Amnesia Ibiza Raided By Spanish Police

Image courtesy of Amnesia Ibiza on Flickr

UPDATE : After spending 17 hours in the club in the initial raid yesterday, Spanish police have returned to Amnesia Ibiza to search the venue for a second day, reports local news source Diario De Ibiza. Furthermore, identities of the three people arrested besides club owner Martin Ferrer have been revealed: Marti Ferrer, the owner’s son and the club’s artistic director, Amnesia general/business manager David de Felipe, and Amnesia accountant Vicente Prez de Montis. The paper writes that police are “investigating alleged crimes against the Treasury,” and also raided the suspects’ properties in Ibiza and Barcelona. (H/t RA)

Ibiza superclub, Amnesia, was raided by Spanish police at 8AM this morning following a Cocoon party featuring Sven Vth, Ricardo Villalobos, and KiNK.The nightclub’s owner, Martin Ferrer, along with three other unidentified individuals have also been arrested and are reportedly being held on the club’s premises.

Both the Spanish national paper El Mundo and local publication Diario de Ibiza reported that the arrests are part of an anti-drug operation, with drug-sniffing dogs having accompanied the police during the raid. Their accounts differ, though, insofar as the latter added that the operation is connected to a money laundering investigation, writing that Tax Agency experts were also on-site.

A spokesperson for the Guardia Civil in Majorca has been quoted in the UK’s Daily Star as saying concrete details about the investigation will not be made public today. “There is an operation in progress but the court secrecy order means we won’t be making a detailed official comment today or sending out a press release,” he said.

The club posted to their Facebook page posted about an event taking place there tonight, July 5, suggesting that the venue will continue business as usual.

We have reached out to amnesia for comment and will update this post as we obtain more information.

Follow Alexander on Twitter.

Toronto Nightclubs Have A Problem With Racist Door Policies

When Canadian comedian Daniel Woodrow visited Toronto nightclub EFS one Saturday evening in early June, he had an experience that’s all too familiar to many people of color. As his white friends were being ushered past the velvet ropes of the King Street West venue, the doorman stopped him and told him that he wasn’t getting in.

“I asked why said it was dress shirts only,” Woodrow explained to THUMP over the phone. “Then I pointed out that my friends who he’d just let in also weren’t wearing dress shirts, and neither were the other people that were being let in.”

He and his friends gave up, and went to another bar down the street to continue their night, but the experience continued to nag at Woodrow. The comedian took to Facebook the next day to tell his story, and his post was immediately shared widely. Patrons started posting similar stories and leaving negative reviews on the club’s Facebook page, and local talk radio soon picked up the story. EFS representatives finally released a public apology addressing the incident several days later.

“It is EFS’ policy that all patrons abide to a Style Code to gain entry into the club. Under no circumstance is religion, sexual orientation, or race a factor in the decision to deny entry,” the statement read. “We are a multicultural venue with a culturally diverse staff. Entrance is at the discretion of each door person who makes the call on a case-by-case basis, and acts in the best interest of the venue. While we agree that the Style Code may be perceived as subjective, we aim to create a stylized, elevated atmosphere where the majority of patrons adhere to this code.”

After receiving the statement, THUMP’s follow-up request for a copy of the aforementioned style code produced a document that makes no explicit reference to either t-shirts or dress shirts. While the comedian acknowledged the apology, the lack of a credible explanation as to why he was refused entry makes their insistence that discrimination wasn’t a factor, harder to swallow.

EFS’ code policy, courtesy of EFS

A quick perusal of nightclub review site Clubcrawlers reveals corroborating stories that prove Woodrow’s tale is far from an isolated case in Toronto. One southeast Asian patron claimed that he was told EFS was all booked up for table reservations after he gave his name, but when his white girlfriend called back, she was immediately accommodated. Customer testimonies of Bloke, a restaurant-lounge located only several blocks away from EFS, are peppered with accounts of reservations vanishing when black clientele showed up at the door. Last year, the bar at the Trump Hotel in Toronto was accused of refusing entry to a man wearing a turban.

In all these incidents, the venues were able to dismiss the claims by citing capacity issues or vague codes. It’s next to impossible to prove these kinds of allegations without corroboration from club employees who are privy to the reality behind the scenes. Venues always have some way of plausibly denying accusations, and there’s no shortage of excuses available to management to brush away any claims from patrons who believe they’ve been discriminated against.

Photo courtesy of CODA’s Facebook

Even if you make it past the door however, racial profiling can continue to impact partygoers inside venues. In February, Detroit-raised, Toronto-based DJ Antwon Faulkner was watching Robert Hood play at CODA, when security shone a flashlight on him and started grabbing at his pockets.

“He’s asking me ‘Where is it? You must be a magician.’ I’m feeling really uncomfortable and everyone is looking at me wondering what the hell is going on,” he told THUMP. “I just came to hear my man Robert play and all of a sudden I’m getting treated like a drug dealer. I felt like I was singled out because I was the only black guy up there. I don’t do drugs, I don’t smoke weed, I rarely drink. I told him the only drug I sell is coming out of the speakers right now and it’s called Detroit techno.”

