http://www.noizemag.com/index.php en publisher@noiZemag.com Copyright 2008 2008-04-14T19:17:00-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/micky_friedmann/ http://www.noizemag.com/index.php/articles/dj_profiles/micky_friedmann/ One of the joys of editing noiZe is introducing top new talent to the gay dance community. Meet Micky Friedmann. This Israeli native, now based in Berlin, not only is talented, but his ear for sounds, how they mesh and how to get songs to talk to each other recalls the Old School DJing of Larry Levan or Little Louis Vega. It doesn’t hurt that he’s also drop-dead gorgeous and, in a business full of (unearned) diva attitude, a genuinely nice guy. It’s a combination that guarantees success, as his star continues to rise in the international club firmament. A “sabra” (native of Israel), Friedmann’s father taught genetics and his mother owned a boutique in Jerusalem, his hometown. Friedmann loved music from an early age. His parents encouraged his interest and enrolled him in a dance school, where he excelled. After a stint in the Israeli Armed Forces, he became a ballet dancer and a highly sought model. If you flipped through the high-fashion glossies a few years back, you probably saw his sculpted face and chiseled bod staring out from the editorial pages or ads for products designed to make you look like him. It was an offer to become a soloist with the prestigious Berlin Ballet in 1998 that led to his move to the German capital—which, not incidentally, has become the club capital of Europe. That was also the year he decided to buy a pair of used turntables and started spinning at home, “just for me, for fun,” he says. But it was at the Palm Springs White Party that he came to the attention of a man who would change his life. Friedmann was with a friend, dancing to the music of Junior Vasquez when the master mixer spotted him. “He came down with a bottle of water and asked me if we would like to dance for his Pride party at Spirit,” in New York, Friedmann recalls. The two stayed in touch via emails, and he traveled to Fire Island to hear Vasquez. When he asked Vasquez whether he should take the plunge and make a 180-degree turn in his career path, the man who learned his craft at the feet of Larry Levan told the Israeli-German, “You are a talented kid, go for it.” And he did. For the past 10 years, he’s kept busy spinning at Europe’s largest clubs, with residencies in Hamburg, Cologne and Amsterdam as well as Berlin. Now 37, he’s happily in a relationship and happy when he’s home in Berlin. His music is happy, too: sexy-happy. He describes his music as “sexy house—music that makes people feel sexy. We all know how sexual the dance floor has become nowadays. Hot bodies, sweaty skin, searching eyes. I spin music that fits that atmosphere. “It’s really easy to put on Deborah Cox, then mix in some Britney,” he adds. “Anyone can do that. But, when I go into a club or party, my goal is to introduce music that has a different edge, something new that has depth to it. I love diva anthems, but a DJ has an educational task to bring new sounds to the dance floor and make people think as they dance.” An International House Style Micky Friedmann incorporates several styles into his sets: tech house, vocal house, electro-house—their only requisite that underlying, propulsive beat that distinguishes house music. Along with Vasquez, Friedmann cites a potpourri of contemporary DJs as influences, including Victor Calderone, Ismael Rivas, D.O.N.S., Tom Novy, Danny Tenaglia, Pablo Ceballos (of Chus and …) and his fellow Israeli, Offer Nissim, a favorite since his earliest clubbing days in Tel Aviv. “I used to go every Friday to hear him spin,” he says. “Offer is a huge producer of music that brings a touch of Israeli soul to the dance floor. These days, when I play a track of Offer’s, I feel like I am bringing a piece of home with me.” Friedmann isn’t shy, however, about his preference for American-produced music. The Europeans, he complains, like their music in degrees of hard, harder and hardest—mostly techno, trance and very deep house. Maybe that’s why he’s gravitated to the U.S. His first gig stateside was at New York’s Splash only a year ago, September 7, 2007. That quickly led to big changes: gigs around the country, from Provincetown to San Francisco; and a chance meeting with his future rep, George Dellinger, one of the top DJ managers. This year, he’s playing both the New York and Berlin Hustlaballs; the Berlin version of the love-for-sale celebration has grown to one of the biggest gay events (if not the biggest) in a city known for big-room events and street-filling dance festivals like the Love Parade. Playing a party like Hustlaball involves a different vibe and another set of records from a dance bar like Splash: “I play a completely different set when playing to a crowd coming to a party so sexually oriented. The music must also represent that dark kind of sensual vibe these events have.” Unsurprisingly for someone whose music and whole demeanor are so frankly sexy and sexual, Friedmann would love to play a Black Party. But don’t pigeonhole him: He’d be as happy at a White or Winter or Alegria. Staying True to His Art Friedmann considers himself a professional and an artist. He also knows that he hasn’t been hired to impose an artistic vision from on high but to get people off their butts and onto the dance floor. As someone who worked for years in controlling his muscular body to move to music, he understands that the essence of dancing is expressing emotions through music—and the importance people attach to physical beauty. So he’s frankly realistic about the fact that when he’s spinning a party, his bodacious bod is going to be featured in the ads. “We live in 2008. Turn on the TV, open a magazine, look at the advertisements,” he notes. “We live in a world where looks are integrated and penetrate into every aspect and genre of our lives. Being on ads and in magazines is a part of my life and I look at it as work.” Friedmann still occasionally moonlights as a model. In fact, next month he’ll grace the cover of the German issue of Men’s Health. But it’s his love for the music that drives him. Lately, he’s been working in the recording studio with master producer Mike Cruz. He wants to learn every facet of what makes a great song, not only to take full charge of his career, but to prove he’s so much more than a pretty face and a buffed bod. “Trust me,” Friedmann complains, it is a lot harder to prove you are good at what you do when you are “good-looking.” Charlize Theron or Nicole Kidman have to work that much harder to prove they are more than just a than just a pile of muscles model good looks.. He considers himself as an all-in-one entertainment package. “Even the best product needs good packaging,” he says. “What counts in the end is that people come and have a good time.” As more and more people come to hear Friedmann play, they’ll soon forget about the package and go straight to what’s coming out of the speakers. The man who spent his youth sneaking into Tel Aviv clubs wouldn’t have it any other way. Maybe it will take someone with such an international background to bring us all back together after three decades of Hi-NRG, techno, hip-hop, grunge, power pop, diva anthems, house in all its forms, electroclash, and everything in between has fragmented music more into warring states than a thriving community. Maybe someone can lead us out of the wilderness of synch-infused multi-tracked Disney starlets, the deadening repetition of tribal rhythms, and retro-techno machine sounds to a clearer sound, a cleaner vision of music as the purest expression of human emotions voiced through sounds. Maybe he can help us rediscover what a night of dancing should do: purify our emotions by allowing us to express our inner feelings through movement inspired by music. A year ago, Friedmann compiled a CD for EMI Germany called Instinct: Love and Pride. That pretty well sums up Friedmann’s philosophy: Follow your inner beliefs. Love yourself and others. Take pride in who you are and what you do. It will all come together, someday, someplace. 