Justice’s new direction is polarising opinion all over the place. Well here’s a video interview with the boss’ of the crosses, which see’s Xavier and Gaspard explain the new direction, the concept behind ‘Audio, Video, Disco’ and what they have planned for their new live show.

Justice ‘Audio, Video, Disco,’ Medley by Mr HBF

The Japanese Popstars have been a hyped electronic act for many years, with numerous Irish Dance awards to their name you’d be forgiven for thinking that they’d had numerous albums under their belt. But surprising their new album is ‘Controlling Your Allegiance’ is their second album, and the first have the marketing power of a major behind them. The album from the first beat is billed as encompassing selection of tracks that exudes electricity as well much needed moments of nostalgia and emotion.

For those of you who aren’t familiar with them they’re a trio from Derry, Northern Ireland, who have been compared to the juggernauts of EDM like The Chemical Brothers and Orbital in both sound and their highly praised live shows.

Rather than being clever or introvert the trio’s new album goes for the jugular from the off. But as the CD develops it begins to paint a picture of a complex set references that includes everything from stadium electro, breaks, house, disco and trance – it’s throw-back to the good ‘ol days of big sounds and big drops; a full-throttle nostalgic trip back to day’s gone by – but it manages, on the whole, to sound very fresh and very now.

‘Controlling Your Allegiance’ doesn’t tease you, nor doesn’t lure you in. But slaps you, with a electro fish, right around the chops with ‘Let’s Go’. It starts you on a wild ride at a frenetic pace and is perfect statement of intent – it snaps, crackles and pops with energy and is sure to destroy any dancefloor it’s deployed on.

‘Catapult’ slows the pace a little and has as feint wiff of melancholy which consumes you from start to finish. It’s still a big sound, but tempered with some trancey synths – the sort of track that will bring a crowd together for one those precious moments of warmth and empathy you have when dancing within a crowd of your fellow ravers – it builds and breaks into a slamming nu-electro stadium track.

Three brains are obviously better than one as the album hops, skips and jumps from banger to beauty in the blink of an eye. By the time you hit ‘Song For Lisa’ your welcomed by the progressive house tones and deep gurgling basslines that perfectly accompany a vocal from Lisa Hannigan – the first of the guest vocalists.

The next guest to appear is Robert Smith from The Cure who injects 10cc’s of indie undertones alongside chiming guitar riffs, low-slung basslines and a feint air of melancholia. It’s sounds strikingly similar to some of Underworlds new material, which is by no means is a bad thing.

Early favorite of ours is ‘Fight The Night’ a slow disco track that has oozes big basslines and sophistication which is brought by an other worldly vocal by Morgan Kibby, the American vocalist with ethereal French nugazers-cum-seventies revivalists, M83.

TJP take a leaf out of the Stadium trance bridgade with ‘Building Block’ a trance track that wouldn’t sound out of place in one of Armin Van Burens epic nine-hour sets, lush synths, tight drums and progressive bass lines show off a side to the Popstar’s we were not expecting, but it’s done well enough for even the most pretentious dance music aficionados to like.

The album swings effortless between genre and sonic intensity as the album draws to a close, you’re greeted with techno influences in the form of ‘Destroy’ the beautifully evanescent and slow tones of ‘Shells of Silver’ which features enchanting vocals from James Vincent McMorrow, the American psych folk singer shows The Japstars have a milder side and reminded us of some early Massive Attack.

The final forays come in the shape of ‘Punch Drunk’ a vitalic-esque pounding piece of electro, full of swinging synths, big kicks and plenty of attitude. To finish the album leaves you with a parting gift of lush synths and the best vocal of the lot with their new single ‘Joshua’ a rapturous nu-electro track that see’s Tom Smith of Editor’s fame laying down a lovely unadulterated vocal.

The Japanese Popstar have cemented themselves as an act for a larger more stadium-like audience, it’s not an album that hides behind underground sounds of small dark corners of the world but it’s their take on a big sound that works well in both for a home listen and, most importantly, gives the trio plenty of new fodder to slay massive crowds the world over. Its doesn’t break much new ground but if you looking for a Long play that harps back to old days of big sounds, big hooks and plently of highs and lows you’ll more than likely fine nothing better in 2011.

HBF Rating 8/10

We got the chance to have a chin-wag with trio before the go jet-setting around the world to promote the new album.

What are the origins of the Japanese Popstars? What or who inspired you start making music together?

The origins of the band stem back about 5 years.  We were watching other live dance acts perform at some of the Irish music festivals, they all seemed to be having a lot of fun, so we decided to try and set up our own live dance music act.

Your obviously a trio. When it comes to working on new material does being a trio help or hinder you in the creative process, do you work together or alone?