Faulkner later reached out the club’s owners hoping for an apology, but never heard back from them, which inspired him to write a song called “Revenge” about the experience (the track builds around a vocal sample asking “Am I hurting you?”). He hasn’t been back to CODA since.

Read More on THUMP: London Nightlife’s Racism Problem is Bigger Than You Think

“That’s what’s so insidious about institutionalized racism, it’s set up in a way that you’re gaslighted right away,” said Toronto artist Isis Salam of her experiences in the city’s clubs. “If you say something, they’ll be like ‘What do you mean, there’s a black guy already in there,’ because they’ve already hit their two black guy quota. You can’t even call them out about it, even though you can clearly see that it’s not really about capacity or about dress code.”

It’s incredibly tough to prove that these experiences are the direct result of racial profiling, but insiders say that people like Woodrow, Salam, and Faulkner aren’t imagining discrimination. “Cindy” has worked as a bartender at two other downtown clubs, and reveals that behind the scenes there were concerted efforts at both establishments to limit the numbers of black men.

“As long as I’ve been in the nightclub industry, this has been the standard. Promoters would talk to the managers about groups that they had coming in for table reservations, and the managers would blatantly ask what ‘kind’ of people they were. They referred to our black and brown patrons as ‘urban’ patrons,” she told THUMP.

“It was accepted that when you stated there was an urban crowd, that’s what they were referring to, and they always wanted to limit the number of urban patrons, which is ridiculous.”

“They wouldn’t say black specifically, but they would use code words. If they said to not let in too many ‘hip hoppers,’ or too many ‘homies,’ we knew what they meant.” – Toronto bouncer “John”

THUMP reached out to a former bouncer we’ll call “John” about his experiences working the door at several Toronto clubs since the 90s, and he also confirmed that the practice of deliberately limiting the number of black and brown patrons was disturbingly commonplace. He was regularly instructed to prevent larger groups of black men from entering together, although he says his bosses were always careful with their wording.

“They wouldn’t say black specifically, but they would use code words. If they said to not let in too many ‘hip hoppers,’ or too many ‘homies,’ we knew what they meant. There was an understanding that you don’t let in a big group of younger black guys all at one time.”

The policies seemed to them so culturally ingrained in the industry that neither John nor Cindy felt they could protest at the time, and both requested that we not use their real names out of fear of potential fallout. “The whole time I was doing that I remember thinking that it was wrong,” John admitted. “When I did it, I didn’t feel good about it. I knew it was messed up.”

Read More on THUMP: Queer Nightlife is ThrivingSo Why Are There So Few Parties Where Trans People Feel Safe?

For club patrons who believe they’ve been denied entry based on their skin color, there are legal options available. The Ontario Human Rights Commission provides free legal representation, and successful claims can result in anything from fines for the venue to policy changes and additional training being mandated. “Write down what happened to you, and make sure you have all the details,” OHRC information officer Vanessa Tamburro told THUMP. “Speak with our legal rep, and see if it can be argued or proven that it was in fact discrimination.”

In most cases of racist door policies though, it’s often only the employees who can provide the hard evidence needed. While those employees may be scared of how their bosses will react, they may be comforted to know they have some legal protection.”They are protected against reprisals,” said Tamburro. “If they’re fired for bringing this up, there could be repercussions for the employer.”

While complaints about workplaces failing to provide policies against discrimination can be brought to the Human Rights Tribunal of Ontario, taking issues to the courts isn’t necessarily an appealing option for most victims of nightclub discrimination. For many, an honest and public dialogue about these topics is ultimately the most effective way to achieve systemic changes.

“All you wanted to do was listen to David Guetta and do some shots, and now you’re at the courthouse? That’s bullshit,” said Salam. “I think the only way for things to change is to call them out. I thought things would have changed by now in Toronto, but apparently it’s still 1956 out here.”


Benjamin Boles is on
Twitter.

What Would It Look Like If Bieber, Skrillex, And Diplo Made The Seinfeld Theme Song?

Screenshot from the original NYT YouTube video

Skrillex, Diplo, and Justin Bieber made one of the most enduringly iconic songs of 2015 in “Where Are Now,” creating something so ubiquitous that it’s not really possible to talk about the current crossover pop potential of electronic music without mentioning it. Considering that its release marked such a significant event, it could be interesting to speculate about how history could have gone if the artists had produced something totally different-sounding. For instance, what would it look like if instead of coming together to make that heartfelt banger, the trio combined their collective powers to create the Seinfeld theme?

On Sunday, the ever on-point Seinfeld Current Day Twitter account did us all the favor of bringing this fantasy to life, and the results are totally, eerily uncanny. Remixing the New York Times‘ mini-documentary on the making of Jack and Bieber’s single, they’ve created an absurdist collage of pop culture history.

Follow Alexander on Twitter.