2008-10-07T21:09:01-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/joe_gauthreaux/ http://www.noizemag.com/index.php/articles/dj_profiles/joe_gauthreaux/ Joe Gauthreaux is a travelin’ man. Not only in his professional life—as one of the Circuit’s reigning stars, he’s on the road every weekend. But in his personal life as well, he’s on the move. The New Orleans native packed up and left the Big Easy five years ago for the Big Apple. Now he’s busy unpacking his clothes and books alongside his records, CDs and turntables in the Big Orange. Yes, Gauthreaux has relocated to the City of Angels. “I get restless,” he said in a recent interview. “I’m 32 years old. Before I get too much older, I want to move around and try out new places before I settle down.” He admits that he’s getting tired of the Yankee winters, but Los Angeles has other charms. His manager, Patti Razzeto, lives there. And so does his collaborator on mixing projects, Peter Barona (who’s also Manny Lehman’s engineer). He’s moved in with a friend in Hollywood, but he has yet to get a car. He even let his driver’s license expire. So he’s a long way from becoming an official Angeleno. Besides, it’s not as though he’s leaving New York forever. His occasional residency at Splash will continue, and he’ll still be doing plenty of gigs on the East Coast. In fact, Gauthreaux is making a musical imprint at parties all over the world. When noiZe caught up with him, he had just returned from Rapido, the big September party in Amsterdam, where he contracted a nice case of food poisoning the day before he was scheduled to play. “I hadn’t eaten for 24 hours,” he recalled, “but I’ve never cancelled for getting sick.” That kind of sticktoitiveness has helped propel him to headlining status. After 12 years of DJing, 2008 has proved to be Gauthreaux’s breakaway year. Aside from regular gigs in New Orleans for Halloween, Provincetown for July Fourth and other stops, he spun the Winter Party in Miami. He shared the turntables at the mammoth Pier Dance that caps New York’s Gay Pride with Tracy Young. He was at Gay Days. And, in what he considers the year’s most memorable event, he closed the Saint-at-Large’s Black Party. As if that weren’t enough, he’ll be opening for Victor Calderone during Miami’s White Party. If the Black Party was the highlight of this remarkable year, it was not only because of its unique nature or even the notoriously demanding musical sophistication of the crowd. Rather, it was because he knew he’d be following Jonathan Peters, one of a handful of gay DJs who has established himself as a major star in the larger club world. As the closer, Gauthreaux was responsible for bringing the 18-hour marathon party down with the Morning Music and ending it with the Sleaze segment. It’s the kind of music Gauthreaux loves best. He readily admits that he’s never been a fan of pots-and-pans, and gleefully heralds the end of Tribal’s dominance on the dance floor. “The days of playing all night long are over,” he said. “People are not doing crystal the way they used to—they’re being more responsible than in past years. The music reflects that. Four or five years ago, it was hard to find good lyrical music. Everything was drums, drums, drums. “I don’t play tea dance all night long,” he added. “But my music is happier; not ‘Perfect Day’ all night, but people want something not as dark as a few years ago.” Gauthreaux honed his musical taste—as well as a sense of the evening as a journey from one musical point to another—from the woman he acknowledges as his mentor. “Susan Morabito was the DJ who inspired me to become a DJ,” he said. It was at his first Circuit-type party, during Halloween in New Orleans in 1994, when he was just 18. “In 1994, there was great music,” he recalled. “I hadn’t heard 80 percent of that.” He joined her fan club. (Who even knew there was a Morabito fan club?) He started seeking out and collecting all of the music he heard her play: “Every extra penny I earned working at the Gap went to music.” Finally, after two years, he had enough mix tapes to get hired at Oz, where he started out as one of the house DJs, five times a week—but no nights. It wasn’t until eight months later that he got his first nighttime slot. “Things were different back then,” he noted. “It wasn’t the age of the traveling DJ. Clubs relied on resident DJs. One of the regulars got sick, and I went up to Johnny Chisholm, Oz’s owner, and asked for one night.” As the old show biz movies would have put it, he went in there a kid, but he came back out a star. He soon after stepped up to a Saturday night residency. He first visited New York in 1996 and immediately fell in love with the city. He had planned on a December 2001 move, but 9/11 postponed it for a few more years. As soon as he got there, he became a fixture on the local scene at storied clubs like Limelight (later Avalon), Twilo (later Spirit), Crobar, Splash (then SBNY, then Splash again), and the Pavilion on Fire Island. He also began releasing compilation CDs. He even became a Billboard reporter. It didn’t hurt that his brooding good looks made him so photogenic. He ended up gracing the pages of Out and other magazines—all before he was 30 years old. Through it all, he’s kept a special fondness for his native city. He returns every year for at least a few gigs. He was a vocal advocate and booster after Hurricane Katrina. His family (unaffected by the hurricanes) still lives in suburban Metairie, in Jefferson Parish, just across Lake Pontchartrain. And now he’s exchanged coasts. He’s not one to bemoan the state of New York nightlife. He sees it as a cycle, and the city may be in a down period right now, but “if you go to any small town, you’d be thankful of all that’s here. Things change. When the Saint or Twilo or Roxy closed, people thought it was over. Then something else came along.” For now, however, he’s perfectly happy in L.A. He’s planning on a lot more mixing and even producing. His remix of “Give It” by X-Press 2, which is the last song on his Winter Party CD for Masterbeat, has been in heavy rotation on the dance floor. “I’m still finding what ‘my sound’ is,” he said. “Whenever I play today, half is either done on my own, or songs I’ve taken and not just rearranged but added sounds to it to make it unique. That’s how I’m getting my feet wet.” He’s even going to get a driver’s license and a car. 2008-10-07T21:05:01-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/cary_stringfellow/ http://www.noizemag.com/index.php/articles/dj_profiles/cary_stringfellow/ It was understandable that the promoters of the 2008 IndepenDANCE in Laguna Beach were desperate to reach the DJ they had booked for the event. A frantic series of calls led to the morbid discovery that Cary Stringfellow would no longer be playing anywhere. He had been found dead in his bedroom at the age of 36. This DJ Profile was a long time in the making. Originally meant to be an interview with Cary, it now takes on the somber duty of celebrating his short yet fruitful and promising life well lived. Ten years ago, noiZe’s Gary Steinberg received a phone call from Salt Lake City. It was from Cary Stringfellow, manager of the Vortex. He wanted to know if he could distribute an article in Circuit Noize (as we were then called) about the dangers of crystal meth. He was seeing a lot of the same self-destructive activity in the heart of Mormon Country. The two hit it off at once, talking for hours about responsible partying, the state of the Circuit, and what the local Salt Lake City scene was like. “When we finally met in person, it was like we were old friends,” Steinberg recalls. By then, Stringfellow had also caught the DJ bug, and trained under the talented