We try to look at ourselves as our own worst critics, so we try to make sure that we are all feeling an idea early on in the writing process before we progress down the avenue of completing the track, I think that would be the same if the band at 6 members or two.

The way its currently working is that we normally all write alone to come up with lots of initial ideas.  Then we get together and try and choose the stuff that we would like to develop into actual tracks

Can explain how you came up with the name The Japanese Popstars?

It was Decky that came up with the name.  He is a big fan of Japanese culture, movies and anime.  We were thinking of names that we could give the band and that one just came out one day as Decky was driving around Derry

How has living in Northern Ireland influenced the music that you make?

I don’t know if it has or not. It’s a hard question to answer.  I think like most people that make music, the main influences on our music is the music that we grew up listening too.  The one thing we are lucky about though is the Northern Irish crowd, no matter were in the world we seem to play there will always be some people there from home, up in the front of the crowd raving away.

Did you approach the making of you latest album in different way to your previous work since you were signed to Virgin/Emi – was there more pressure now that you’re on a major?

No as the vast majority of the album was actually finished before we signed to Virgin, I think there is only one track on it that was written after the deal.  Maybe if it had been the other way around there would have been some pressure to write a ‘hit’ record or something like that, but we didn’t really have that.

You all have alias’ how come? What’s the story behind them ?

We were all dj’s in our own right,  before we came together to do the Japanese Popstars and the alias thing kind of stems from that period.

If you could name 5 artists that have influenced you who would they be and why?

Underworld – I was a massive fan of their music and especially the live dvd, I used to watch it every weekend with my friends, I never thought one day we would get to share a stage with them

The Chemical Brothers – Again we are all big Chemical Brothers fans.  Their music always seems to sit outside the normal sound of the day but still sound relevant and bang up to date

Prodigy – Decky is a massive Prodigy fan.  Its these guys that got him into dance music

Pete Tong – The essential selection radio show on Radio One, used to broadcast right after I finished work on a Friday. It was all about that feeling that the weekend was finally here and it was this that really got me into dance music.  If it wasn’t for that radio show we wouldn’t be here

Soulwax – We actually all met each other for the first time at a Soulwax show, and I think we saw in that show glimpses of the energy and excitement that we wanted to recreate.

Did you have a theme for the new album? A concept or idea of what you wanted it to do?

Not really a theme as such.  We knew that we didn’t want to make the same album again as the first, which would have been the easy option. We wanted to push the boat out a little more and really try to develop as producers.  We also wanted to include proper vocalists for the first time, both to try and lift the music to the next level but also to a certain extent, to broaden its appeal.

You have been described as the next Chemical Brothers or even Underworld – how do feel about this comparison?

We don’t really pay much attention to things like that.  Those guys are gods to us and we don’t see the comparison ourselves.  All we can do is keep trying to write the best music that we can, and provide a good show.

You have always been touted as amazingly live act – what can we expect from the new live show? Any surprises? And would you consider doing a live album?

The production for the live show is currently going through a major upgrade, its being rushed through to hopefully be finished for the UK festival season.  So we will have the big desk, the L.E.D’s and all that. We are also trying were possible to include some of the vocalists from the album live, but this really depends on their own tour schedule.

We did a limited run of a live album in 2009, its live a mesh of recordings from some of the big shows of that year, you can listen here http://thejapanesepopstars.bandcamp.com/album/we-just-are-live

If you could have DJ or artist play at your wedding’s who would you choose and why ?

If it was a Dj I would say Pete Tong. The guy just seems to always have the right music for the occasion.

If it was an act then it be a toss up between Charles and Eddy, and Bobby Brown.  I would obviously want the early nineties versions of these guys.

If your studio was on fire, and you could only save one thing each. What would choose and why ?

To me the most precious thing in my studio is my ideas folder on my computer, I know I am meant to say that I would grab a Ms-20, a 909 or some 1970’s Moog but for me good ideas are far more valuable.

You  can download the JPS essential mix below which was aired on Radio 1 last week.

The Japanese Popstars Essential Mix

Download here.

Controlling Your Allegiance is out June 20th Worldwide through Virgin/Emi.

Reset!’s latest EP Sabrage/Prepare To Fight gets its release today and we were given a chance to ask 20 quick-fire questions to the 5 strong milanese team who have been smashing it in their native Italy, whether playing host to several thousand Italian clubbers at their own parties, or flying around the world to DJ alongside the likes of Cassius, Justice, Erol Alkan and Pete Tong.

What’s the first thing you thought about when you woke up today?
Hell yeah, we’re leaving for our Asia and Australia tour!!

5 Words describe your sound?
We just need one: TURBOFUNK!

What keeps you awake at night?
The same thing that keeps awake my neighbors: we usually produce music at night.

Sum in 5 words your new EP?
A bootylicious adventure between disco and hardrock!