Here's What Men At Electric Forest Had To Say About The Festival's Female-Only Campground

All photos by Rebecca Krauss

This year at Electric Forest in Rothbury, Michigan, the festival was host to a new initiative called Her Forest dedicated to the “connection, inspiration, and comfort” of female and female-identifying guests. Women who took part in the program had the opportunity to participate in a female-only campground, a panel featuring female leaders in creativity, and “women’s circles”spiritual gatherings that foster connections between participants. According to some of the participants that we spoke to, the project was a welcome one, fostering bonding experiences between campers as well as a heightened feeling of safety.

Still, some of the festival’s attendeesboth male and femaletold us they believed that the Her Forest program contributed to an unwanted gender divide, something that contradicts the festival’s typically inclusive spirit. Wanting to hear the opposite sex’s opinion, we decided to talk to a handful of first-time and veteran male campers, and get their thoughts on Her Forest, as well as festival safety in general.

Connor, 23

Years Attending Electric Forest: 1

THUMP: To start, what do you know about Her Forest?

From what I know, it’s supposed to be a safe space for girls coming to Electric Forestit’s an all female campground where you don’t really have to worry about the potential dangers that come with going to a festival by yourself or with a small group.

If there was a His Forest, is that something you’d participate in?
Probably not. Personally, I think it’s everyone’s Forest. Everyone should be respectful and nice and inclusive to each other, regardless of what additional measures they throw in.

Do you think safety is an issue at Electric Forest?
I would have thought so before I went, just because of the sheer size of it. When you’re in a giant forest in the dark, regardless of how careful you are, accidents always happen. Compared to other festivals that I’ve been to, I saw a fewer amount of problems than I usually do. It seems like everyone takes care of each other really well and there’s a good community of people there, including the police and medical staff.

Dexter, 24

Years Attending Electric Forest: 1

Do you think that the initiative might segregate certain populations within the festival?
I personally think it does segregate the festival. They haven’t done it for the past 6 years, so I don’t get why they’ve decided to do it now. It just seems kind of sexist to choose one gender over the other.

Do you think they should be offering a His Forest option?
Since they made a Her Forest, they might as well have made a His Forest to keep it fair. But I don’t really think they should make either.

What are the benefits of a campsite that includes both genders?
It brings everybody together. For someone who might be intimidated by the opposite sex, it might help them to shake that. And it’s not just males and females at Electric Forest. There’s transgender people and all types of sexualities. I think that’s what makes this forest so special.

Daniel, 22

Years Attending Electric Forest: 2

When you first heard about Her Forest, what assumptions did you make?
I didn’t think it was a good idea, kind of gimmicky, but I feel like it could be necessary for some people.

Do you think having an initiative like this is beneficial or does it further separate festival-goers?
I don’t think it separates the festival at all. I think a lot of women really wanted to join, and if it allows women to feel more comfortable, then it’s a good thing.

Andrew, 24

Years Attending Electric Forest: 5

Do you think safety is a big issue at Electric Forest?
At festivals, yes. At Electric Forest, it’s perceived as an environment where it’s less likely that something bad is going to happen, just because of the community there. But it’s still a good thing to have a safety net.

What do you think is the biggest difference between an all-women and a mixed gender campground?
I think the topics of conversation might be really different, it might be really gossipy or focus more on gender issuestopics that women are more concerned about.

Would you ever camp at an all-men’s campground?
Sure. I think it brings together a sense of brotherhood, just like Her Forest achieves a sense of sisterhood and community. I don’t think it segregates, it just helps to create comfort amongst people of similar genders.

Do you think a His Forest should have been offered?
I do, yes. For sure.

Chris, 26

Years Attending Electric Forest: 2

Did you have any interest in checking out any of the Her Forest activities at the festival this year?
I didn’t check it out, but not because of a lack of interest, it just wasn’t a priority. Other things happened that preoccupied my time.

If there was a His Forest, would you participate?
No. I want to camp with all my friends and without any barriers. For me, the whole point of going to Forest is to meet new people and rekindle friendships. I’m coming here to spend time with people, not get away from them.

Do you think women’s issues and safety is prevalent at Electric Forest?
Clearly I’m speaking from a male point-of-view, but truthfully I don’t think it’s an issue at Forest. Forest is one of those places where nudity doesn’t equal sexuality. You can show some nipple, you can be naked, whatever. You might get some looks, but it’s really just a gender-free place.

Eddie, 27

Years Attending Electric Forest: 2

When you first heard about Her Forest, what did you think it was going to be like?
I thought it was going to be a couple of hippies in a peace circle. I was surprised to hear that they didn’t allow men to join the first women’s circle of the weekend. I think that they realized that was a mistake, and the second day, they let people know that everyone could join.

It was always their plan to invite men to the the second women’s circle of the weekend, actually. Does that change your perception at all?
I think it might have been poorly communicated. When you told me that you went with your boyfriend and they wouldn’t let him in because he’s a guy, to me, that seems like it defeats the purpose. If they’re trying to encourage equality, empowerment, and get some dialogue going, then they should be letting everyone in.

