Anjunabeats Issues Statement About Will.i.am’s Alleged Copyright Infringement

will.i.am

UK label Anjunabeats has issued a statement regarding their assertion that Will.i.am’s track “Let’s Go” featuring Chris Brown sampled Arty and Mat Zo’s “Rebound” collaboration without proper permission. The label issued the statement today to counter an interview Will.i.am gave to the Associated Press where he said, “You can’t steal if you credited somebody. He and I communicated. … It’s not my fault he didn’t tell me about the other guy. So who is to blame? I didn’t know.” The label didn’t mention if they were in the process of seeking financial relief over the matter. Here is Anjunabeats’ statement in its entirety:

Anjunabeats is the record label behind Arty and Mat Zo and owns the master recording rights to their collaboration “Rebound.” Mat Zo and Arty have been important members of the Anjunabeats family for a number of years and “Rebound” was one of the label’s most popular releases in 2011.

As has been widely reported, a large section of “Rebound” was sampled on Will.i.am’s track “Let’s Go featuring Chris Brown” and this took place without the permission of Anjunabeats or Arty & Mat Zo.

Although Arty (but not Mat Zo) was credited in the sleeve notes, this is not the same as obtaining permission. To present someone else’s work as your own, you need to seek permission, agree terms and file paperwork, which has not happened in this case.

We’ve remained silent on this issue until now but as a record label it is our obligation to protect our artists’ interests and we felt it was necessary to respond to some of the inaccuracies that have been reported following Will.i.am’s recent comments to Associated Press.

Album Review: Andrew Bayer / ‘If It Were You, We’d Never Leave’ (Anjunabeats)

Andrew Bayer If It Were You We'd Never Leave

★★★☆☆

Soap operas, daytime dramas and ad breaks, Andrew Bayer is here for you. Should you not view his shoulder as a convenient one to lean on, prospects await from hitting notes and making feelings clear in all the right, digitally delicate places. The D.C. thought-processor’s chopped beats of “Opening Act” and trip-hoppy brinkmanship of the gnarled “Doomsday” show the follow-up to It’s Artificial is not all sentiment and schmaltz. From an assertive start though, Bayer is never gonna be a badboy.

Seeing the light, he analyses deeper and steadily starts staking out ambient pastures, using piano nostalgias (“All This Will Happen Again” suspending time with the most simple, emotive arrangement) and orchestral, widescreen designs, whirling around your nodding head until they form a halo. The levels of chill-out he achieves go from back-to-mine session with a little bit of the evening’s buzz still going round the room, to meditative stretches that only alone time can do justice to, mixing togetherness and sole/soul contentment, and the sentiment of whatever’s passed, tomorrow is a new day. Bayer also makes you understand his placement on Anjuna, converting trance power into a rolling, eyeball-moistening shimmer.

Valuable as a soft background hum or towering top-of-the-world declaration, putting feet back on the ground once chillwave starts to beckon is crucial to the album’s outlook, taking care of those who can’t quite shut off when downtime calls, and waking up those who’ve drifted away.

File under: Slacker, Underpass, Boom Jinx

Trance Titans Kyau & Albert Talk Touring and ‘Nights Awake’

Kyau & Albert DJing

Not more than two years ago DJ/producers Kyau & Albert had coolly referred to themselves as “B-list artists” despite the fact that for more than 15 years they have been the eminent conductors in the production studio providing winning tracks that have brought artists like Armin van Buuren, Paul van Dyk and Above & Beyond to the superstardom. The duo — Ralph Kyau and Steven Moebius Albert — have been skyrocketing into their own and rightfully so promising more of the same with their latest achievement, their upcoming full album release Nights Awake. In spite of their progressing fame their affable personalities have always remained intact and they handle it like the true, unpretentious guys that they’ve always been especially to their dedicated fanbase. Their latest accomplishment is an unforced onslaught of adoration dedications that will leave you both energized and enlightened. We caught up with the modest duo at their Washington, D.C. stop at Mute at Lima Restaurant and Lounge where they have recently committed their Euphonic Records label to a well-received residency.