English Woman or Italian ?
Swedish!

What was the last track that sent shivers down your spine?
Mmmm… Child in time?

What was the last track that made you feel like ripping your own ears off?
Braat Steve Aoki and Armand Van Helden “Brrrat!” Worst song ever.

Which celebrity would you like to bed?
Megan fox would be ok, give her my mobile.

What’s the best piece of advice anyone’s ever given you?
Use your ears not your eyes.

Is there a God, and what’s your proof?
There’s no god, there’s the need of something to believe in.

What’s your favourite poison?
Ask my doctor.

What’s the worst state you’ve ever been in?
There’s no limit about it.

What’s your favourite swear word? English or otherwise?
Every Italian swear word is good in a sentence, porca puttana!

What’s your favourite film quote?
Nobody fucks with the Jesus.

What do you think of Evil Bloggers ?
Better than Good Bloggers!!

Where is heaven on earth for you?
For what I saw, Malaysia and Thailand.

What’s the best thing about your job?
It doesn’t look like a job.

What’s the worst thing about your job?
Sometimes it looks like a job.

Who would you want to play you in film about your life?
A woman!

Who’s the biggest twat that you have met in the music industry?
He knows.

Check out their new video too.

RESET! – Sabrage (Radio Edit) /// OFFICIAL VIDEO from RESET! on Vimeo.

Beatport Link: http://beatport.com/s/r1hHqb

itunes: http://itunes.apple.com/gb/album/prepare-to-fight-ep/id404373972

RESET! – Sabrage by RESET!

RESET! – Prepare To Fight by RESET!

And in case you missed their last mixtape.

Reset! November mix

Grab here.

http://www.facebook.com/wearereset

Daft Punk have spoken for the first time about their highly anticipated Tron Legacy soundtrack, talking to Dazed & Confused they spoke candidly about the pressure of the experience, the necessity to expand their sound to use a full orchestra, and how they’re trying educated people on the virtues of classical music.

“This project is by far the most challenging and complex thing we have ever been involved with,” declares Thomas on their Tron: Legacy soundtrack. “Coming from our background of making electronic music in a small bedroom, and ending up having our music performed by a 90-piece orchestra, with some of the best musicians in the world…We are lucky to have had the opportunity to experience some powerful moments artistically over the years, but recording this orchestra was a very intense experience.”

After Daft Punk were reassured by Disney that they weren’t just going to make a copy of the first Tron – it appears that Daft Punk took some time to consider the magnitude of the project.

“As soon as we saw the filmmaker was not trying to copy the first [Tronmovie],” says Thomas, “But expand it after almost 30 years, we thought it was interesting. Then we questioned ourselves as to whether or not it was something we could actually do.”

“The most pressure we feel is always from ourselves, even in a project like this. I think that is why we took so much time before we jumped on board, so we could guarantee our freedom and room for experimentation in this environment – it’s a dream factory. Hollywood is at the corner of imagination and industry.”

Daft Punk then went into detail about the decision to move away from their traditional sound, as they immediately realised that they wouldn’t be able to do the project from a small bedroom, with two synthesers and a 808 drum machine.

“We knew from the start that there was no way we were going to do this film score with two synthesizers and a drum machine,” he adds, having cited Max Steiner, Bernard Herrmann, John Carpenter, Vangelis and Maurice Jarre as inspirations.

Thomas stresses the timelessness of orchestral instruments relative to electronic tools. “A cello was there 400 years ago and will still be here in 400 years. But synthesizers that were invented 20 years ago will probably be gone in the next 20. Synths are a very low level of artificial intelligence. Whereas you have a Stradivarius that will live for a thousand years. In the past, we have worked with clashing genres like disco and heavy metal, and here we would do it with film scores…this idea of the ultimate retro-futurism.”

Read the full interview – and check the accompanying 3D photo-shoot – in the new issue of Dazed & Confused, out now.

More Monarchy tracks have surfaced from the mysterious duo, their new track Love Get Out Of My Way comes with a couple of remixes from Treasure fingers and Tim Goldworthy. Their album is meant to be out next month, but now may land in 2011 – not sure why, already seen a review in that advertising mag MixMag. So who knows anymore.

Monarchy – Love Get You Out Of My Way (treasure fingers remix)

Download here

Monarchy – Love Get You Out Of My Way (Tim Goldsworthy remix)

Download here

And if you missed it here’s the Holy Ghost remix, Thanks TMS.

Monarchy – Love Get You Out Of My Way (Holy Ghosts remix)

Via TMS

PS the lead singer I’m reliably informed is Milke – not sure if that mean anything to you, but hey.

We featured a Monarchy interview last month check here and the electronic duo have just finished some more productions – they have a new track out call ‘Love Get Out Of My Way’ which has been remixed by Holy Ghost check the video below and they have remixed Kelis’ Acapella.