eyes of friends like Phil B, Chris Cox, and Twisted Dee. Nico, another close friend for the last decade, as well as Cary’s roommate in L.A., remembers that the transition from Vortex to Club Axis was in part born from his passion for music: “When the partners decided to sell Vortex, Cary, wanting to continue DJing—along with myself and another one of our friends—opened a smaller club which did very well for several years and gave Cary the opportunity to continue playing music.” With a capacity of over 1,000, Club Axis won the title of Salt Lake City’s Best Dance Club for five years, with heavyweight DJs like Paul Oakenfold and the high-tech trappings of a New York or Miami venue. But although the club was doing well, Cary wanted to get out of club ownership and the promoting business to concentrate on DJing and music production. Cary was always outgoing, according to his mother, Kay. Cary was “born feet first and on the run from that moment,” she recently recalled. “He was very organized and intelligent, and everything had to be just right.” In high school in Provo, Utah, he served on the debate team. He studied business at a local college and also learned to be a pilot. But he kept returning to his first love. “He grew up listening to music from the time he was born,” Kay said. “We always had music playing instead of the TV. He loved all different types of music, except Country.” Cary’s musical ear and his infectious energy quickly gained him recognition. In 2001, he headlined “Latin Fever” in Puerto Vallarta, Mexico, where he returned every year since. (His dream to quit the rat race and open up a yogurt business with a new beau never came to fruition. But some of his ashes are being sent to the place he so loved.) Gigs in places as far-flung as Fire Island, Toronto and Hawaii cemented his reputation. “He was a master at the uplifting style that sent me to heaven,” Steinberg recalled of Cary’s mixing. His booking at Splash Days in Austin this year will be filled by his friends Phil B and Twisted Dee, who are donating their proceeds to his family. Of his passing, Troy Spicer, one of the Splash event’s organizers, said, “He was friends with half our group.” Commenters on the web extolled Cary’s personality and talent. One called him a “sweet man with a beautiful soul”; another, a “spirit that was captivating and joyous—contagious”; still another, “his message was so much deeper than his music.” One person noted that Cary had exchanged vows with the commenter’s brother, a concert pianist with the New York Symphony Orchestra, in 1996. Even after the break-up a few years later, Cary remained close with his mother: “He called her frequently and always beat me to the punch on Mother’s Day.” “When she was going through a bout with cancer,” Kay adds, “he flew down to Florida. He told her how beautiful she was after he made her take her hat off.” His sense of camaraderie and fellowship extended to the DJ booth, where there were always sparkling gadgets, toys, t-shirts and hats on hand. “I ran into Cary on the dance floor,” Steinberg recalls of an encounter at the 2000 Masterbeat New Year’s Eve party. “He excitedly pulled me to the side. He had found the very last of a portable laser system that he knew I would like. He had one like it, and loved lying on his bed watching the patterns on the ceiling.” Nico recalls Cary placing “Hello, my name is ___” stickers on people’s bare chests at parties after asking their names: “While at first people looked at him like he was odd, by the end of the party people were coming up to him and asking if he had any stickers left.” Nico also notes Cary’s acts of kindness to those around him: “He was incredibly sensitive and thoughtful.  For my first anniversary with Zack, who I met through Cary, he instructed us to ‘make sure we were home at seven,’ without telling us any more.  Promptly at seven, a limo pulled up to our house, picked us up and drove us to Robert Redford’s restaurant Zoom in Park City. There was a camera in the back seat to take pictures during the ride and a wonderful table with flowers waiting for us.  That was his style—to create fantastically memorable moments for those he cared about.” He also had a charitable side. For a big birthday party, Steinberg had asked for donations to the Trevor Project, which helps gay youth. Stringfellow immediately volunteered his DJ services at no charge. After his death, Steinberg called Cary’s cell phone just to hear his recorded voice: “I hung up, took a deep breath, and went on with my day. The next day I got a call on my cell. It was the voice of a woman, shaky and soft. ‘Hello, did you try to call Cary Stringfellow?’ she asked. ‘This is Cary’s Mom.’ My eyes teared up and my throat closed. ‘I saw your number on his phone. I need to tell you...’ The two of us, strangers, spoke about Cary, much of the conversation in silence. She was in the car, driving back from Los Angeles to Utah, with Cary’s ashes in a container on her lap. I told her how much I cared for him, how influential he was in my life, how we talked almost daily.” The cruelest irony of his passing, as with so many bright lights extinguished too early, is that he was on the cusp of even greater success. He had just received rave reviews for playing at “Frisco Disco” at San Francisco Pride (with a giant can of Crisco as the DJ booth). “My partner and I danced together under the DJ booth for what was truly Cary’s last song,” recalled promoter Kyle Pickett. “Cary Stringfellow was a wonderful man who knew nothing but how to bring joy into people’s lives both on and off the dance floor. He spun uplifting and sexy music that just simply made you want to dance.” Having watched him grow and develop as an artist, noiZe was proud to offer him a DJ Profile in this issue. We obviously had no idea how sad and ironic the timing would end up being. We therefore offer this profile as a celebration of a friend whose life was filled with talent and joy. May we all learn something from this gentle and loving soul. 2008-08-04T20:31:00-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/hector_fonseca/ http://www.noizemag.com/index.php/articles/dj_profiles/hector_fonseca/ "I've been on the road for 3 weeks," says Fonseca, stealing a few seconds of phone time on a cab ride from the airport back to his home in New York City. He's coming off three cities in the last week alone-Vancouver, Houston and Montreal-and there are plenty more on the way. "I made it home one day during that time," he says of his recent travels. "I spent it doing laundry!" So much for the glamorous life of a DJ. If it helps, the music meister manhandling his Calvin's is a former model. It's part of the matrix that makes up Fonseca: face of a coverboy, smoldering sex appeal of a Boriqua, brains of a university grad, and skills of a spin jockey. Well before he became one of the hottest (musically and physically) members of the global club scene, Fonseca grew up just eight miles west of New York City. He could see the Empire State Building from his window while growing up. Clifton, N.J., may be just across the Hudson River, but it's a world away from the Big City. Little did the future music star realize that his long-shot view of the Manhattan skyline would soon be replaced by strobe lights of major clubs and circuit events. Fonseca's mom adored Michael Jackson and Marvin Gaye as well as Puerto Rican salsa. "When she hears my music she always likes the Tribal best," he says. "Must be the Latin beat." Fonseca started picking up his DJ craft working with friends. Eventually, he met Peter Rauhofer. "I got to the point where I was good enough to play for him," Fonseca says. "He asked me to do some mixes for him, and we started working more and more together." Doing it on his own seems to come easily to Fonseca. Besides the handsome face and pitch perfect ear for a pulsing beat, he's also an entrepreneur and a self-trained musician who has immersed himself