The name of your new album Nights Awake resonates with fans like me considering the hours we keep to attend our club and festival events. What is the meaning behind the title for you?

Steven Moebius Albert: Personally, I think the night is a very intimate thing. Most of the lyrics and the songs are also about the night just like the romantic view on the night. We had a couple of ideas to name the album and this was just one that just fits best.

One listener appropriately said of “All Your Colours,” “I love it when DJs can create a dream with sounds.” With so many superb selections to pick from was there a strategy for releasing “All Your Colours” as the first release from your new album or is that process more random?

Ralph Kyau: I wouldn’t say it’s random. I think in total we did around 40 tracks for the album, and on the final CD there were 15. And in the process we’re making tracks, we’re listening to the tracks, which are maybe a few months old and selecting the best ones. Finally when the album was almost finished we gave it to different friends and family — for example, Ronski Speed and our manager, Marco (Marberg) — and we got a good response on “All Your Colours.” But we also had “All Your Colours” in our minds because it’s a special record and it’s different to the last single, “Another Time,” so therefore we are quite happy about this track.

“Do You Still” is a more ambient, chill out, melodic trance track. It’s a little different style for you and significantly more vocal. One of your SoundCloud listeners commented, “This makes me feel in love, beautiful.” What was the inspiration for this track?

Albert: It’s actually one of the oldest tracks on the album. It was already recorded four years ago. We made some final changes. The inspiration behind the track itself is there was a movement in Germany called krautrock back in the day. It’s like ambient, electronic synthesizer sounds combined with rock elements. You have a journey within the track; it changes.

Kyau: It completely turns the mood from the beginning to the end and this is how this track works. It’s not really a proper DJ track but we liked it a lot. We were very surprised when we sent the album to Sara Cooper or to our graphic designed in New Zealand and they all said, “Wow, what a good track.” We didn’t have it on the screen in the beginning but the response was very good.

“Do You Still” has some harmonizing in there. Is that Steven on all vocals for this or is someone else introduced?

Albert: It’s all me. All the vocals come from me.

There’s a fair amount of vocal trance on Nights Awake overall and it’s not solely Steven Albert on all of it. How was it that you recruited the Adaja Black for the vocals on “Could You Fall?”

Kyau: Exactly one year ago, it was the 25th or the 26th. We were in an Australia tour and we played in Sydney on a boat in the harbor and Adaja was there, and I think she was a friend of the promoter and we were in contact.

Albert: And she was standing beside me and she was singing to the tracks and we thought, Hey, she has a really good voice. She wrote the vocals so I don’t know where her inspiration came from.

Kyau: Originally it was planned to do a second track with her but she is busy as a TV presenter in Australia and is doing live performances very often so maybe next time.

Traditionally so many of your tracks are heartwarming poetry with the perfect fit composition to accompany the words. Is there a formula for this? Does Ralph typically write the words? Does Steven typically write the music? Do you both go into the Euphonic studio and skillfully and collectively hammer out these masterpieces?

Kyau: Most of the lyrics come from him.

Albert: For example, when you make demos for the track we just use like fantasy English. We don’t really have proper lyrics.

Ralph: We’re just looking for the hook. You need to find the hook.

Albert: If it doesn’t have a hook, then the lyrics aren’t going to make sense in the beginning.

Kyau: A hook and melody and then later we check if it suits into it. It’s a different way of doing it but it works.

“We are basically absolutely independent on the musical freedom we have.”

And then there’s your track “We Own The Night” with label mates Stoneface & Terminal which is that soaring, uplifting trance that you’ve traditionally produced and are known for. One SoundCloud fan aptly called this song “dream trance.” The lyrics speak of chasing stars, forgetting to let go, the sun dawning, the night calling, and hounded by one’s heart. What can you tell us about the lyrics for this?