Their debut long-play should be landing early July. And with regards to their secret identities – we think we have cracked it – the lead singer from Zoot Woman and Stuart Price.

Let us know what you think.

Kelis – Acapella (Monarchy Urania Radio Edit)

Download here

Kelis – Acapella (Monarchy Urania Club Mix)

Download here

We recently featured the fantastic Fouck Brothers and we were so impressed we needed to find out more. So we decided to pitch them 20 quick-fire questions to see what they are made of. Here are the answers. Oh and if you haven’t heard of them go here. You can snap up 4 free tracks in exceptional high quality. Sale of the foucking century.

Describe your sound in 5 words? Beer, pot, vintage-synths, dance, fun

What are your names? Gil, Andy and Julien.

Why are you called the Fouck Brothers? It comes from our family name.

How long have you been making music? A long time ago, more than 10 years ago.

What are plans for 2010? A new ep, and of course share our music.

Belgium has a lot of great artist is there something in the water over their? Yeah, there so many different talents in Belgium, like Mustang (new disco), Komah (Hxc), or Netsky in Dnb/House.

What’s the best gig you’ve played recently? Not the biggest gig but the best was @ L’international in Paris.

What was the first record you ever bought? Andy, it was “Homework” from Daft Punk, Gil, it was “Chocolate starfish…” from LB, and Julien, it was “Raoul and the kings of Spain” from Tears For Fears.

Which artists inspired you make music? Patrick Cowley, James Maynard, Red Hot Chili Peppers, Kyuss, Daft Punk, Fat Boy Slim, Beck, Telex, Two Man Sound,…

Who is your biggest fan? Our parents.

Who is your biggest critic? Our dads too.

Best song you have heard in 2010? Junkie XL “Heart Of Darkness”.

Worst song you have heard this year? Sorry we don’t watch MTV.

What’s the best Club in Belgium? The“Libertine Supersport” club in Brussels is becoming one of the best in Belgium, in Europe maybe. It is the place to be, for sure!

If you could save one piece of equipment from your studio what would it be? Andy, I would save my Juno 106, Gil, I would prefer to die with my equipment, and Julien, I would save my favourite guitar.

Favourite album of the naughties? “ Bring it on” from Goose.

Are you brothers? Yes we are the Fouck Brothers.

Favourite Film? The Goonies.

Best piece of advice you have been given? Never back down.

Imagine our surprise when we received an email at 4am yesterday morning from the mysterious electronic duo Monarchy. There was nothing in the email apart from a PDF called  ’Excellent Monarchy’ and in the PDF was a interview with the mysterious duo. With questions being fielded by Ricky Lee from The Excellent People blog. Here’s what they had to say.

Ricky Lee: You’ve released a few of your own songs, Gold in the Fire and Black, The Colour of My Heart, and The Phoenix Alive, plus some remixes at myspace.com/monarchysound, and the video for The Phoenix Alive is out, but, up until now, you have concealed your identities. Why remain a mystery. When is the big reveal? Who are Monarchy?

Monarchy: We started out just wanting to focus on the music and we then created an image that we thought was appropriate, but we quickly realized that people were entranced and fascinated by it. We think it’s an indication that people are exhausted by being force-fed too much information about artists these days, fabricated or real. The small details of everyday life of artists being twittered to the everyone, and actually, it’s just dull. Do you really need to know this information? Does it make your life better? Are you any closer to understanding that artist? We don’t think so. It’s so much more interesting if people are allowed to have their own interpretation of an artist, to find their own story. It’s a funny question “When is the big reveal,” because it implies there will be a moment when the mystery is gone, and all will be revealed, and afterwards there will be no more mystery. But why does there need to be that moment?

RL: How would you describe your sound?

M: Cold comfort. The music is spacious, an arctic landscape but with a pulsing life running beneath it. We have a certain love of synth-pop from years gone past, but we’re absolutely modern.

RL: What are your backgrounds?

M: We don’t talk about our backgrounds. Process is dull.

RL: Who are your musical influences?

M: We [have a] range in musical influences. We both have very different loves. The singer prefers song writers such as early Prince, Tom Waits, and Nina Simone. The producer is more electronic: Art of Noise through to Grum and Lifelike. There are some artists we both like: Stevie Wonder and Eurhythmics are two.

RL: The single for The Phoenix Alive is out April 19. When can we expect an album? Tour?

M: The album will be out in June/ July, and we’ll be touring around the same time.

RL: What do we need to know about Monarchy at this stage? M: It’s probably worth listening to the music for a few clues there.

RL: You’ve collaborated with the former dancer-turned-fashion designer Georgy Baratashvili on your wardrobe. Any clues to what he’s done for you? Please describe.