in hands-on learning. "I've never had keyboard or music lessons," says Fonseca, who began finding his way around a DJ booth under the tutelage of a friend. Fonseca decided early on to focus his attention on remixing and production work in addition to traditional DJ skills. Rauhofer reinforced that comprehensive approach. The Austrian maestro of the hard beats noticed Fonseca's work early on and turned the talented up-and-comer into his protégé. Rauhofer became a mentor and his label, *69, produced Fonseca's compilation CDs. Learning from one of his idols was a major coup, he now believes. Once signed to *69, he quickly rose to the ranks of in-demand DJ producers. Globe-trotting with cross-cultural beats A globetrotting, one, too. Fonseca might have come of age in the hothouse of the New York club scene, but he believes his style transcends a "New York" mixing style. Besides, he adds, the contemporary gay dance scene has become international in scope, incorporating styles from diverse cultures. "The scene has become much more international," says Fonseca. He understands that a well-worn passport is as vital to playing high-profile events as a crate of thumping tracks-especially when it comes to the global gay scene. "Every market has its own thing," says Fonseca. "But I've found that the gay scene still has a certain appeal that goes beyond borders." Still, Fonseca's ability to blend styles from different markets is evident in the trademark genre he helped define. While it takes most DJs a whole career to establish a signature approach, Fonseca's recognizable sound - dubbed Electribal - has already caught fire with the same kind of industry veterans that the young artist once idolized himself. "Every time I time I travel, I get turned on to something new," explains Fonseca. "Being in New York, naturally the idea was to have that kind of New York power shit" in the sound, he explains. "But when I was in France, I started to experiment with Electrohouse cause it was so big there. I started mixing the two [styles] together. It feels good knowing that I was one of the first to do it." Rauhofer remains an inspiration. "I realized that part of his success, and why I loved a lot of his work, was because he immersed himself in production and oversaw absolutely everything he did," says Fonseca of his *69 boss. As for Fonseca, he tries to micromanage every aspect of his work, from composition to keyboards to mixing. "It's much more gratifying, and I feel like people respect it more," he says. "No one can ever say that I had help from someone else. It feels better knowing that when something is done, it's 100 percent me." Star-turn remixing and *69 CDs His hard work has already parlayed its way into high-profile remixing projects, from his take on Jahkey B's "Heartattack" in 2004 (the anthem that really kick started his ascent up the DJ ranks), to work for Beyoncé, Kelis and Missy Elliot. Among his upcoming projects is "NY Club Anthems Vol. 3," Fonseca's follow-up to his last hugely successful entry in *69's popular compilation series. "I'm trying to change up the sound for this CD," says Fonseca when comparing it to his work on Vol. 2. "I brought in some new keyboards, I'm experimenting with new sounds, and I'm looking to put one or two unique tracks on there that still have my sounds-but with a new twist." He won't give the dish on specific tracks except for a previously unreleased mix for fellow *69 artist Suzanne Palmer. Looking to the future, expect Fonseca to focus more of his time on original production work. He already has two tracks finished for his upcoming artist album, and is working with some new, emerging vocalists to wrap up the remainder, including a sexy, sassy track tentatively titled "Addictive." "It's a girl talking about being so amazing that she's addictive," says Fonseca with a laugh. "Basically, she's saying you'll need rehab after an encounter with her!" She sounds like our kind of gal. While waiting on the compilation, original album, and remix work, Fonseca fans can to go HectorFonseca.com to scout out his next appearances. He promises you'll like what you hear. "The feedback I get from kids who go to these parties is that they're sick of the same stuff, over and over again," says Fonseca. "I don't want to mention certain artist names, but there are certain songs that are just staples of the average circuit DJ at the typical circuit party... but a lot of time people in my younger generation want to hear something new." "You need a mixture of the old and new," says Fonseca. "The legends... and the new generation." 2008-04-28T17:28:00-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/dan_de_leon/ http://www.noizemag.com/index.php/articles/dj_profiles/dan_de_leon/ It was the last Ice party at iBar in West Hollywood. April 10th, 2004. Dan De Leon was spinning and Alex Catala was in attendance. The paths of two disillusioned but unjaded Circuit alums crossed. The union not only brightened up the lives of two individuals, but that of the entire West Coast house community. Dan De Leon tasted success in showbiz at the young age of seventeen. As a student at Culver City High School’s Academy of Visual and Performing Arts in California, he was a producer of the all-teen- produced independent feature film Common Bonds. The film went on to premiere at the Sundance Film Festival in 1997 and was hailed as a “monumental achievement (and) an inspiration to young filmmakers everywhere.” It was around that time that he dropped out of college. “I was totally certain that I was going to be Steven Spielberg in fifteen months.” That’s not exactly what happened, but soon after that he did go on to write, produce, and direct a short film called Anything Once. Only twenty-three minutes long, the film was about a straight guy and his gay best friend and their sexual explorations. It premiered at 1998’s Outfest, the Los Angeles Gay and Lesbian Film Festival, and went on to enjoy success at twenty-two festivals in eleven different countries. As a young adult Dan was immersed in the predominantly straight West Coast rave culture. In the midst of dealing with issues of self-identity and sexuality, he started working on a new film that was going to revolve around the world of clubs and DJs - as he describes it, “the nexus of the entire scene: the soul of partying.” In a sad twist to this story, a close DJ friend who had been his advisor on the film was brutally murdered. He explained it like this to the New York-based online magazine Edge this past summer: “The extraordinary events became the impetus for me to turn away from my career in film and focus my concentration on becoming a commercial DJ. I feel it is the reason I have been so blessed in my success as a DJ. I have an angel watching over me.” Deciding it was something he needed to experience for himself, he thrust himself into being a DJ. He saw an opportunity to fill a gap he saw in the gay Circuit scene, particularly in Los Angeles. Although he had been spinning records at home for friends after big parties, he dove right into playing gay clubs with his first residency: the Ice tea dances at iBar in Hollywood. The party kicked off Halloween of 2003 and was a huge success. “All of the sudden I was doing a tea dance every other Sunday. It was something I had dreamed of.” He took on the name Dan De Leon professionally. He had always been Dan Aeberhard, but “it was Swiss German: it didn’t say anything about who I was,” he explains. Born in Argentina, Dan is full-blooded Latino. “I wanted people to know I had this Latin thing in me. I’m not just some German guy. I really do feel this in my blood.” His mom’s uncle’s family name is De Leon, and he felt especially drawn to it since it nods at his zodiac sign, Leo “Plus, I thought it was a sexy name, a name that I could brand.” He certainly has started to accomplish that. Along with spinning some of LA’s hottest celebrity parties for the likes of MTV, Out Magazine, and Michael Kors, just to name a few, his latin flavored progressive house sets have taken him to headline Circuit events across the country, including Cherry in D.C., Palm Springs White Party, and Winter Party in Miami. 