Steven: It’s just the attitude behind the lyrics. I just thought, It sure could be nice…. I just like the story behind it.

You’ve recently toured with them a bit and still managed to produce this ethereal gem? What were all of your roles in this process?

The album was also almost finished when we actually played for them. They’re living close to our hometown. We were talking how we were finishing the album and they said, “Hey, let’s do a track together.” We were thinking, Yeah, this might be a good idea. So we were exchanging ideas.

Kyau: We had a couple of track ideas and we played them all to them and they said “We Own The Night” would be a good pick. But from the album version I think in late February we are going all together back in the studio and doing a proper club mix. And possibly there is coming a single with a new proper club version and a video version in late April. We will also do a video clip for this.

Kyau & Albert

A few years ago you produced a hauntingly mesmerizing remix of Paul van Dyk’s “Complicated.” What behind-the-scenes planning brought the powerhouses of Paul van Dyk, Ralph Kyau and Steven Albert together for “Open My Eyes?”

Albert: Paul van Dyk influenced me a lot when I started doing music so I always wanted to work with him.

Ralph: He was the big DJ who supported us first. Before we got our charted and MTV he was the first who invited us and played our track. It was re-released under the name “Be There 4 U” but he played the original version “Outside” heavily. It was in 2001, I think. Then he invited the whole Euphonic crew step-by-step to his radio show. Nobody knows, Paul van Dyk was the first to have a radio show but he never made it into this big thing like Armin or so. He had a radio show already in 1999 or 1998 and it was quite influential for all the German EDM lovers. We were always in contact with him and Vandit. We also played for his birthday party, for his 40th birthday one year ago. And then he produced his album Evolution and we were doing this track together with him but our version, the K&A mix, is only on our album.

You’re taking to the road with your latest release in the States, Canada and beyond. Most of the time you only stop in any given city to do your gig. What is some place in the world where, given enough time, you’d actually like to take time to visit a bit longer more as a tourist?

Albert: It makes sense to go somewhere in the countries that are very far away like Australia or New Zealand. Also New Zealand has really nice nature.

Kyau: Two years ago I did two weeks with the gig and then I did two weeks around New Zealand on holiday. And when we started our international career we were very off and quite long everywhere. We checked out the whole west coast of the U.S., we were somewhere in Florida and also other places. We have had such a tight schedule and especially when we were producing the album. Now it’s getting a bit less stressful, especially in the last months of finishing the album, because we had a deadline or because we set a deadline for ourselves, it was quite busy so in and out was the perfect thing.

Mute promoters and fans couldn’t be more thrilled by the recent news of your residency. What can you tell us about your recent Euphonic artists residency with Mute at Lima in Washington, D.C.?

Albert: It’s the second time we come here and it wasn’t too long along that we’ve been here. There was only one show with us in the past year other than tonight so we’ll see how it’s going but I hear it’s already good.

Kyau: It’s a cool thing and the last time we were here it was three months ago.

Albert: I like residencies because you know what to expect and everything works and it’s cool.

I don’t mean to push too much of a good thing but with the success of your Euphonic Nights back home and your recent residency with Mute, can fans hopefully expect a Euphonic Night sometime in the States? Your recent Euphonic Night was seven Euphonic artists, two dance floors.

Albert: Yeah, this is great. Nothing planned but maybe.

Do you know your plans for any of the bigger, upcoming festivals such as those surrounding the Winter Music Conference and the Ultra Music Festival?

Kyau: This year especially as we are still promoting the album which is not out yet, everybody thinks it’s out but the official release date is February 25th, we are coming for a couple of days to Miami and we are doing interviews and gigs sometime around mid-March or in the 20’s.

What is one of your highlights of 2012?

Albert: It’s hard to say. There was no standout highlight but it was a good year overall.

Is there anything in particular you are looking forward to in 2013?

Albert: For us it’s pretty exciting to have a new album out. The last one was 2006.