M: Georgy is great. We worked with him on a few stage outfits for a gig we ended up canceling, but we still wear his outfits. Really great futurist minimalism. He also made some masks for us for a photo shoot we did for Wonderland magazine, which look great. We hope to keep working with him in the future.

RL: Any other fashion, art, or literature influences?

M: We are heavily influenced by fashion, art and literature. From Raf Simons clothes, Hedi Slimane everything, Kubrick films, Jeff Koons, Banksy or Damien Hirst art, Warhol and KLF philosophy, Kundera, William Blake, and Gide books. But also more obscure people, people we are working with or who we know. We absorb influences from many creative flames around us.

RL: The video for The Phoenix Alive, which, to our mind, is very 2001: A Space Odyssey-ish, was produced by Dandelion & Burdock, the design and media company. How did you come up with the concept? What is the message?

M: On the surface, the concept is about a simple take off, and the emotions an astronaut might feel, going through a mixture of pure process and technical procedures, but also a deep and strong emotional journey linked to it. Fear, anxiety, during take off, joy and awe once he reaches space. But underneath, yes, there’s mystery, and messages, there’s elements of a journey to escape, possibly escaping from himself, from his past, loneliness and isolation, as well as clues to more depths and avenues. What inspired the astronaut to seek out a dangerous and solitary life? There’s many layers to the video, some of which we’re only just starting to understand ourselves.

RL: How important is visual image to Monarchy, or, in your estimation, to any new band in general?

M: Our visuals all come carefully controlled from Monarchy, and we have strong gut feelings on what is right or wrong. Sometimes we labor over images or concepts to discover, when they’re finished, we really don’t feel it’s Monarchy and scrap them. It’s very important our message is pure and from the source. From that point of view, we feel it’s very important we are represented correctly, whether it’s images, biography, music, artwork, videos. What other bands deem as important is up to them. Soon enough there will be a band that seemingly doesn’t care about their image, and they will be popular for precisely that reason.

RL: What is Excellence?

M: Fastidious attention to detail, while maintaining constant watch over the big picture.

Here’s the fantastic video for the latest single The Pheonix is Alive

To celebrate the release of ’5 Years of dirtybird’ we got the chance to ask 20 quick-fire questions to Claude Vonstroke, the co-founder of dirtybird records.

Their latest compilation is a celebration of the last 5 years and features three CD’s that look at the past, present and future. It’s quirky,subtle, funky tech-house and we loved it.

What was the first thing you thought of today? Get these kids to daycare!

What is your favourite film? Strange Brew.

What motto do you live your life by? I don’t live by a motto. I just live.

What’s the worst song you have heard 2010? Party in the USA.

What’s your favourite poison? Arsenic.

What’s the most memorable moment of the last 5 years? The birth of Jasper Crenshaw.

What’s worst moment of the last 5 years? Our party at Miami WMC 2009

If you had to choose between Detroit or San Francisco to save – which would you choose? I’ll gladly trade you New York in order to not have to answer this.

What would you save House or Techno music? House, but only because I think you can get away with playing techno as a house Dj and not so much the other way around.

When was the last time you cried? At some crap date movie my wife took me to.

Best piece of advice someone has ever given you? No one’s going to give anything to you. You have to go out and take it. You have to work hard and then when you make it you have to work even harder – paraphrased from Derrick Carter.

Who was your boy-hood hero? The Electryfying Mojo.

What’s the best Club you have ever played? It’s hard to know what you mean by best club so…Best sound system by far… Ageha, Tokyo.

Best crowd you have played to? Back to Basics, Leeds or outdoor festival – Montpelier, France.

Who’s your biggest fan? Broby from Yo Gabba Gabba.

Who’s your biggest critic? DJ Lance Rock.

What’s your favourite album of the Naughties?  Tough one…the most plays in my house was…In A Space Outta Sound – Nightmares on Wax – Warp

What was the last piece of music that made you smile? Maggotbrain yesterday at the dirtybird BBQ.

We loved Saytek’s latest Zoo Project album “Live From The Other Side” so we thought we would ask some questions to one of the hottest properties in dance music.

HBF: Tell us about one of your live shows if you can…

Saytek: Well it’s me performing live with music I have created. I love hardware so you will see me on stage with lots of lovely boxes pressing buttons and tweaking faders. It’s basically me jamming with my beats.

HBF: Where did you record the album?  Tell us exactly what you mean by ‘live’ – there’s more to it than using a laptop, right?

Saytek: This Album is a live performance recorded after sunset at The zoo project, Ibiza to over 2000 music lovers. When I use the word live firstly all the music is mine but I also mean improvised, spontaneous and off the cuff. I do not play all the instruments (that would be impossible with this kind of music) instead I strip all the music into its rawest elements as loops, I then create new arrangements, mix all the parts together, trigger samples, create breakdowns and tweak effects all on the fly. I can respond to the crowd and create never heard before music by combining the elements in different ways.

