Hideout 2016 Was So Good We Forgot Just How Terrible The World Is Right Now

All photos via Hideout

We were leaving a less than sunny UK behind us on the Sunday morning we made the journey from West Sussex to Split. Actually, to be totally honest, “less than sunny,” doesn’t really cover it, does it? What we were flying away from was increasingly resembling a terrible royal rumble featuring a variety of political clans, two generations, three classes, Richard Branson and James Dyson. As we huffed down an avocado roll in the departure lounge, neither the THUMP team nor the rest of the airport’s general population seemed full of summer cheer.

In light of these times we are faced with two options. Either we commune at politically-minded festivals who are tackling the turmoil head on, allowing us to face these issues and process our collective response. Or we have a few beers int the sun get on it.

We are pleased to announce that THUMP, and everybody at Hideout 2016 opted for the latter.

Even the Kurupt FM lads were having a great time!

If you’ve not made the trip to Novalja before, it’s worth noting that Hideout takes place in a string of clubs that nuzzle against the shoreline on Zrce beach, on the island of Pag. Plane-loads of party-goers are stationed in the main part of the small fishing town, before being shuttled up to the cluster of beachside nightclubs for five days and nights of Adriatic action. Before we’d even landed, it was clear that the crowd were planning on giving every ounce of pent up partying they’d saved up throughout the rest of the year. A shower, three large beers and a gooey holiday pizza later and we were ready to join them.

One of Hideout’s strongest features is the way it positions itself somewhere between a clubbing experience, a festival, and a straight up, traditional summer holiday, The site’s five clubs are all roofless, and large enough to feel like festival stages. There’s also no trudging five miles across a site the size of Lincolnshire to get from one DJ to another. And of course, being in Croatia in the middle of summer has other plus-points. The only time you’ll feel close to cold is if you spend too long in the freezer aisle of the nearest supermarket deciding between a Magnus and a Solero. It’s clear the team behind the festival have taken a look at everything else that’s on offer, and over the course of their six year history, honed a unique experience in a peerless location.

As for the music, we were spoilt for choice. During the options ranged from Craig David’s ever impressive TS5 show, a frenzy-filled set from DJ Haus and the delight that was seeing Artwork going back to back with the Black Madonna unannounced. Sauntering around from stage to stage, between session in the sea and suncream stops, the festival’s daytime has an leisurely kind of pace, everybody testing the waters before the sun dips behind the majestic mountain range that watches over the punters like a loving shepherd attending to his lagered-up flock, and the nighttime swings around again.

As the sun sets over Zrce beach, one thing’s for sure…Hideout, we’ll be back!

And as for those nights, you can tell just how much fun everyone was having judging by the expressions on their faces as they dragged themselves onto the shuttle back back into town at half six in the morning. It’s a very certain kind of expression, nigh-on-impossible to pin down but also instantly recognizable. It’s a mix of elation and fatigue, a kind of well earned, well deserved tiredness. Occasionally punctuated by a mass sing along of “Will Grigg’s On Fire”. Night after night, the DJs, the crowd, the hum of the festival itself, brought their A-game.

Our week started with heavy hitting sets from our new mates Mak and Pasteman, along with Hideout regular Oliver $ stepping up to do his thing. Then by Tuesday we were going heads down with Midland, who provided a steady slew of seamless rollers, and the Bicep boys who came through with a set thick with glistening new material. That same night, the whole site seemed to shuffle into Papaya to join Skepta in shutting down Zrce, and even as we left that Logan Sama was continuing to flood the shore with basically every grime tune you’ve ever loved. By Wednesday it was time for the big guns, and a non-stop set from eight hours in the presence of J.E.S.u.S (Jackmaster, Eats Everything, Seth Troxler und Skream). As you’d expect, the lads didn’t let up for a second, and we’re proud to say that we barely missed a beat. By the end of the week, now fully sun-burnt and done in, it was over to the likes of Julio Bashmore, John Talabot, and finally Jamie XX to see the festival out.

If there’s one thing linking every act on the bill, acts as seemingly disparate as Stormzy is from Joy Orbison, it’s the spirit of the crowd they are playing to. Across the week we regularly commented on how hard pushed you’d be to find a bunch of people more committed to partying. It’s one thing finding a beautiful beach to throw a festival on, it’s another getting a killer lineup together to play therebut it’s another task, and one that rarely comes together so well, bringing that sort of energy together.