Kyau: I’m really happy about the response right now not only from the media, but also because we can do clever releases on Euphonic because we have our own label and own vision. We are basically absolutely independent on the musical freedom we have. But right now we send it to different partners for example there’s a big partner in Latin America with many TV stations that are interested. We signed it to Eastern Europe. We signed it to South Africa. We are talking to Australia, New Zealand, now Asia. We didn’t expect this but it’s a really good response on the album. We haven’t really started planning the album tour. That’s the next point to do the album tour. We are extending our U.S. visa so there are a couple of things in the doing. And there is also coming a track soon on Anjunabeats. It’s an exclusive track for Volume 10 and it gets released later as a single. It’s a single called “Glühwürmchen.” It’s the German term for glow-worm or firefly.

The CD version of Nights Awake features lyrics to your tracks so you’re offering something more tangible.

Kyau: Many fans ask us [about] the lyrics, and maybe not for the U.S. proper English-speaker, but in other territories they want to have the lyrics. Like in Germany they ask, “Can we get the lyrics?”

Well, now we’ll all be out there singing them with you.

Kyau & Albert’s Night Awake is out February 25 on Euphonic.

Top image by Kathy Vitkus

Jaytech: One Geeky Dude on the Road to the Future

In August Australian DJ/producer Jaytech issued his second full-length album, Multiverse, an album that was three years in the making. In a candid interview, our Kathy Vitkus talked to Jaytech about his latest endeavor featuring collaborations with Nathan Grainger and Dirty Vegas’ Steve Smith.

You’ve been quite busy since Big Shot spoke with you at Ultra Music Week in March 2011. Your new album, Multiverse, has just been released. What do you plan to do with your spare time or breathing room that you’re experiencing these days after this latest major project?
Jaytech: Absolutely! I just finished up a ten-day holiday with my sister and two friends in Japan. I had two gigs while I was there, in Tokyo and Fukuoka, respectively. As the two cities are at opposite ends of the main island, we decided to make our way across the country on the bullet trains and check out Kyoto and Hiroshima along the way. I’ve been to Japan four times but every trip has been squeezed into the space of two or three days at the most, so I wanted to actually soak it up a bit this time. My new album came out around the same time, so it was also a way to kind of take a step back from all the promo and marketing we’ve been doing lately.

Multiverse definitely echos that traditional, Above & Beyond/Anjunadeep euphoria. As a member of the prestigious Above & Beyond Anjunadeep label what is the guidance, approval, influence or scrutiny that comes from James Grant or the Anjuna team that effects your latest production or its track selection process?
For this particular album the main man running the A&R process was Allan McGrath, who joined as the manager of Anjunabeats in 2010. There was never any particular influence to do the album in a certain way. It was more about taking what we thought was the best of the material I’d written and arranging it in a way that would have the best impact. I’d say there were probably about 30 or 40 contenders for album tracks, 13 of which made the final cut, so it was definitely a huge undertaking for everyone involved.

“In a weird way, I think writing music helps sharpen your definition of the world around you, as it kind of explains things in a way you can’t necessarily do in words.”

“Stranger” appears to be the instant dance floor hit. Cosmic Gate tested it on the dance floor (with a glowing success) when they recently toured through DC, and Kyau & Albert wasted no time creating a valiant remix. It was your first single release from Multiverse. Other than its obvious and infectious lovability and groove, what is it that personally impressed you about “Stranger” that influenced your selection as the first single release from your latest album?
Ultimately, I feel it’s Steve Smith’s vocal work that has taken the track’s appeal to the next level. It’s a nice lyrical sentiment, not too much for listeners to swallow, but with some extra layers of musical complexity for those who want it. We recorded it in Above & Beyond’s studio in London, which is a much nicer recording environment than I’m used to in terms of setup and acoustic treatment. I think that reflects in the record – as a vocal track it came together quite easily.