Should they add a His Forest next year?
I don’t think that there’s a market for it. If there’s reason for a man to feel unsafe in the regular campground then fine, but I’m just not sure that it’s something that would be needed.

Rebecca Krauss is on Twitter.

People Are Streaming Music On Audio Platforms More Than Video Platforms For The First Time

Image courtesy of Pixabay

In the first half of 2016, on-demand music streams on audio music platforms like Spotify far exceeded those on digital video platforms like YouTube for the first time in history, according to a new mid-year report from analytics company Buzzangle. Yup, you read that correctly: music streaming platforms were abnormally, historically popular when it came to streaming music, however counterintuitive that may be. Of the 209.4 billion total music streams in the US market during the period, audio platforms made up 55% (or 114.23 billion streams), while video platforms comprised just 45% (95.17 billion).

These numbers mark a significant turnaround from a year ago, when video platforms enjoyed 58% of the market, compared to audio streaming’s 42%.

Another, perhaps less surprising, revelation of the report was that streaming itselfno matter that platformis more popular than ever: the total number of streams in the first quarter of 2016 was up 58.3% from a year ago, whereas the first quarter of 2015 brought in only 132.3 billion. Indeed, it should surprise no one that streaming is the industry’s fastest-growing source of revenue.

The news that audio music platforms are on the rise will most likely be welcomed by critics of YouTube, who have argued that the site takes advantage of DMCA safe harbor rules to keep artists and record labels from getting the renumeration they deserve. These rules limit the liability of user upload sites like YouTube for the illegal actions of their users, which means they can get ad revenue for posting copyrighted content content without having to bear responsibility for it. Frances Moore, CEO of the International Federation of the Phonographic Industry (IFPI), argued in the organization’s 2016 Global Music Report that the industry’s capacity for growth is held back by the circumstances.

H/t to Music Business Worldwide for the tip.

Follow Alexander Iadarola on Twitter.

Listen To South London Ordnance's Italo-Inflected Techno Cut, "Use Of Weapons"

UK techno producer South London Ordnance has shared “Use of Weapons,” a spooky cut from his upcoming two-tracker, ALLOYS007, out on his Aery Metals imprint on August 5. The haunting track employs far-off gothic chants that more closely resemble pitched-up versions of Sunn O))) drones than what is found is most techno, bass drums that are prominent yet subtle, and occasional sci-fi lab effects which all come together nicely. In an email to THUMP, the producer writes that the new tracks ” on a lot of the same atmospheres as the Tor record earlier in the yearbut with more of a nod to a lot of the Italo / Wave stuff I’ve been getting into recently. Lots more to come on this tip.” Look out for the official release in early August, and until then stream “Use of Weapons” below.

Someone Compiled Every Sample On Jamie Xx’s ‘In Colour’ In One Video

British producer Jamie xx‘s 2015 LP, In Colour, got a lot of love over here at THUMP. On top of naming it the sixth best record of the year, we also gave album single “I Know There’s Gonna Be (Good Times)” the number nine slot on our favorite tracks of the year.

One of the most interesting things about the record is how it plays with themes of nostalgia, putting itself in conversation with dance music’s history, so it’s no surprise that samples play a huge part in its internal chemistry. It’s for that reason that we couldn’t be more happy to see that Brazilian music enthusiasts Donutsample have made a video clearly unpacking each sample in each of the album’s 11 songs. Not only does this save you (as well as us) a whole lot of work, it also lends some vital insight into what the artist listens to.

Last week, French director Romain Gavras shared his video for Jamie xx’s “Gosh,” a cinematically epic clip reportedly featuring more than 400 actors and absolutely no special effects.

We Spoke To DJ Deeon About The Birth Of "Ghetto House" And The Legacy Of Dance Mania

It’s not often in life that you find yourself sharing a glass of tap water with a musical pioneer, but there I was in a not-quite-open-yet BBQ restaurant in Brixton enjoying a beaker of the Thames’ finest with Chicago legend DJ Deeon. Sadly the kitchen wasn’t serving up the usual steaming plates of sticky ribs and nuclear-orange buffalo wings. It was a disappointment because A) I was really hungry and B) I was going to call this piece Here’s What Happened When I Had a Delicious Dinner with Dance Mania’s DJ Deeon.

Anyway, enough of me and my appetite. I’d been summoned to South London on an overcast Friday afternoon to meet a man who many claim invented the rough-hewn form of 4/4 Chicago dance music known as “ghetto house.” Deeon was in town to play only his third gig in London ever. That night he tore Phonox apart and we forgave him for his absence in the city. Before the show he’d told me that, “the UK crowds always seem appreciative of me and my music. I like it here. There’s a better atmosphere here than there is in Chicago,” which made me feel pretty smug. London 1, Chicago 0.