2008-04-14T19:30:00-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/tracy_young/ http://www.noizemag.com/index.php/articles/dj_profiles/tracy_young/ Tracy Young loves what she does. It’s obvious when you see her in the DJ booth of any party she plays. Dancing around, twirling knobs, smiling that big beautiful smile of hers and waving to boys on the dance floor, she definitely has a lot of fun at work. “I think being up there playing music should be an enjoyment for me as well as the crowd,” she says. Well, the crowd is certainly having a gay ol’ time. Tracy Young began spinning her own unique blend of hip-hop, funk, and old school in Washington, D.C. before moving to Miami in 1998. It was here she had the fateful encounter that changed her life forever and has become almost gay folklore. Tracy had been hired by Ingrid Casares of Liquid fame to play at her Millennium Eve Party in South Beach. Madonna, one of Ingrid’s best friends, attended the party and loved what she heard. She asked Tracy to remix the first single and title track off her new album Music. Tracy was excited for the opportunity and delivered what was later to be described as “an emotional masterpiece” by Billboard Magazine. Although this big break put Tracy on the radar, it is Tracy’s skill and talent that have made her one of the most successful female DJs/producers/ remixers in history. She has made a name for herself alongside the heavy hitters of house, tribal, and dance music and has headlined almost every major Circuit event and played at many of the hottest clubs in North America. She travels internationally to spin her magic in such destinations as London, Rome, Paris, Morocco, and Kuala Lumpur. Stateside, the boys of Fire Island recently celebrated their freedom to her explosive beats over July 4th weekend. Following her success at last year’s Pines Party, Tracy was asked to return to the gay oasis to helm the turntables at the 13th Annual IndepenDANCE, which was held at Reflections and whose proceeds benefit GMHC, Brent Varner Project, and Pines Care Center. Guy Smith lit the bevy of beautiful boys with a breathtaking sunset as the backdrop. At one point in the evening, Tracy played her Flying Monkeys remix of “Defying Gravity” from the Broadway musical Wicked. Idina Menzel, who played the green- skinned witch on the Great White Way, performed Tracy’s version of the song in New York City on Gay Pride Sunday. “She mentioned my name at the Pier Dance and I almost fell over,” Tracy remarked. Apparently, even a superstar DJ can be starstruck. A bit surprising considering that, in addition to Madonna, Young has produced tracks for such heavyweights as Stevie Nicks, Pet Shop Boys, Cyndi Lauper, Christina Aguilera, Gloria Estefan, P!nk, and Shakira. She has also played private events for the likes of Diddy, Lenny Kravitz, Ricky Martin, and Cher. Even Paris Hilton has been photographed shaking her moneymaker to Tracy’s rhythms. In 2002, Tracy released Tracy Young Remixes Living Theater in association with Kunduru Music, infusing eleven chill-out tracks with her fierce beats and unique musicality. A slight departure from the club-inspired productions Tracy is so well known for, this album captivates the listener as she seamlessly weaves her personality and style through each of the songs. Young’s latest album, Danceculture 2, is currently out on her label, Ferosh Records, and Danceculture 3 is already in the works. Collaborating with Ceevox on a track for the new compilation, Tracy will also be working with her on a full-length album. Their first original production “Believe In We” appeared on Unreleased Vol. 1 sharing the spotlight with “Ferosh,” a track that marries Tracy’s signature sound with the unmistakable voice of Miami legend Alan T. Still loving the place she calls home, Tracy is excited about her monthly residency at Score on Lincoln Road. Newly-renovated with an expanded dance floor and upgraded sound system, this survivor of Miami nightlife is packing them in with top DJs like Tracy, Joe Gauthreaux, and Miami favorite Abel. In addition, Tracy makes it up to New York City to spin at Splash once a month. The boys can also look forward to her “Genesis” party, which unfailingly packs them in every New Year’s Day. The popular party returns this year to The Cameo, former home of Crobar, in South Beach. As if she’s not busy enough, this self-described workaholic is also designing a clothing line based on club culture called Ferosh Wear. Studded with rhinestones, these higher-end shirts will be geared toward the gay market. “I think that what I try to do is have my hands in a lot of different projects. I don’t think if you’re a DJ nowadays, you can just count on that being your main source of work. I think that you have to do other things and continue to grow creatively.” The secret of her success seems to be working for her as her calendar fills with gigs and her discography continues to grow. Although the landscape of dance culture seems to be morphing, Tracy’s view on the Circuit and the future of large-scale dance events is decidedly optimistic. Noticing the shift from the larger events to smaller, loungier parties, Tracy feels the scene is going through a growth period. “It is changing,” she remarks. “I think that, like anything, it will go through its transition and then it will come back.” Whatever happens, Tracy Young is certain to remain one of the top contenders in clubland and beyond, continuing to pack dance floors with her titillating productions and scintillating remixes. Tracy Young loves what she does. And so do we. Maybe there is something to this “like attracts like” stuff after all. You can learn more about Tracy on her website djtracyyoung.com, buy her newest releases on ferosh.com, and find out about her upcoming clothing line on feroshwear.com. 2008-04-14T19:28:00-08:00 http://www.noizemag.com/index.php/articles/dj_profiles/paul_goodyear/ http://www.noizemag.com/index.php/articles/dj_profiles/paul_goodyear/ "Variety is the spice of life," says Paul Goodyear. A recent transplant to London from his Australian homeland, Goodyear has been behind turntables for twenty–two years. "There has been a shift in DJing; more and more DJs will only play one sound, one kind of music exclusively. There is so much great music out there of all genres." For Paul, keeping his play list diverse has paid off in his long career as a DJ. In the late Eighties and early Nineties, Paul taught himself how to re-edit tracks using two tape reels, the ancestors of today’s digital audio software. In 1991, he was asked to do a re–edit of an obscure Pet Shop Boys track, "Miserablism," for Hot Traxx, a DJ service label based in San Francisco. That was the beginning of a list of over 250 remixes and 50 releases Paul has produced over the span of his career. Recently, Goodyear moved with his wife and their cat from Sydney to London. It was quite a move for the whole family, but he felt he had accomplished everything there was to accomplish as a DJ in Australia. "I’ve lived in the three biggest cities in Australia – Sydney, Melbourne, and Brisbane – and I’ve spun at all the top clubs and parties in all of those places." It was high time to conquer Europe and the rest of the world. Goodyear considers himself Australian, but technically he is English. His family moved to Sydney when he was five years old. Thirty-plus years later, Paul is thrilled to be back in London. He calls it "vibrant," though he admits to being a bit homesick. However, he’s already secured a residency at XXL, a bear party that draws a crowd of 1500, and starting in March he will be spinning Friday nights in Amsterdam at a new event called Reflexxx. Having long moved beyond the tape reels to ProTools, Goodyear spends more and more time lately producing and even writing music. He is currently collaborating with high–energy legend Paul Parker, who hasn’t recorded anything since the late Nineties. Goodyear has had chart success in both Australia and stateside. Top 10’s of his include remixes of Taylor Dayne’s "How Many" and Deborah Cooper’s "Real Love." On the latter, he was delighted to have been asked to submit a remix by the song’s writer, Tony Moran, whom Goodyear counts as a longtime influence. He also gives big props, by the way, to the likes of Peter Rauhofer, San Francisco’s Phil B., and the legendary Jerry Bonham. Other releases include a remix of a cover of "Smalltown Boy" by Michael Nicholas on Klone Records and a cover of Sylvester’s "Take Me to Heaven" by Shauna Jensen on MIT Records (UK).Goodyear is one of the three main headliners at 2007’s Mardi Gras celebration in Sydney. The huge mega-event takes place at Fox Studios and draws crowds of over 16,000 partiers. 