How was it that you convinced Steve Smith of Dirty Vegas fame to lend his incomparable, sensual and sultry vocals on this track?
After Dirty Vegas’ single “Tonight” was selected as the official anthem for the Ibiza Music Summit in 2009, Above & Beyond were enlisted to do a club mix, which was partly produced in front of a live audience during the summit. After that, the track became quite popular among Anjunabeats fans, and later on we got in touch with Steve to see if he’d be interested in doing some vocal work for my album. We had the rough draft for “Stranger” in the works for a while but eventually decided to get together in London, to expand on the lyrics and give it the recording treatment it deserved.

Your label mate, Above & Beyond’s Tony McGuinness, often uses his songwriting as a sort of catharsis and has therefore managed an undaunted series of poignant, candid manifestos over the years. Your “Labour Of Love” in title alone offers insinuation to the trials and tribulations in relationships. Are the lyrics on “Stranger” and “Labour Of Love” some of your own and do they have a story to tell drawn on personal experience?
In the words of producer Nile Rodgers, whose autobiography I read just recently, it’s always good to give your lyrics a secret hidden meaning — something that everyone will relate to but that also means something hidden to you personally. While “Stranger” is largely Steve’s interpretation, the lyrics on “Labour of Love” do have a double meaning. For me it’s also about the trials and tribulations of writing a second artist album, and relating to an ever-changing audience. The story of the track is basically about pushing on for the sake of what you love, even if the path is not as clear and simple as it used to be. To me, this is true in both music and relationships.

Was the release of your latest album in conjunction with your 27th birthday pure coincidence or was this a calculated birthday present to yourself and a gift to the rest of the world?
To be quite honest we were originally looking at getting it out a little earlier, as it’s been four years since my last artist album. In the end, I think it was the right choice to give it a bit longer in order to get the track list and artwork properly wrapped up, and to time it in the release schedule in a way that would have the best effect. I guess it is a gift to the world, although to me the reward is the process of writing it. In a weird way, I think writing music helps sharpen your definition of the world around you, as it kind of explains things in a way you can’t necessarily do in words.

You’ve paired with Serenade on both “Everglade” and “Through The Maze.” What can you tell us about this amiable songstress and the history of your collaboration with her?
We’ve known each other for a very long time and she’s actually responsible for a lot of the vocal “snippets” from some of my earlier work, such as “Genesis” and “Manipulator.” I’ve always considered her to have an amazing voice, and I think the best from her is yet to come. The two tracks she features in on the album are still largely instrumental affairs, but when I get the chance to record her under really great circumstances I think we should definitely do a more fully fledged vocal track, like I did with Steve Smith.

What is your working relationship and your meeting of the minds with Nathan Grainger who sings on “Labour Of Love” and “Innovation?”
Nathan is basically a living legend amongst our crew back in Australia and heavily involved in the world of electronic music. We’ve been rocking out to prog anthems and partying together for as long as I can remember, and we’ve actually written three whole albums together just for fun. Usually the music we’ve written has been of a pretty silly nature, but having done so much recording together it just kind of made sense to actually try and do something more seriously.

“Innovation” in name is a forward-thinking term although this smooth, unique track has a retro ’90s feel like a subtle version of Depeche Mode “Rush” meets God Lives Under Water “Your Mouth.” What was the inspiration and framework behind the making of this particular track?
It’s more indicative of the kind of music my friends are listening to back in Australia. Although a lot of them started with progressive house and trance, nowadays when I go back there people are listening to all kinds of stuff, such as glitch, dubstep, midtempo and a whole bunch of other styles I never knew existed. “Innovation” was influenced by that kind of slower tempo sound.

Fans missed you at the Group Therapy show in Miami this past March. Your unfortunate absence from the scheduled line-up was due to unforeseen circumstances but your absence, especially from this particular show, was an unprecedented void. The annual, Miami in March, Anjunabeats/Anjunadeep shows are not quite the same without the Jaytech franchise. What are you plans to take your DJ show on the road promoting Multiverse to a world of Anjuna fans?
The plan is to really tour the hell out of the album over the next six or eight months. At the moment we’ve got gigs lined up for North and South America, Australia and Asia, and there’s more stuff in the pipeline. Should be a pretty busy year of travel I think! As for Miami, I will definitely be there in 2013.