Bring on next year.

At Long Last, Stream Objekt's Acclaimed 'Kern Vol. 3' Mix

Artwork courtesy of Tresor

Berlin producer Objekt has shared a full stream of Kern Vol. 3, his forthcoming entry in the mix series run by German techno institution Tresor. Widely praised for his adventurousness and keen sense of narrative as a DJ, this release is TJ Hertz’s first official mix CD, and follows entries by DJ Hell and DJ Deep.

We recently included it on our list of the 13 best mixes of the year so far, with THUMP UK staffer Angus Harrison describing Objekt’s selections as “unlikely delights in the darkest of places,” so we’re thrilled that the world finally gets to hear it.

Check out the tracklist and listen below ahead of its Friday release.

Kern Vol. 3 tracklist:

1. _moonraker Canobraction
2. Beatrice Dillon Halfway
3. Aleksi Perl UK74R1409037
4. Seldom Seen So So So
5. Final Cut The Escape
6. Mono Junk I’m Okey
7. nsi. Squelch
8. Echo 106 100M Splutter
9. Future/Past Nebula Variation
10. The Persuader What Is the Time, Mr. Templar?
11. Birdland Can U Dance To My Edit?
12. Pollon Lost Souls
13. Fret Stuck
14. Shanti Celeste Lights
15. Anna Caragnano & Donato Dozzy Love Without Sound
16. Clatterbox Aspect Ratio
17. Via App From Across the Room (edit)
18. TX81Z Googol
19. Polzer Static Rectifier
20. Thomas Heckmann Chiswick Days
21. Sole Tech Jit the Anthem (75 South)
22. Ueno Masaaki Supersolid State
23. Dave Smolen Manual Control
24. Aleksi Perl / Nick Forte Untitled (Colundi everyOne) / Druse
25. Bee Mask Frozen Falls
26. Marcus Schmickler & Julian Rohrhuber Linear Congruence / Intercalation
27. Ondo Fudd Blue Dot
28. Yair Elazar Glotman Oratio Continua (Part I)
29. Rully Shabara Faring
30. ACI_EDITS 02
31. Dresvn ft. Sensational Bliss (DJ Sotofett’s Raggabalder Dubplate Version)
32. Machine Woman Swedishmanwithtwoblackboxes
33. Anokie Black Knight Satellite
34. Skarn Revolver
35. Ruff Cherry The Empath
36. Space Brothers Lodore (Purple Twilight remix)

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Depression, Isolation And Drug Addiction: When DJing Becomes A Mental Health Issue

The life of a touring artist seems like the dream: you get flown to new and exotic places, paid to perform your life’s work onstage and be admired, and people line up to tell you how great you are and shower you with all the booze, coke and sex you could ever want.

But there’s a day-to-day grind hiding behind those Instagram shots of private jets and luxury hotel pools. Isolation, irregular sleep patterns, long weeks, even months, away from your friends and loved ones, turbulent career peaks and troughs, and an endemic culture of hard drinking and drug-taking.

All of this puts pressure on the mental health of touring artists. And over the past year, more and more of them have begun to open up about how their dream job has led to some dark places.

Five years of touring and heavy drinking had already put they’re not doing the things that they used to do, or enjoying the things that they used to do, or if they find that they can’t quite get back to equilibrium, they can’t quite get themselves back to what they would consider a normal lifestyle then yes, I think they should seek help,” Manicavasagar said.

That’s not to say it’s impossible to live like a Rolling Stone and keep touring like one, toothere are plenty of major artists out there, some of them pushing their 50s, who still play every other night and start and finish every show with copious shots. But it never hurts to be aware of the rigours of the touring lifestyle (even if it’s just to make you feel better about your shitty office job).

“For people who aren’t familiar with the stresses of the lifestyle, it seems like you’re living your dream,” Louisahhh said. “You don’t have a real job, you’re a DJ, you get to see the world. The reality of the situation is, no, you have weird hours, you’re really far from home, nobody really understands what it’s like except for the people who do this, you know?

“I have seen peopleI don’t know how they do it because this is so hard on the bodynot sleeping for, like, five days because they play, they go to the airport, they’re hungover and fucked up in a hotel room, they play, they go to the airport… To put your body through that is insane.”