HBF: What kit did you use to create the album with?

Saytek: Roland mc 909, Ableton 8, D16 Siverline, Novation XioSynth, Pioneer DJM-800, Korg KP3, Soundbite -auto loop module

HBF: Is that all kit you have in a studio or can you tour with it if necessary?

Saytek: Yeah it is but I do take it all on tour … minus the pioneer, if I am playing abroad it’s not exactly travelling light but I love my hardware so it’s worth it !

HBF: What were the aims with the album?

Saytek: Well my first Zoo Project live album “Live From The Seal Pit” was a more serious, dark and experimental bit of work. The second album was recorded from the pool arena so the material I used for “Live From The Other Side” is more fun and less heavy, and I suppose more diverse. The music is still deep but my influences are a lot more varied from jazz, acid house , tech house,  African & Latin voices & percussion although there is still the dub and Detroit elements.

HBF: And how would you describe current your style?

Saytek: Its always been deep percussive underground house & techno. I have never jumped on bandwagons, I was never a minimal artist and I would never be solely a deep house artist, but there would be no progression if I didn’t take note of what was happening in the scene at the moment. So I have I incorporated some of the more housey components recently. That said I have had a love affair with underground house and techno for many years and it’s still the same basic ingredients that make the hairs on the back of my neck stand up now as it was 10 years ago … just improved production techniques.

HBF: Are you touring the album – can you tell us a bit about that?

Saytek: I will be touring with music of the album but will also be playing some newer stuff … I get tired of my live material pretty quick so I am always creating more …

HBF: Tell us about the Zoo Project – how you got involved, what it means to you etc..

Saytek: The Zoo Project is an amazing concept an outdoor festival at an abandoned zoo in Ibiza it combines cutting edge DJs & acts, fierce musical integrity, Minx FX performances oh yeah and dressing up as animals ha ha … Its great to have quality underground music mixed with lots of fun I think there can be a lot of pretence in this scene so its refreshing . The atmosphere is amazing and it represents the exciting new generation of house and techno fans. I met the team behind the Zoo a couple of years ago through myspace, I played at one of their events in Manchester and been performing for them ever since…

HBF: What were the influences and inspirations behind the album?

Saytek: I take inspiration from the latest mixes my friends send me, Dub, jazz and 60’s records and early electronic music such as Detroit techno  … but the main influences come from when I am playing I often just dance to the other DJS and that’s when I really feel the music and if I get that same feeling when I produce the music then that’s a good indication. Sometimes though inspiration just comes from my own head.

HBF: What’s your aim when performing – to play new music, get people dancing, take people on a trip etc etc…

Saytek: Yeah all of the above; I suppose connecting with the crowd is the real key …

HBF: Did you work as a sound technician at Zoo Project, too?

Saytek: Ha ha no!!! Although before I did music full time I was a sound and lighting engineer in clubs like The End and Home London.

HBF: What other plans have you in 2010?

Saytek: Loads of touring, making a 3rd zoo album … I have been focusing so heavily on the live show over the last few years so I am really eager to get back in the studio and make some tracks for DJs to play … I have a lot of labels interested so happy days !!!

Mark Eteson will be playing at the first Peach of 2010 – he spins all forms of house, tech and trance and has mixed several Gatecrasher compilations in the past.

He will playing alongside Mr Sam who fuses prog, house and trance (and has played alongside alongside DJ legends such as Carl Cox, Nalin & Kane, Robert Miles, Luke Slater and Misstress Barbara).

We took sometime time to speak to Mark about the state of trance music and what he has planned for the next year.

HBF: Describe your sound to someone who doesn’t know…

I prefer not to be pigeon-holed as a trance DJ because I do play the odd progressive track, some house, some techno…it all depends on the vibe of the night and how clued-up the crowd are. So to someone who doesn’t know I would say I play energetic, eclectic, electronic music.

HBF: What music did you grow up around and does it still influence you?

My father is a musician himself so I grew up around absolutely everything from Steely Dan, to Bill Joel all the way through to the first signs of dance music when I was a youngster in school. I still make a point of listening to a wide cross-section of music nowadays as well and I find I draw a lot more influence from other music than I do from dance music as a whole

HBF: What makes a good DJ great?

The difference between them is their ability to turn around a bad crowd.  Any DJ can play to a crowd who are loving it, but when you’re faced with a difficult crowd, and you can turn their night around or make them experience something they weren’t expecting, than that would make you great…

HBF: Why do you think trance gets such a bad name?