Scattered throughout the 13-track collection you host a few melodic, downtempo compositions and wrap with “Blue Ocean” feat. Melody Gough and “Coda” which are 96bpm and 93bpm respectively. As Above & Beyond did with Group Therapy this allows the opportunity and endless possibilities for a transition into club remixes. Do you see that in the future for any or all of these tracks?
Possibly, although I think I’m more inclined to create clubbier mixes of the progressive and trance tracks from the album. It’s always a bit of a pain making a club mix out of a 93bpm track because the tempo is way off what it needs to be, so you either need to speed up/slow down the vocal a lot or do some creative chopping, and often you end up pretty far removed from the original musical idea.

As part of the Anjunabeats/Anjunadeep label you’re aware of their reputation for working with quite the prolific artists. If given the choice, which artist could you see assimilating quite well into the Anjunadeep family and why, or one who might present another collaboration opportunity for you?

To be honest I’d love to see an Eric Prydz record on Anjunadeep, although he’s got such a good thing going with his own imprint that it maybe wouldn’t make much sense to do that. As for assimilation into the Anjunadeep family, it’s great to see Jody Wisternoff featuring more on the label as I’ve always been a big fan of his sound.

The partial list of the approval ratings from fans regarding your latest release reads like the following, “… Jimbo, you did everything right..,” “… Already had it for 2 days and haven’t stopped listening to it!!!…” and “SWEET JESUS…. THIS ALBUM!” With all modesty aside, in 30 words or less, how would you describe Multiverse.

One geeky dude on the road to the future, painting a picture of the colorful things he sees along the way.

Live image via Facebook

Mat Zo’s Past Influences His Future

British progressive house DJ/producer Mat Zo has music in his blood. Literally. His mother is an accomplished violinist and at an early age began soaking up music like a sponge. Fast forward to the present and Zo is regarded as one of the most up-and-coming jocks on the global scene, thanks to a slew of smoking hot remixes and productions. After his tracks found themselves in heavy rotation in the sets of renowned DJs from all over the world, he began a successful relationship with Above & Beyond’s Anjunabeats. In this exclsuive interview conducted in Miami, Zo opens up about his interesting past, his ongoing work with Arty and hints at new projects we can expect from him. Spoiler alert: he’s working on an artist album!

I understand your mother is a professional violinist and raised you with more than just a sense of an appreciation for music. What are some of your fondest memories of that upbringing and her influence that you carry with you today?
Mat Zo:  I remember the first time she taught me how to play piano. I remember getting completely excited about making music, and I think it all stemmed from there really.

How old were you?
I was two.

Some kids fight it a bit. Well, maybe not at that age but when they get older and when they want to go outside and just play with their friends.
I kind of did fight it when I was a little older but deep down I couldn’t escape from being a musical person.

You spent a significant amount of your childhood in Cleveland, OH, and, as they say, “Cleveland Rocks.” Your father presented you with a guitar when you were eight. Who were your influences back then and what were you playing?
I was big into grunge and Alice In Chains, Soundgarden and Nirvana. At the same time I’d just discovered Daft Punk, The Chemical Brothers and Fatboy Slim so my musical tastes back then were even more varied than they are now.

“My mom’s very supportive. She listens to all my music and follows me on Twitter and all that.”

So you were interested in grunge and rock and then you found electronic dance music. How did that transition happen? When and how did you find out about all that?
There’s this Canadian TV channel called MuchMusic. Back in 1998 when I was a little kid in my basement listening to that station they had this club show every Saturday I think it was. They would bring on DJs and that was my introduction to dance music.

It was a little more underground back then and it was a little harder to find.
I’ve got to thank illegal, free cable.