2008-04-14T19:27:00-08:00 http://www.noizemag.com/index.php/articles/benefit_spotlight/purple_party_a_vision_of_love/ http://www.noizemag.com/index.php/articles/benefit_spotlight/purple_party_a_vision_of_love/ Saul Flores had a dream, a Jimi Hendrix-like vision of a purple haze. In the midst of his purple passion, everything appeared in various shades of the royal color. Flores envisioned purple as more than a dab on a palette; it would serve as inspiration to help people and bring the community together. In Flores’ purple dream, a weekend of events would be dedicated to charity, drawing people from all over the country to Dallas. In 2001, Flores made his dream a reality when he founded the Purple Foundation, a non-profit organization whose purpose is to raise money to assist people living with HIV/AIDS. As Purple approaches its eighth year this April, it has been able to donate in excess of $150,000 to various beneficiaries. Purple Foundation Board Chairman Rich Hill has taken over the reins of the party. He recently signed dance diva Deborah Cox for this year’s event. Cox, who also starred on Broadway in Aida, will perform at the Saturday night main event, “Amethyst.” The event will be held at the recently opened House of Blues in downtown Dallas. Hill tells noiZe that this will be the first dance event at the venue, the latest addition to this world-famous chain of music halls. Purple Board Member Blake Baker, who handles all of the creative aspects of the events, is psyched about the new venue. “We’re so excited, primarily because for the past four or five years, our main events have been in basically a warehouse space or a public space where we had to build an entire club,” he says, “build all the trusses, hang all the lights. A lot of money went into that, and also a lot of sweat and hard work. We’re excited that we don’t have to build a club. It’s at an incredible venue.” Roland Belmares, who got his start in nearby Austin before his reputation soared as one of the Circuit’s most popular DJs, has played the Sunday tea dances the past two years for Purple. This year, Belmares will be stepping up to the plate as the main event headliner. Coming off last year’s “Muscle Beach” party during White Party week in Miami and a recent gig in Rio for Carnival, Belmares plans to turn it out. Friday night starts off the weekend with “Purple Hearts” at another great Dallas hot spot, Minc Lounge, with Alyson Calagna behind the turntables. “If anyone can bring the boys out to the events, she can do it. They love her here,” Baker says of the New Orleans native. Minc features a small dance floor where the boys can dance if they want to as well as couches and cozy nooks for more intimate interactions. Minc also has a 2,500-square-foot back patio where Purple patrons can sip cocktails under the stars while they mix and mingle. After the rockin’ Saturday night main event at House of Blues, New York DJ Joe Gauthreaux will take it harder and deeper at “Resurrection” at the Starlight Room. Another DJ who originally hailed from New Orleans, Gauthreaux now plays all over the country and will be headlining the 15th Annual Winter Party Beach Party in Miami at the beginning of March before heading to New York to play the morning set at the Black Party on March 29th. West Coast sensation Phil B. is making his Dallas debut at the Sunday tea dance, “Wild Orchid,” at Purgatory, a multi-level velvet rope dance club deep in the heart of Dallas. Phil B. has been on the scene for over 15 years, playing at such legendary venues as The Tunnel in New York and Crobar in Miami. Sinners will shake the shackles off their feet so they can dance to the beats of this San Francisco mixmaster as the weekend draws to a close. Starting out as a modest gathering with small donations, Purple has grown into an impressive weekend of dance and community. In 2006, Purple presented a check to AIDS Services of Dallas for close to $60,000 totaling more than the first five years combined. This organization, which provides housing and medical care and job placement for people living with HIV, is again this year’s beneficiary. They hope to present AIDS Services of Dallas with an even bigger check this year but need the financial support of the community to reach that goal. “It’s always been an uphill battle,” Baker says. Whereas Miami has the beach and New York has everything for everyone, Dallas might not seem the obvious vacation destination. However, Blake continues, “Dallas has really grown as a city; it’s become very cosmopolitan.” Though Dallas is in the Bible Belt and is relatively conservative, Baker notes that, “Dallas has become a very friendly city. It’s a very welcome and hospitable group here.” Rich Hill concurs, “It’s not like any of the other big parties you go to everybody has a very down-home, very welcoming feeling. We really enjoy all the people that come from different parts of the country.” Featuring a lineup of some of the Circuit’s hottest DJs, exciting venues like House of Blues, and the ultimate diva Deborah Cox, Purple 8 will show off the cowtown to best advantage not to mention those sexy cowpokes and cowgirls. With a host of volunteers, friends, and dedicated individuals like Rich Hill, Blake Baker and board members Peter Brown and Aaron Carrasco, Saul Flores’ dream lives on, touching the lives of countless others. So brush off the 10-gallon hat, click on the spurs, break out the chaps, and saddle up for a weekend of fun, y’all. Hyah! Purple 8 takes place April 18-20, 2008. For more information, visit http://www.dallaspurpleparty.org. Also, check out the Dallas city spotlight in the Winter 2007 issue of noiZe (Issue #54) available online at noiZemag.com. 2008-04-14T19:17:00-08:00 http://www.noizemag.com/index.php/articles/zingles/sirens_of_the_sea_maxi_single/ http://www.noizemag.com/index.php/articles/zingles/sirens_of_the_sea_maxi_single/ Why labels do what they do has never ceased to confuse me, and here’s another example.  “Sirens of the Sea” has been in club circulation forever, having made one of its first commercial appearances on Anjunabeats Volume 3 back in 2005, yet wasn’t given a full single release until July of this year.  Weird.  Regardless, this is probably OceanLab’s most solid single since the unstoppable success of “Satellite”, rocking not only amazing production and remixes, but gorgeous song writing and vocals courtesy of vocal trance darling Justine Suissa.  The lyrics depict lucid watery imagery and uses the mythological narrative of the Siren, the half woman, half bird sea nymphs, to create a metaphor for powerlessness in love and longing, the chorus proclaiming, “I… Cannot.. Resist.. Your Call...”.  The single includes 7 mixes, but go straight to the Maor Levi reconstruction to experience the song in its dubbed prime. 