Deeon, as you’ll hopefully know, is a pivotal part of the Dance Mania story. For those of you who’ve been living inside a wi-fi-less cave for the last thirty years, Dance Mania is the last word in stripped back, raw, and (usually) incredibly rude minimal house music. It’s music that Deeon himself describes as being “for the strippers, for the street”. Alongside other Windy City luminaries like DJ Funk, DJ Milton and Paul Johnson, Deeon and the Dance Mania crew created the blueprint for a new kind of house music. It was profane, powerful, and profoundly danceable.

His influence has gone far beyond the confines of Chicagohe’s huge in Scotland, for example, and last year saw him release an EP on Jackmaster’s Numbers imprintand just last month Katy B hopped on his seminal “Freak Like Me” for one of the hottest records of the summer. We met up with the ghetto house legend for a candid chat on the kind of drizzly afternoon that Deeon claims to love. “I love the clouds. The grey. The rain.”

THUMP: How do you feel about the term “ghetto house” then?

DJ Deeon: It wasn’t actually a term that we used or came up with. We didn’t pick it. It was what we were given. I come from the projects and that’s considered the ghetto, the bottom of the pile, but we saw nothing wrong with that. A magazine article called what we did ghetto house. Some people accepted it, and since then that’s what it’s been called. It took a little of the shine off what we were doing, because back then in the 90s, a lot of Chicago artists weren’t really doing anything and here we were doing what we liked to do, playing stuff we made, DJing in clubs where the crowds had grown to want what we were doing.

Was what you were doingthat raw, stripped back, super minimal stuffin fitting with the rest of the city’s house scene at the time?
It was what it was. The thing is, the guys who came before us weren’t doing anything. Maybe they were like I am now: I’m in Europe so I’m not focusing on Chicago. I tell all the juke and footwork guys that you could be in Chicago arguing over a $200 gig or be in Europe making thousands. You’ve got your own genre of music that you created, so focus on that. Back in the 90s that was how it waswe were the only people from the city doing stuff outside of Chicago. Then there were labels like Underground Construction who caught onto what we were doing at Dance Mania, and they tried to do a more fleshed out version of what we were doing, but it was still built from ghetto house. Then ghetto house became juke, and juke became footwork. We saved house in Chicago. I was buying my records from New York and playing it with the stuff I was making. There weren’t any Chicago artists doing anything in the 90s.

Did you and the rest of the Dance Mania guys think locally or were you expecting the label to be as huge as it was, and still is?
Never. We just kept it amongst ourselves. Me and my crew had more than one hustle. We started off DJing in the playgrounds, then went onto rent out halls, and clubs that’d have us. We also sold mixtapeswhich helped the genre a lot. My best selling mixtape was a gangster rap mixtape, actually. I consider myself the first person in Chicago to have a successful rap mixtape career. I used to distribute them via Ray Barney, and he’d sell them all over. I had a good following down south. Then we got passports and got to tour. Another hustle. With us Dance Mania guys it was a local thing that caught the wave. In the first few years, DJ Rush and myself would hang out, and he got his deal with Dance Mania and he blew up. Playing in Germany and stuff. I wanted to do that. He didn’t have kids but I did, so life slowed me down. My first international booking was here in London! A guy called Steve Bicknell and his girlfriend Sheree Rashit ran a label called Cosmic Records. I’d done some tracks for them and they booked me and DJ Milton to come over here.

When you wake up in the morning do you feel like an integral part of the history of house music?
Not when I wake up, no! I have to be reminded. In the past 10, 15 years, pop radio in Chicago has come back to dance stuff. I hear elements of what I did in them. Weirdly it reminds me of when I first met Thomas from Daft Punk. He’d come over to Chicago and he bought a cassette of mine, and I’d played a track of his”Trax on Da Rocks”on it so he wanted to meet us. He had lunch with Milton and I and next thing you know, Daft Punk are there, and he’s mentioning us on “Teachers”! I’ve not heard from him since then.

I was chatting to Teki Latex about you coming to Paris for his Boiler Room the other week, and he was telling me how incredibly excited he was to have you play, how you’re an inspiration to him…
Oh, that’s great. Tell my wife that. She’s got no respect for my music…I’ll let her know that I’m the man somewhere. I love London, and London people, but Parisians are cool as hell too. They’re as good as UK crowds.

How come you’re HUGE in Scotland?
Jackmaster! The last place I played in the 90s was Glasgow, with Frankie Vega. There was so much love and support. I remember sitting in my room watching people on the streets and it reminded me of Chicago. A few years later Jack emailed me and at the time I was pretty down: I had Hodgkin lymphoma and was going into remission. Jack told me that he liked my stuff and he wanted to work together. He’s always been supportive. Glasgow’s like a second home. You don’t get that kind of support or love in Chicago. No one over here cares that you’re black or old or overweight. They just care about the music.

Is it exciting to be picking up new fans two decades into a career?
It’s a blessing. My friends say that I’m a throwback. You still hear my songs on Chicago radio on Friday and Saturday nights even though house is kind of barred. I still get played in my city. Most of the guys playing house are older guys and don’t support the ghetto, so they won’t play Dance Mania stuff even though Dance Mania was essentially just a major label for house.

