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The Presets, Hermitude, Nina Las Vegas

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Cell Block Theatre: 07/11/12

the Cell Block added beats to its bars as local lords of dance The Presets took over the Triple J’s super-secret Oz Music Month gig. The headliners played relatively early (although it was a school night, I guess) and with a bit more of a set-up than the theatre, and their supports, had needed: lights, cameras, a drum kit for Kim Moyes to ascend, and a synth and some other bits and pieces for Julian Hamilton to emerge from behind while delivering his beautifully understand vocals. The later also provided a handy barrier as the odd overly enthusiastic fan scaled the stage to have a little party with the boys; it was all relatively harmless (and artless), but also, clearly, not what the band were really keen on.

In their intro The Doctors (Linsay McDougall) made of point of calling The Presets’ 2008 offering Apocalypso a defining point in Australian Dance, and it was that album, and the music of newbie Pacifica, that formed the base of tonight’s set. The presets make dance music with a mongrel edge, as typified on tracks Youth In Trouble and Promises (the latter has a distinct ’80’s electro edge, almos New Order-y, and that’s meant as high praise). The older tunes were still fine, with a a slower version of This Boy’s in Love led with a sweet keys hook, and If I Know You just demanding a bop along from even the coolest of hipsters hanging up the back. Of cause, it was rounded off with My People (again, hipsters were helpless to resist), and the standard brief absence and return for a tight encore (where Hanilton threatened to hunt down those who’d lost the faith and left).

Kudos has to be given to their supports though, particularly Harmitudem who used the space with arguably more grace. Starting off with iPads around their necks and with a healthy amount of enthusiasm, there was a sense of spontaneity and engagement that was infectious. Mucjing around and including a few choice fanboy (and fangirl moments) – especially a gratuitously unnecessary but fab use of the old school Doctor Who theme – they set the tone and theme to playful. Inviting a sing-along for The lion Sleeps Tonight, before it morphed away, ad a shameless bit of Michael Jackson (again, why not?)  of cause their biggie Speak Of The Devil was a highlight. It was a vide that Nina Las Vegas in her two in-between sets also tried to channel (although always tough when there are set-ups happening around and over you).

 

 

Source: The Drum Media magazine

Writer: Liz Giuffre

 

Calvin Harris – 18 Months

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18 Months

Fly Eye/Sony

He’s a busy boy is Monkey Harris. He’s also something of a hit-making wonder machine as between him and fellow beatmaker David Guetta, the due are probably the modern-day equivalent of the famous Stock, Aitken and Waterman music factory. Harris and Guetta make records that seemingly appeal to anyone and everyone – the last time that happened The Bee Gees were famous, and popular.

Like his recent singles, Harris’ music is all over the place – a smorgasbord of variety that by and large hits the mark. Included on 18 Months  are his trademark hits from the past year or so: the commercial gold We Found Love, featuring Rihanna, Bounce  (with Kelis), Sweet Nothing (with the ever impressive and versatile Florence Welch from Florence & The Machine) and Drinking From The Bottle, an underrated track that features UK rapper Tinie Tempah in fine from. We’ll Be Coming Back (featuring Example) appears and I Need Your Love (featuring Ellie Goulding) is a gem of a track destined to smash dancefloors and be hammered by the likes of Nova and Fox.

There’s no doubt that harris is a talented fellow. He’s savvy in collaborating with the right people at the right time and although 18 Months isn’t structured in any particular way, it’s pure enjoyment and a collection of wicked, expectantly crafted yet relatively simple electronic music tracks. Harris is adaptable, flexible and probably doesn’t get as much credit as he deserves compared to say, Guetta. Yet on this evidence he should.

And in typical Harris style, most of the choruses are so damn catchy you’ll be grooving and moving whether you like it or not.

Source: The Drum Media magazine 

Writer:  Stuart Evans 

The Annual 2013 Dance Album

The Annual 2013 has been noted as the greatest dance album of the year.

Mixed to audible perfection by The Only and Tom Piper, we are delighted to present to you The 2013 Annual. After months of madly collecting, curating and crystal balling the biggest hits of this year and the future, we are delighted to present the biggest and best album of the year. With 45 tracks molded into two discs of dance music perfection, this is one album which no dance music lover should go without. The total lineup and tracks have made the final cut of the album were released on the official website of Ministry Of Sound

The Annual 2013. Out 2nd November 2012 through Ministry of Sound. Grab a copy of the tracks or full album on iTunes, each track also has a price for you to purchase the specific songs you enjoy listening to!

Electro Beach 2013 Purchase Tickets Now!

As we it was announced last week, tickets for Electro Beach in Puerto Vallarta, Mexico are now officially on sale. All tickets are valid Sunday through Friday of your chosen week; starting at $250 for general admission, $350 for GA open bar, $350 for VIP admission, and $450 for VIP open bar. As a more mellow alternative to the hustle and bustle of Miami, Electro beach and Puerto Vallarta should provide a more “relaxed” setting. Choose your Spring Break week below, the lineup will only continue to grow as March approaches. The announced line-up can be found on their official webpage here.

Purchase Tickets
Week 1: March 3rd- 9th
Week 2: March 10th-16th
Week 3: March 17th-23rd
Week 4: March 24th- 30th