2008-12-18T06:26:01-08:00 http://www.noizemag.com/index.php/articles/zingles/call_my_name_the_remixes/ http://www.noizemag.com/index.php/articles/zingles/call_my_name_the_remixes/ The second single to be taken from Morgan Page’s debut artist album “Elevate,” “Call My Name” feels a bit like Röyksopp meets a Jason Nevins rock remix, and features the vulnerable, masculine voice of Tyler James.  The song is the narrative of a man waking up beside the person he loves, overcome with his insecurity that the person is going to leave him, and the mingling of his scattered thoughts with the actions and words of the person beside him.  Definitely something no homo could ever relate to.  The single includes a lurking, bleepy remix by Thomas Gold, a lush, sparkling mix by J Nitti, a rework by Morgan Page and, the best mix of the package, TV Rock’s gorgeous, guitar-strummy, rounded synth-laden masterpiece.  Want to shed a tear?  Take a listen. 2008-11-17T07:05:00-08:00 http://www.noizemag.com/index.php/articles/zingles/when_i_grow_up_remixes/ http://www.noizemag.com/index.php/articles/zingles/when_i_grow_up_remixes/ I really hated this when I first heard it. But like most pop, it’s written in such a way that it wheedles its way into your heart like a manipulative boyfriend and finds some cunning way to hang around and eventually make you love it. And as usual, I didn’t personally care for it until I heard the remixes, the scope of which is almost overwhelming. Of course they went with Ralphi Rosario, as he was responsible for making club accessible the Dolls’ lead single from the first album, but then they added to the cast list Dave Audé, Dirty South, The Wideboys and Digital Dog, totaling 10 mixes, dubs and edits, and making this what was probably one of the most expensive single releases in months. The album has since been released, including what are probably several songs taken from Nicole Scherzinger’s cancelled solo album. From here, it looks like this album’s gonna keep the girls right where they’ve been for the last few years: a rock-steady pop staple. 2008-10-07T21:29:01-08:00 http://www.noizemag.com/index.php/articles/zingles/energy/ http://www.noizemag.com/index.php/articles/zingles/energy/ The woman behind the curtain finally drops a spotlight on the starlet and takes center stage. Keri Hilson, the songwriter behind pop radio hits like Britney’s “Gimme More” and “Break The Ice,” Omarion’s “Ice Box,” Timbaland’s “The Way I Are” and Usher’s “Love In This Club,” finally gets her chance and goes solo with a forthcoming Timbaland-produced (read: mandatorily successful) album and this debut single. The original is somewhat electro-flavored urban pop (please, what would Timbaland be without stealing dance music’s hallmarks and repackaging them?), but the gay’ed up version comes from the go-to remixers The Wideboys, who do a perfect job of leaving everything from the original intact and adding just enough kick to translate it cleanly. 2008-10-07T21:27:01-08:00 http://www.noizemag.com/index.php/articles/zingles/disturbia/ http://www.noizemag.com/index.php/articles/zingles/disturbia/ I literally haven’t been able to get enough of this song since I first heard it back in May. But anyone who says people don’t change for the one they’re with is full of it. Ri’s been dating Chris Brown for a while now and, surprise, surprise, her new single was written by her current bed buddy and sounds identical to everything he’s been doing of late. Rihanna’s got a tolerable voice, but, under Brown’s influence, has elected to go with Danity Kane-type auto tuning, vocodering her pipes into something unrecognizable. But “Disturbia” is ear candy rivaling the radio pop perfection of Cher’s “Believe"—it’s not meant to be deep, it’s meant to be fun, and more catchy that chlamydia. The remixes capitalize on that quality beautifully, with mainstream club rubs from Jody Den Broeder and Craig C., and a dense tribal barrage from Craig C. and Nique. Jump on this one, ‘cuz it’s gonna be your new favorite. 2008-10-07T21:26:01-08:00 http://www.noizemag.com/index.php/articles/zingles/bruised_water/ http://www.noizemag.com/index.php/articles/zingles/bruised_water/ This little gem began as a white label mashup, putting the a cappella of Natasha’s “I Bruise Easily” atop Chicane’s classic instrumental track “Saltwater,” and was in circulation as such until someone apparently realized how massive this could be if given some commercial attention, and a few months later emerged as a full single featuring remixes by Mischa Daniels, Adam K and Chicane himself. The remixes are all totally solid, but the bootleg is the best, because—and correct me if I’m wrong—when you remix the mashup, doesn’t it just become a mix of “I Bruise Easily”? Anyway, hunt for this one, it’s angsty pop dance gold. 2008-10-07T21:24:01-08:00 http://www.noizemag.com/index.php/articles/zingles/no_more_tears_enough_is_enough/ http://www.noizemag.com/index.php/articles/zingles/no_more_tears_enough_is_enough/ Anyone who has been panting for some quality pop diva house in the vein of 1999-2002, get excited. Two reigning queens of the genre’s heyday have returned to pimp slap Barbra Streisand and Donna Summer off their pedestals. Amber, still best known for the monstrously popular “Sexual (Li Da Di),” and Zelma Davis, sadly best remembered as the “embodiment” of Martha Wash’s voice in C+C Music Factory despite being an incredible vocalist herself, team up to cover the classic power ballad and make it over for big rooms with stomping remixes by Pathos V2 and Solar City. 2008-10-07T21:22:01-08:00 http://www.noizemag.com/index.php/articles/zingles/just_dance/ http://www.noizemag.com/index.php/articles/zingles/just_dance/ Absolute pop perfection. A dancey, electro ditty about getting sauced and getting down; simpler and more relatable music has yet to be created. Produced by Robyn-collaborator RedOne and featuring guest vocals by T-Pain-ish urban hit radio newcomer Colby O’Donis, “Just Dance” is one of those instantly classic songs debut artists dream of creating and hate having to come up with something to follow. Official remixes by Harry Romero, Richard Vission and Trevor Simpson, and unofficials floating around by Manny Lehman, Tony Azradon and Ananyi. 2008-08-04T20:04:00-08:00 http://www.noizemag.com/index.php/articles/zingles/love_is_gone/ http://www.noizemag.com/index.php/articles/zingles/love_is_gone/ “Fuck Me I’m Famous” producer David Guetta teams up with out singer/songwriter Chris Willis to create this hooky, sing-along dance floor anthem. The track first came into circulation in summer of 2007 but has been steadily building momentum with regular circulation on Hit Radio and a fresh face thanks to recent additional mixes. “Love Is Gone” is pulled from Guetta’s Pop Life album, on which Chris has four other singer/songwriter credits and marks him as the only openly gay artist on pop radio today. Remixes for “Love Is Gone” by Fred Riester, Joachim Garraud, Fuzzy Hair, Eddie Thoneick and Amo & Navas. 2008-08-04T20:00:00-08:00 http://www.noizemag.com/index.php/articles/zingles/spotlight/ http://www.noizemag.com/index.php/articles/zingles/spotlight/ Remember when J-Hud performed at Long Beach Gay Pride, sang a never-before heard song and plugged her soon-to-come solo album? Yeah, I thought that was 2006, too. After delays and cancellations—oh, and that Oscar—Jennifer Hudson’s official debut as a recording artist that’s actually recorded has arrived. Seems the powers that be decided they needed to turn down the diva volume a bit if they wanted Jennifer to fit nicely amidst all the no-talents on the radio today, so on “Spotlight,” we get to see a more subtle version of her lion’s roar. A song about being kept under constant surveillance by an insecure lover, “Spotlight” feels lackluster on first listen without all the heaving and grunting we’ve come to expect, but it’s the remixes (provided by urban-to-club hit makers Moto Blanco and Johnny Vicious) that unlock the song’s hidden force. 