How did the Katy B collaboration come about?
It came up through Defected. I was thinking about how if I or someone else came up with an idea to turn it into a “real” song with verses that it’d do well on radio. They were on top of it! They sent it over and I was like, “Hell yeah!” They’ve done a hell of a job.

Can you tell me a little more about this thing you’ve mentioned about house being banned on the radio?
Well, on Clear Channel stations, yeah. The demand is coming back, though. It prohibits house music’s growth, and you’ll only hear what they want you to hear. My kids don’t even listen to the radio. They listen to everything on YouTubethey put things in playlists.

I think that what’s funny about Chicago house is that a lot of old stuff is being sped up to 120, 125BPM. There’s no more original house. Some people have a good grip on it, a good interpretation of it, but a lot of people are just re-editing old records. African house, so-called “soulful house” is big in Chicago. I don’t think they’ve got the soulful part down yet. There’s no soul to it. How many times can you play the same disco records? But the foundation is so strong that house’ll still be there. Always.

DJ Deeon plays Berghain on July 8th.

He’s on Facebook // SoundCloud // Twitter

Josh is on Twitter.

Five Super Obscure Disco Records Made Expensive By Big Name DJs

This article was originally published on THUMP UK.

Strange, this time of ours, isn’t it? An age of non-commitment, bet-hedging, unbridled narcissism and a rapacious desire to be defined by whatever over-stuffed burger we’re plonking on Instagram. We are, as they say, basic. But even the most basic of us contain multitudes. That emotional complexitybubbling and burbling away underneath all those filters and hashtagsis even reflected in the way we consume music. You could, if you were feeling incredibly millennial, say that we reached peak functionality a decade ago with our invisible digital songs listened to on an iPod nano that we carried around in a knitted pouch. But that was easy. Too easy. So we laughed in the face of functionality like a Titanic riding fop opting for a cravat over a lifejacket, and you know what happened? Vinyl came back, baby! Good old fashioned thick, needlessly expensive, vinyl!

The vinyl revival doesn’t negate the fact that most of us find and extract our music digitally, on an almost vociferous scale. The digital and the analog edge ever closer, like two pissheads at closing time looking for a shared Uber, a chicken shawarma and a quick bunk up. There you are, tucked up in bed with a Boiler Room set banging away in the background, and BAM, there’s a record you simply have to have.

So off you trot to Discogs, because everyone knows that you need the real, shellac-y deal. Digital files won’t do. Yet as prices rise faster than John Prescott’s blood pressure at an all you can eat buffet, you’re left deciding between rent or a repress of an old obscure classic that Young Marco played out in Rotherham on a sweaty Saturday night. Those tracksthe ones that blaze a trail through your brain and slap your auditory cortex for a bitgo on to live a second life in terms of availability, popularity, and price after being rediscovered. Here are five stellar records that’ve undergone this transformation. Let’s see what we learn along the way…

1. Escape From New York – Fire in My Heart

Played by: DJ Harvey, Boiler Room, Milan, 2015

DJ Harvey’s DJ Harvey and THUMP write about him more than pretty much anyone else in club culture so I don’t need to explain the man, the myth, the legend all over again. What I will explain is how a previously forgotten post-disco sleazeball of a record went from obscurity to selling for 250 in the space of six days.

Having already wowed the chic Milanese audience with the theme tune from Willy Wonka & the Chocolate Factory, ol’ Harv stepped it up a notch, teasing the crowd as he does, allowing that hypnotic melody to whip around the room before introducing that bassline. A sensation was born. That sensation heaped value on the original and because not everyone can spunk the best part of a month’s living expenses on a record, there was demand for a reissue. Thankfully Adelaide label Isle of Jura listened, and now even the bloke down at Oceana Wrexham on a Wednesday night’s blaring it out. It’ll cost you 8.99 whereas the original’ll set you back somewhere between 195.41, and 977.06. I mean, it’s a fucking amazing record but is any record that amazing?

2. Rabo De Saia – Ripa Na Xulipa

Played by: Jeremy Underground, Boiler Room, Paris 2015

Jeremy Underground’s one of those blokes who, as his name suggests, probably spends a bit too much time in record shops. Which, given his job, is sort of fair enough.

At the end of his March 2015 Paris Boiler Room setwhich featured stompers by the likes of Dungeon Meat, SE62 and FjaakJezza introduced us to the unapologetically Brazilian boogie wonderland that is Rabo De Saia’s “Ripa Na Xulipa”. The internet purred with pleasure. The last person who bought it, or so Discogs reckons, paid 47.55 for the pleasure, and the previous purchaser coughed up 70 for six whole minutes of music. The track was also featured on a comp released by Favourite in 2014 named Brazilian Disco Boogie Sounds (1978-82) which you can pick up for a slightly more reasonable 15. That’s nine choice cuts for the price of a few pints. Bliss.