Does it get a bad name?!  As far as I’m concerned, trance does pretty well for itself, the top 100 DJs poll is consistently a majority of trance acts, so I think that proves the strength of it as a genre.  Yes it might not be as glitz and glam as house, or as cool as progressive; but overall – I’m not afraid to say I love it!

HBF: What are your top three current tunes?

Mark Eteson & Ben Nicky – Altitude

Alex M.O.R.P.H. – Break The Light (Chapter XJ Remix)

DI-RECT – Times Are Changing (Bart Claessen Remix)

HBF: How long do you spend looking for new music each week and where?

I don’t really spend an awful lot of time searching for new music as a lot of it gets promo’d to me and I just throw it all in a specific folder until I come round to my tune listening day, which incidentally is today!

HBF: You’ve played all over the world – how do crowds differ?

Crowds come in many shapes and sizes, some are more excitable than others, some are there for a piss-up and some are there to get lost in the music. It still amazes me how far-reaching this business is. I can make a tune one week and people in China and Australia can know about it the week after. I think that is incredible!

HBF: What can people expect from you at the Fridge?

An energetic and full-on mix, with plenty to smile about!

HBF: What else are you working on in 2010?

This weekend in fact I’m working on a vocal track with Aruna from the US, it’s going to trial out a new style for me, around 130 bpm and edging on a bit more commercial.  Not cheese, but definitely a bit more accessible to people who haven’t heard trance/progressive before!  Aside from that I’ll be doing the usual rounds with plenty of shows, festivals like Global etc and a big step up in the production in the next 12 months…

The Lightbox will host Musiq Concrete’s next party on the 13th of February and they have decided to call on zi German’s and book Get Physical’s Thomas Schumacher.

Alongside Schumy will be Leeds supremo Simon Baker who has had a great 2009 with his re-workings of Simian Mobile Disco’s ‘Sleep Deprivation’.

Room 2 will feature experimentalism via Caged Baby, Justin Robertson and David Bevan.

Musiq Concrete
Sat 13 Feb
Lightbox, London
10pm – 6am £10/£8 NUS

Thomas Schumacher was kind enough answer some questions about music, family life and his new album.

Download his latest promo mix here

Do you still get as excited about music as you did when you first got into the scene?

I certainly do. There is a lot of exceptional music available, much more than in the past. But – the downside are the masses of crap music that one has to dig through in times of digital overkill to find the nuggets. That’s frustrating at times. You need to apply all sorts of “filters” to make it work and fun.

What have you heard in the last year that made you want to jump up and dance your face off?

I heard a lot of exciting music in the last year. In fact, despite the flood of (and I quote here my dear colleague Ewan Pearson) “…dull-as-ditchwater-post-minimal-tokenethnicvocalsample-loop-boredom…” 2009 was a great year for club music. If you only looked left and right of the mainstream there was so much good and unique music being released. I think of people like Martyn, Levon Vincent, Motor City Drum Ensemble, Ben Klock, DJ T just to name a few…

And how is the scene different now to when you started?

It is very very different from when I started. For example (apart from a few exceptions) you don’t find this feeling of togetherness and solidarity amongst people in clubs anymore. Instead, it has become a very individual experience. Surely you will still find regulars and groups of friends partying together but that is very different from the way I experienced it in the early 90s. On the other hand, the whole industry has become so much more professional, and that is generally a good thing. I have spent enough time during the 90s in bunkers and other dark holes or old warehouses raving around. As much as it was fun at the time, now I prefer proper clubs like Berghain, Womb or Lightbox.

Do you think your sets and productions are different now? What has influenced those changes?

The changes in technology have been very influential. For example, I am in transition from spinning with CD’s to using a Macbook on stage (I will still mix with timecode cd’s)  and my recording studio has been complete digital for years now. 6 years ago my studio was full of keyboards, synth, drum machines, mixers etc and I was touring with 2 record crates carrying 200 records around the world. When do you ever hear a “live” mix on a dj mix cd anymore? To me, someone who does not beat-match during a set is not a DJ. Period. A performer maybe, but not a DJ. And in times of gazillions of tracks available good taste and the ability to read the crowd and interact have become even more important. And no computer can help you with that.

Having played all round the world, many times, what is it that keeps you motivated and wanting to do it?

There are many factors that keep me motivated. In some countries like Australia, I have been working with the same people for over 10 years now. It is no longer just business. Friendships have developed over the years and I even bring my family. Then you see your kids play together and the whole thing has such a bigger meaning. I love that. Another factor is the constant change in our scene. Clubs come and go, just like new generations of clubbers and that keeps it very exciting. Plus, the music is constantly changing and evolving. And I am a pretty curious person, that helps too.

How did the relationship with Get Physical start?