“It’s a mad life from the beginning and I think it’s not for everyone, I totally understand why people leave or develop mental problems,” Crookers said. “I know plenty of DJs who are crazy depressed one day, and mad fun the next. These guys suffer from the crazy nature of ‘tour life’ and keep doing it anyway ’cause they need it, love it and it’s necessary for them.”

If you’d like to talk about depression, substance abuse or other mental health issues, you can reach Lifeline 24 hours a day on 13 11 14, and Headspace on 1800 650 890.

Nick Jarvis is on Twitter over here.

The Definitive List Of The Worst DJ Names Of All Time

This article was originally published on THUMP UK.

A fact: planet Earth is saturated with DJs. It’s positively dripping with them. There are now so many DJs marauding through the airports of the world that scientists are started to notice a headphone shaped hole in the ozone. Your step dad’s playing Tresor next week, your great uncle’s Boiler Room set went down a storm, and your girlfriend’s best mate’s boss’ nephew’s niece is hosting a boat party at Dimensions. We’ve all gone bloody DJ mad.

Which is why you need to make sure that you stand out in a market that’s absolutely heaving. Now, we’d all love to believe that talent, dedication, and determination are the three most important criteria for success, but we also all know that that’s total bollocks. What you need is a name. A good name. A name that rolls off the tongue and stands out on stacked flyers.

The following 10 DJs have got it very, very wrong. Now, this list has nothing to do with their qualities as DJs. Some of this lot might be as good as Jeremy Underground or Paula Temple or DJ Bone, but we’ll probably never find out because they’ve decided to give themselves names that are less appealing than the prospect of sharing a baked bean bubblebath with Michael Gove and Douglas Carswell. So here it is: here are the absolute worst DJ names out there. Avoid them at all costs.


The ‘TWAT’ in DJ TWAT stands for There Was a Time which is somehow worse than it just being the word TWAT shouted by a bloke who’s stubbed his toe. Or stepped on a brick of Lego! Or something similarly domestic and relatable!

9. Minghead

Remember the old days, the good old days, the golden days of yore, when Jade Goody was still alive, and flashing her kebab at a nation, and helping slide the word “minger” into our daily vocabulary? It was a happier, free, friendlier time. Our naivety knew no bounds and we all believed that the concept of the minger was here to stay. We bought minger t-shirts and dried our bodies in minger towels. We ate off minger plates, and drank pints of Kia Ora out of minger tumblers. We were minger mad and we loved it. Then it all stopped. As quickly as the minger had embedded itself in a national psyche, it departed, leaving us bereft and alone. Only one man’s brave enough to fly the minger flag and that’s Minghead. Which’d be fine if ‘Minghead’ didn’t sound like the name of a poorly-attended Bill Bailey tour that saw the West Country comedian’s career die slowly in front of him in half empty 100 capacity rooms night after night.

8. Bass Bumpers

The Bass Bumpers are a German Eurodance production outfit known for birthing classics like “Axel F” by Crazy Frog, “Rhythm is a Dancer 2003” and, err, that’s it. They’ve also picked one of the most strangely vile names imaginable. There’s something ineffably terrible about ‘Bass Bumpers’ as a name that it’s difficult to pinpoint exactly what’s so vile about it. It’s like seeing the remnants of a hundred failed poached eggs resting in a sink. It also sounds a bit like Basshunter but that only reminds you of what a 10/10 name ‘Basshunter’ is.

7. Pants & Socks

Life’s boring enough without having to be reminded of that boredom. Which is why ‘Pants and Socks’ is such a terrible name. It’s not offensive or boorish like some of the other monikers on here, but you can’t help wonder about the ambition of a pair of blokes who’d willingly call themselves Pants and Socks. If we blindly accept that one of the primary aims of art is to take us away from the toil and the life we trudge through on a daily basis, the decision to name yourself Pants and Socks is beyond baffling, and even if we refute that theory, it’s still absolutely atrocious. In fact, it’s worse than getting pants and socks for christmas and nobody likes that!