I spoke to the guys at Mr Bongo, a Brighton based purveyor of world music of every stripe, about why it is that Brazillian disco sells for so much money. “A lot of the other disco has been covered so much, so (originally) they didn’t bother digging Brazilian,” they said. “But now that the rest has been dug, covered and edited, this (Brazilian) is all brand new and fresh, so it’s quite exciting.”

3. Claudia – Com Mais de 30

Played by: Floating Points, Final Plastic People Night

Floating Points is definitely not afraid to genre-hop, and another Brazilian gem, Claudia’s “Com Mas de 30” has popped up in a few of his sets, including his seminal final appearance at Plastic People. Having had a wee look at the going rates on Discogs, the one and only version of the single is going for 21.15, shipping from Brazil. Seem expensive? Kind of, but not shocking really, especially when compared with the 1971 LP Jesus Cristo, released on Odeon, that features “Com Mais de 30” which is currently retailing between 75 and 400the difference between a wet weekend in Hull and a few nights on Lanzarote. It’s worth remembering, though, that a lot of records just sit at extortionate prices without ever selling. Discogs inflation is another topic for another debt-ridden hack to explain, however.

Mr Bongo are selling it for slightly less. I put it to them that if they weren’t releasing these gems on 7″ for chips, that the original market would be out of control, but they didn’t agree. Instead they argued the kinds of people chasing the originals would always exist, as if in some kind of money vacuum, which seems about right if you think about people and their precious things.

They did, however, agree that post-Floating Points they’ve noticed a change in customer base, with an increase in younger people buying the sound they put out. Trouble is though for me at least and my trickle down vinylomics theoryit was pretty sought after before Sam Shepherd gave it a spin. As Matt told me, “the ones we put on 45, a lot of them have been on the wanted list for a lot of people a long time before Floating Points started getting noticed for playing it, so a lot of them are records that we know people are after anyway.”

4. Sonny Jenkins and the New York Potpourri Strings – That Friday Pay (Eagle Flying Day) Part 1

Played by: Motor City Drum Ensemble, Dekmantel 2014

Herr Danilo Plessow (AKA Motor City Drum Ensemble) has wowed us with vibey sheller after vibey sheller over the years as a producer and as a DJ. His set at Dekmantel 2014 set is a guaranteed good time and the perfect accompaniment to four cans of decent strength continental lager.

It seems like any DJ worth his salt has the ability to put money in some old collector’s pocket, and MCDE is no exception. This Sony Jenkins’ record was never been that cheap to start with, but after that fateful summer’s afternoon, people have been known to pay over 202 for it.

MCDE has spoken with Crack magazine about the issue of certain records becoming sought after, pricier and rare once he plays them. He told them that the rise in price of “Keep The Fire Burning” by Gwen McCrae even led to an altercation with a punter “I played in Australia recently and this one girl came to me and said, “you’re such a son of a bitch, you made this record a 50 record and now I can’t buy it!” And yeah, it’s still at 50. Thanks mate, I’ve got to live on mulch and bin juice till payday now. Thanks.

5. James Brown – I’m Satisfied (Underdog Edit)

Played by: Caribou, BBC Radio 1 Essential Mix, 2014

Now, the bank-busting capabilities of this funkier-than-though extended edit aren’t as easy to pin down as the records above. MCDE’s played it out, so’s Todd Terje and so has Caribou, AKA Dance Music’s Nicest Bloke Dan Snaith, who dropped it in his sensational Essential Mix for BBC Radio 1 way back when in 2014. Which is why we’re staring, once again, at the horribly waxy complexion of vinyl economics.

Like I said, this one actually supports the thesis unlike almost all the other ones that come with all sorts of caveatsbar that rogue Todd Terje play. For the sake of prudence however: MCDE plays it August 2014 and Caribou in October, and it stops there. Anything else is mere conjecture. On the 17th of October a version of the Underdog Edits release goes for 28 with no cover. The previous sale of the recordin Septemberwas also sans cover and goes for 8. Before then the highest the record had gone for was 14 (with cover) in 2013. Post October the record has averaged out at around 40, but has gone for as high as 60 this year. This is a clear example of the track being “found” and the influence these DJ’s enjoyin this case Caribou, or a snowball effect of him and MCDE.

Nick is on Twitter

THUMP Mix: Or:La

The latest installment in our mix series, following entires from Legowelt, Rick Wade, and LIMIT, comes from Liverpool-based DJ and producer Or:la.

Orlagh Dooley, born in the town of Derry in Northern Ireland, is quickly becoming one of the most underrated DJs on the UK circuit at the moment, and one of those selectors blessed with the ability to really tell a story. You only have to look at her recent bookingsor past mixesto see how versatile she is: just this year alone Or:la’s played with the likes of Denis Sulta, Tama Sumo, and the Livity Sound crew. Never afraid to take a risk behind the decks, you’re as likely to hear her smash through vintage Chicago house as you are skeletal post-post-dubstep. And while she might not have released much of her own material yet, we’ve heard a rumor that there’s an EP on the way for Scuba’s Hotflush label, and that she might just be starting her own vinyl-only imprint soon.