An anonymus demo cd was sent, the only contact info was a uk yahoo e-mail address. The plan was to make them listen to the music and be open minded, which would have been difficult if they had known that I was involved. So, shortly after DJ T. send an email to this yahoo account and expressed his excitement about the music I gave him a call. I still remember that he did not know what to say for a moment when we spoke on the phone. He did not expect me to be behind it at all. That’s how it started.

Are you going to release more with them this year?

Yes indeed. My new album will be released in May, followed by singles and remixes. It will be the busiest year of our relationship and I will tour all around the world to promote the album. I am pretty excited about this after 4 years of gearing up for it.

How do you balance family and touring?  What rules do you impose on DJing to make sure you fit everything in? Is your studio at home or … ?

To start with the last question. No, my studio is not at home. A studio at home and kids don’t go together. When our daughter is around, she wants to play with me and I want to spend time with her. But the studio is only 10 minutes from home. I walk there and back every day and if possible I try to work from 9-5 so I have the chance to be there for her and for my wife of course. In my experience, fitting it all in is simply a question of good communication and proper organisation. However, it is not always easy to say good bye and leave for a couple of weeks. But the internet has made it much less difficult. We Skype all the time when I am on tour. And as I said before, when it is possible, I will bring my family and we have a little holiday.

What are you most proud of in your career so far?

Amongst others things, I am proud to still be around, happy with myself and my music and to see new generations of people liking my music year after year and that they come to my gigs and have such a good time, especially now that I am often much older than the average clubber. And I am proud of the fact that I have ethics when it comes to treating my fans and promoters. I show people respect when they make an effort to come to see me or book me. Needless to say, I dislike “superstar” DJ divas enormously.

Have you got a pair of sunglasses? The Lightbox is known for being a bit of an onslaught on the senses!

Thanks for you concern but I will be alright, trust me

We have just be sent these fantastic videos by D.Ramirez of him being interviewed at Icon production studio’s in America.

Icon Collective, is a Los Angeles based recording and music production school, looking to inspire a new generation of artists and music producers. They did an in-depth candid interview with UK electro superstar D Ramirez.

httpv://www.youtube.com/watch?v=mu9FLLmEm9s&feature=player_embedded

httpv://www.youtube.com/watch?v=XynjSf7LUtA&feature=related

httpv://www.youtube.com/watch?v=hnRJSIuK7dI&feature=related

httpv://www.youtube.com/watch?v=NUJZe2SrHmA&feature=related

httpv://www.youtube.com/watch?v=F4ubUlX_jp8&feature=related

Starlifters are a french filtered house group from croatia formed by Daniel Chelan and Zvonimir Garashich. They both having been producing music for the last 5 years, they came together and formed Starlifters in 2009 and released their EP ‘Starlifters’ – they are currently working on their next EP and album.We managed to track them down and ask them a few questions.

What are your names?

Switch: Zvonimir Garashich.

Beat Gates: Daniel Chelan.

Starlifters EP

What are your names?

Pancho-G  &  Bruno Borlone

When/how did you meet?

We met in the year 2005, working in an album for a funky Chilean band. We did a great job with that album and we started working together producing many local artist.  Since then, we have been working not stop together,  we then decided to make our own project.

When did start making music you were happy with?

In Chile there are not many electro music producers , and we love that sound . We work everyday making music. And yes, we were and we are very happy with it .

Who are you favourite producers/performers at the moment?

Well, we love the sound of Justice, The Bloody Beetroots, Soulwax, MSTRKRFT,  Boys Noize, Mr. Oizo , Chromeo , Sebastian, Kavinsky and of course Daft Punk.

Who does your art work?

We don’t work with a specific art staff, we are always searching for diferent people . Our logo was designed by Moises Arancibia ( www.smog.tv ), one of the best designers in Chile and the cover of our ” I Wanna Rock ” EP , was made by Vicente Casas , a fan drew it for us and we liked it.

What instruments does you use when performing?

We use the Korg R3 for the vocoders and Synths ( also sometimes we use the Nord Lead 2x ) , a Korg Microkontrol & 2 BCR 2000  for controlling Ableton Live and a Fender Electric Guitar.

Where does your name come from?

Well, Mawashi is the name of a Karate move, and we thought that it represented the spirit of our music, a lot of power and energy.

What do you have in store for the coming months?

We have our first album called “Mawashi” released in June of 2009 in stores, unfortunely it was only in Chile (you can order here from other countries : info@selloazul.cl ). That was the reason we made the “I Wanna Rock ” Ep, for free on our Facebook.

If you didn’t make music what would you be?

Its not an easy question, well, Pancho-G definitely a Chef !  Me ( Bruno ) really i dont know…

In the future who would you most like to work with?

mmm …   Faith no More, Daft Punk, Prince, Soulwax, Metallica  and many others.