6. The Cool Willy Brothers

The Cool Willy Brothers are Benjy and Miles Platting-Estate, a pair of 24 year old twins with a passion for frozen yoghurt, a can-do attitude, and a rapidly-depleting trust fund. The Cool Willy Brothers are Rupert and Olly Wilde-Water, a pair of 24 year old twins with a passion for rafting, a can do-attitude, and a rapidly-depleting trust fund. The Cool Willy Brothers are Tristram and Archie Sumac-Dressing, a pair of 24 year old twins with a passion for potted salads, a can-do attitude, and a rapidly-depleting trust fund.

5. DJ Fanny

Maybe it’s because I grew up in a part of the country where vowel sounds are elongated and relaxed to the point of becoming a kind of yawnor yaaaaaaaawn, as it wereor maybe it’s because I grew up with four brothers and no sisters, and didn’t really speak to a girl till I was about 22, but I’ve always been slightly repulsed by the word “fanny”. It was a word I only heard used in hushed voices, a lexical object that rolled under tables and between coats in the cloak room at primary school. It became something strange and out of reach and unknown. We sort of knew what a fanny was. We were pretty sure we knew what a fanny did. Someone once claimed they’d seen a girl using the boy’s toilets and had seen a fanny as a result. Still, that pre-pubescent sense of dis-ease and uncertainty haunts me to this day, and every time I see DJ Fanny’s name pop up on the internet, I’m there again, a lost innocent hurtling headfirst into a world of debased depravity.

4. Chinese Man

Chinese Man are a French electro-swing group. None of them are Chinese.

3. DJ Gary Glitter

You know what’s really, really funny? You know what’s gut-bustingly hilarious? You know what’s so outrageously humorous that even thinking about it is enough to reduce me to a puce-faced puddle of piss? Paedophilia.* There’s just something uniquely funny about the sexual abuse of children isn’t there. If I was going to become a DJ I’d definitely think it was really funny to name myself after a disgraced glam rocker turned registered sex offender. Just for a laugh, like. Just for a really fucking good laugh. That’s what I’d do. To hell with the consequences. So what if I’m shunned by friends and family and have difficulty making it through customs? I’m still having a laugh. And that’s all that matters.

2. Inflatable Fhrer

If there’s anything funnier than child sex abuse, it’s Nazism.** While it’s possibly possible that mastermind behind Inflatable Fhrer is actually making a point about how the best way to deal with facisim is to laugh at it, I’m not sure if I totally buy it. The Brighton based DJ seems to have named himself after a character in stoner cartoon Aqua Teen Hunger Force which is a cartoon made solely for adults who talk about different strains of weed and enjoy cartoons that make references to different strains of weed. He also seems to play out semi-regularly with an adult who goes around calling himself ‘ShittyFISHhead’ which says it all really. ShittyFISHhead just missed out on a top ten placing, as it goes.

1. Armand Van Hard On

You’re down the pub on a Tuesday night. It’s a pub you don’t normally go into. In fact, you’re pretty sure that this is the first time you’ve ever been in. There’s 3 scotch eggs on the bar, and locally brewed ale on tap. They don’t do Stella. They don’t show the football. They make you do a morris dance on the bartop before giving you the wifi password. It smells like bleach and vintage shops, all must and crust. There’s a dog in the corner and the dog has slobbered over everything and you’re meant to pat the dog and coo at it. You sit down, slowly start supping on a five pound pint that blends Fairy Liquid with burnt sourdough. You notice the faintest of buzzes in the air. It’s pub quiz night. You and your mate join in. You play to win. You take it more seriously than you should. And you think you’ve got it in the bag, You’re quietly confident, and that confidence’s mutated into pint after pint. You’re 25 down and you don’t care. The results are incoming. You’re preparing a humble face to flash at the rest of the pub as you strut out with your winnings. The quizmaster shuffles the papers. Your heart’s beating out of your chest. Team names fly by. Yours is yet to fall from his lips. “And this week’s winner,” he says, pausing to ramp the tension up to an almost unbearable level, “is…Armand Van Hard On!”

You weren’t Armand Van Hard On. Armand Van Hard On are cheering. Whooping. Hollering. Armand Van Hard On are going absolutely fucking wild. You kick your table over. You storm off into the night, tears melting into the rain. Fuck it, you say. Fuck it all. Fuck hard ons. Fuck DJing. Fuck every fucking thing.

* This is obviously a joke.
** This is obviously also a joke.

Josh is on Twitter

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. The previously unknown identities of the three people arrested besides club owner Martin Ferrer have also now 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.

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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

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.

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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.