Her THUMP mix seamlessly zips from sinewy acid to Soundstream’s disco cut-ups to a vintage slice of neurotic funk on DFA, via warped house-not-house and some good old fashioned Detroit clanking. Stream the mix below, download it on WeTransfer, then check out our Q/A with Orlagh.

THUMP: How are we meant to enjoy the mix? What’s the perfect setting?

Or:la: This one could go both ways, either on a Friday evening, with the sun setting on the horizon before a night out at your favorite club, or driving home after a long day at work.

Is synesthesia a real thing and if so, what color is this mix?
After Googling ‘synesthesia’, i’d say it’s a strong lemon yellowlike a highlighter pen.

If you could only listen to one track from the mix on a loop for all eternity, which one would it be and why?
Syclops – “Where’s Jasons K”, without a doubt.

Where did you record it?
In my really small and long bedroom in Liverpool, where you can touch either wall with both hands at the same time!

Favorite moment of the mix?
Probably when the 4/4 kick hits in the transition from Mageko’s “Alma Negra” to Octave One’s The Neutral Zone… and you know it’s party time.

Tracklist:

Pearson Sound – Raindrops
Slow Life – Just A Little Beat
Soundstream – All Night
Schatrax – Restless Nights
Afefe Iku – Mirror Dance
Osunlade – Africa
Syclops – Where’s Jason’s K
Mageko – Alma Negra
Octave One – The Neutral Zone
Steve O’Sullivan – Voodoo Woman
Bookworms – African Rhythms
DJ Bone – No Sleep

Or:la is on Facebook // SoundCloud // Twitter

CRSSD Festival This October Will Feature Dubfire, Bonobo, Cashmere Cat, And More

Photo courtesy of CRSSD.

Set along the banks of the picturesque San Diego Waterfront Park, CRRSD festival will return this fall, October 1-2, with another serious lineup of heavy-hitting live acts and DJs from an array of house, techno, disco, and indie-dance styles.

The festivalfounded last March, by the popular Southern California promotions collective of the same namehas announced headliners Miike Snow, Thomas Jack, and Bonobo, as well as sets from ZHU, Maya Jane Coles, Flight Facilities, Dubfire, and many more across their three stages. As with years past, there’ll also be a few intriguing B2B sets, this time from likes of Destructo & Busy P, as well as Lee Foss & Felix Da Housecat .

Check out the full Phase One lineup below, and head here for tickets.

AC Slater
Alex wax & Fourzan
Bakermat
Bearson
Big Wild
Bonobo (DJ Set)
Boys Don’t Disco
Brodinski
Cashmere Cat
Charles Murdoch
Claptone
Colour Vision
Destructo B2B Busy P
DJ Harvey
Dr. Fresch
Dubfire
FKJ
Flight Facilities
Huxley
Klatch
Kungs
Landis LaPace
Lee Burridge
Lee Foss B2B Felix Da Housecat
Lee K, Lido
M.A.N.D.Y
Malaa
Masgeo
Maya Jane Coles
Metroplane
Miike Snow
MNEK
Nora En Pure
Riton
Sam Feldt
Shiba San
SOPHIE
Ta-Ku
Thomas Jack
Trippy Turtle
Wave Racer
ZHU
Zimmer

Ontario To Open North America's Second Largest Pressing Plant

Image courtesy of Pixabay

A 20,000 square foot vinyl pressing plant, Precision Record Pressing Inc., will open in Burlington, Ontario this fall. The operation is a joint venture, co-presented by Canadian music distributor Isotope Music Inc. and Czech vinyl manufacturer GZ, a business that Bloomberg called the biggest vinyl manufacturer in the world in 2015, which currently fills orders for Universal, Sony Canada, and a number of independent labels.

Although the plant won’t be officially open until September, Precision will begin producing vinyl in the second week of August. Isotrope president Gerry McGhee told FYI Music News that phase one of production will yield 4.5 million records from the Burlington plant, along with 2 million from the Czech facility. Phase two will see the addition of five new automated presses featuring “heat control and a lot of safety features that weren’t in the old machines,” which will knock the unit production up to 11 million records and statically make the Burlington location the second largest plant in North America.

Despite the significant size of the operation, McGhee says that he wants to support independent labels, which is good news for those of us concerned by the way major labels to crowding smaller scale imprints out of pressing plants during the so-called “vinyl boom.” “We are more than happy to look at 200-300 unit runs,” he said. “We’re very aware of the independent market and the way they’ve been treated.”

According to the article, the company is also looking to expand: “We’ve already bought a plant in the US based in the Midwest and there’ll be a west coast plant so we’ll have three in North America,” explained McGhee.

At full capacity, the Burlington facility will be turn around orders in 6-8 weeks.

Recently, the BBC found that half the people who buy vinyl don’t actually listen to it. Meanwhile, Canadian company Viryl Technologies has developed a fully automated record press that could help modernize the vinyl industry.

Follow Alexander on Twitter.