How do your parents feel about your successful music endeavors and paths you’ve taken so far?
First they were a bit unsure about it before I made something out of it. Now that I’m touring the world and doing something with music I think they’re proud of me, understandably I guess.

Is your father doing something in music as well; I know he bought you your guitar.
He loves music but he’s a painter by profession.

You’re from an artistic family all around. Do they understand the music you listen to? Do you play it for them? Do they understand what it’s all about?
My mom understands it a lot more than my dad. My mom’s very supportive. She listens to all my music and follows me on Twitter and all that.

It’s almost obvious because of the availability of electronic dance music in London, but do you recall some of the first moments that you heard and fell in love with EDM while living there?
I definitely liked drum ‘n’ bass and garage. I was introduced to that when I moved over there. It’s massive in London.

Which drum ‘n’ bass artist or artists?
High Contrast, Logistics, Noisia.

Who were you emulating and what means did you use to explore your craft?
At first I wasn’t even using production software. I was making MIDI’s which are just computer generated but a little hard to explain. Basically I got into it just making melodies without really producing. Back then I was just trying to be Daft Punk which isn’t too far off from what I’m doing now.

Were you already writing some of your own material?
I think I started making my own music when I was about eight. I’ve been pretty much doing it my whole life.

That’s impressive. They’re starting you guys out younger and younger like Arty and Erik Arbores and you.
They’re only going to get younger and younger until most of the DJs won’t be allowed in the clubs.

Do you recall your first gig and your track selection?
My first professional gig was in Utrecht in Holland for Trance Energy in 2008. It was a very small pre-party. The company was called Luminosity. Since then they’ve grown a lot. My first ever gig was at my friend’s birthday party and I was in the booth with about five other friends and they were playing with the pitch faders. I was playing stuff like Steve Angello and a lot of house music.

When and how did your relationship with Above & Beyond happen?
They asked me to do a remix for them in 2008. They liked it and then afterwards they asked me if I had any original stuff and if I wouldn’t mind signing with them. I immediately took a shine to the label.

How did they find out about you?
It was a remix I did of Tiesto.

What was song that Above & Beyond asked you to remix?
It was a song called “Fallen Tides” by Mark Pledger and Matt Hardwick.

What can you tell about your relationship with Arty?
We work really well together. Every time we make a track together it turns out really well. I guess our two styles go really well.

How did you two meet?
It was through Anjunabeats. I was playing a lot of his stuff and he said at the time I was one of his biggest inspirations and vice versa and it just happened.

What’s the thought process involved, the production involved, and how to you come to the conclusion that it’s complete when you produce an amazing track like “Rebound” or “Mozart?
If I knew where the inspiration came from I’d be making a lot more music. Sometimes you just have one of those days when you wake up and an idea comes.

And then there is your single effort “Yoyo Ma” which is a lovely track. What was your inspiration for this one?
I played around with the synthesizer trying to make a dirty bassline but ended up with a cello instead.

Are you currently collaborating with anyone that you’d care to share?
I’m doing another collab with Arty. Other than that pretty much just working on my album and trying to get that finished first.

Is there someone you’re interested in working with?
There are loads of people. Madeon from France. He sounds really promising. One of my all-time favorite bands, Radiohead. If I would ever get to work with them I think my life would be complete.

What is a current hot track for you? What might we hear from you at the Group Therapy show?
Every gig now I’ve been playing this track by Dada Life called “Kick Out The Epic Mother Fucker,” and I’ve mashed that up with Avicii’s “Levels” and it’s been going off really well but more or less on the commercial side I’ve been loving tracks by Alex Kenji and Phunk Investigation and Da Fresh. I really like the more techy, groovy sound of them.

Once Miami Week is over and done what do you have planned?
My girlfriend’s coming over from LA for a week and we’re going to spend some time together. I’ll have a gig in India and Helsinki, and I’ll still be working on all of my album tracks. So yeah, it’s going to be a busy summer.