2008-08-04T19:59:00-08:00 http://www.noizemag.com/index.php/articles/zingles/i_kissed_a_girl/ http://www.noizemag.com/index.php/articles/zingles/i_kissed_a_girl/ I think Jesus just took a hand off the cross and put it over his gaping mouth. Katy Perry (formerly contemporary Christian Rock artist Katy Hudson) is steadily climbing charts everywhere with her bi-curious pop rock hit “I Kissed A Girl,” the follow-up to her Madonna-toted debut single “Ur So Gay,” and a stark departure from her spiritual beginning. And while both song titles sound like they could be intra-community hag-to-fag humor, I doubt you’ll be hearing either of these out at Pride festivals anytime soon. While not derogatory, both are definitely more shock gimmick than anything else, amounting to a clearly straight girl experimenting while shit-faced and a judgmental girl disappointed by her boyfriend’s vanity, respectively. Regardless, “I Kissed A Girl” has been gay-ed up by Jason Nevins and may just be too catchy for the politics to matter. 2008-08-04T19:58:00-08:00 http://www.noizemag.com/index.php/articles/zingles/crash_burn/ http://www.noizemag.com/index.php/articles/zingles/crash_burn/ Fresh from the ashes of iiO’s passing, Nadia Ali’s solo career emerged Phoenix-style with a stream of DJ collaborations and now “Crash & Burn,” the first single from the forthcoming album Smile In Bed. Produced by Sultan and Ned Shepard, the song is about reckless love—the romance that could never sustain itself but can’t possibly be abandoned until it shatters fantastically before your eyes. It’s almost impossible not to wonder if that narrative isn’t something of a metaphor for the heights iiO reached with only one song and the slow demise over the coming years. Nothing has ever been said by either side of the duo as to how and why such a successful combination had to end so quickly, but even if the song has nothing to do with it, it’s more than a little delicious to imagine “Crash” as their tortured backstory. Remixes by Astro & Glyde, Dean Coleman, Dilamani & Rassek, DJ Shah, Justin Thomas, and Kered & Kiraly. 2008-08-04T19:48:00-08:00 http://www.noizemag.com/index.php/articles/zingles/control_yourself/ http://www.noizemag.com/index.php/articles/zingles/control_yourself/ Long-time circuit darling Erin Hamilton returns to the main stage with her first new material since 2002’s “I Got The Music In Me.” “Control Yourself” is a trademark circuit house power anthem that casts Erin in the role of every gay man in West Hollywood, breaking up with and kicking to the curb yet another obsessive ex. Boasting remixes by Solar City, Lenny B., Dena Cucci, Reflex, Perry Twins and Manny Lehman, “Control” is poised to push its way to the front of the line throughout the summer, so be expecting to hear this one throughout the party season. 2008-06-12T21:17:00-08:00 http://www.noizemag.com/index.php/articles/zingles/dance_like_theres_no_tomorrow/ http://www.noizemag.com/index.php/articles/zingles/dance_like_theres_no_tomorrow/ Although some hate it, I'm going to defend it to the end. Sometimes you just want something fun and vapid to dance to with absolutely no substance or political double entendres, something Paula did with enormous success in the '80s and '90s and seems not have lost her knack for after all the "Idols" and alcohol hazes. This is about nothing more than having a bad day and consequently wanting to go out, look amazing, dance and get attention-and who doesn't? Official remixes by Paul Oakenfold & Soul Seekerz. 2008-05-12T21:00:00-08:00 http://www.noizemag.com/index.php/articles/zingles/feedback/ http://www.noizemag.com/index.php/articles/zingles/feedback/ After several tepid albums and lackluster singles, Janet’s long-awaited comeback song stands up to her icon status. This futuristic sex robot pop track has Janet demanding her trick’s close attention to her whorish moans and an appropriate reaction upon delivery. And if Darkchild’s poppin’ album version doesn’t dampen your drawers, the single’s extensive remix package, including submissions by Ralphi Rosario & Craig J, Moto Blanco, The Wideboys and Jody Den Broder, is sure to have something that make you call her “big poppa” 2008-05-12T20:59:00-08:00 http://www.noizemag.com/index.php/articles/zingles/daylight/ http://www.noizemag.com/index.php/articles/zingles/daylight/ If this single is any indication, Kelly Rowland is one of the most underrated vocalists around. She's had nothing but stellar releases since going solo but hasn't received the label support she deserves. The party boy's anthem: "And it looks like daylight's gonna catch me up again/ Most people like getting up when I'm just getting in." Add incredible remixes by Joey Negro, Karmatronic, Hex Hector and Camaro Brothers, and you've got a whole new Special K. Look for the Freemasons' remix of the previous single "Work." 2008-05-12T20:42:00-08:00 http://www.noizemag.com/index.php/articles/zingles/touch_my_body/ http://www.noizemag.com/index.php/articles/zingles/touch_my_body/ So maybe it's a little weird that the video has Mariah engaging in a secret pillow fight with a faux Best Buy Geek Squad computer technician, and that she's singing about YouTube, and that the song is too narcissistic and self-glorifying. But hey, other than all that it's timeless Mariah. Maybe someone who committed herself to UCLA's Neuro Psychiatric Institute a few years ago shouldn't be singing the line, "If you run your mouth and brag about this secret rendezvous, I will hunt you down." "Touch My Body"'s saving grace is Seamus Haji's power makeover, stretching the original version's meandering three-and-a-half minutes into nearly ten of skin-on-skin anthem house. 2008-05-12T20:36:00-08:00 http://www.noizemag.com/index.php/articles/zingles/whos_that_girl/ http://www.noizemag.com/index.php/articles/zingles/whos_that_girl/ All but forgotten (in this country, at least,) since her enormous Max Martin-penned hit "Show Me Love" in 1997, Roby's now been picked up Stateside by Interscope Records with a rugged new sound and hyper-stylized visual presentation. The album's first American single capitalizes on Top 40 radio's recent acceptance of a more electronic sound with hooky vocals and a clever play on words. The self-titled album includes some of the most solid and original pop to be released in years. 2008-05-12T18:09:00-08:00 http://www.noizemag.com/index.php/articles/zingles/im_a_fire/ http://www.noizemag.com/index.php/articles/zingles/im_a_fire/ The first we've heard from Miss Summer since her minimally circulated "Power of Love," this marks a glorious return to the club and a beautiful bit of metaphorical dance floor balladry that had me hitting the "back" button searching for hidden meaning. The vocal delivery blends granite stoicism and gushing sentiments. No expense was spared with the remixing credits, interpreted by 7 producers across 8 tracks on the promo, with numerous bootlegs circulating as well. "The Crayons" full length hits stores in May. 2008-05-12T18:01:00-08:00 http://www.noizemag.com/index.php/articles/zingles/run_the_show/ http://www.noizemag.com/index.php/articles/zingles/run_the_show/ Though her first runaway single "Whine Up" was far more commercially successful, this one feels queerer friendly. Not that domination is exclusively the providence of The Gays. But we do seem to have a certain affinity for defining who gives and who takes it, and this works as an anthem for power bottoms everywhere. Johnny Vicious remixes again, having made the first single a massive club hit-this time with a much more aggressive sound that, when combined with the words and a boy's jeans slipping down just a little, has every top about to rut in slow motion under a strobe light. 2008-05-12T17:57:00-08:00 http://www.noizemag.com/index.php/articles/zingles/rapture/ http://www.noizemag.com/index.php/articles/zingles/rapture/ Classics never die, they just get remixed. Iio's "Rapture" was one of the biggest club successes in the recent history, remaining in regular club rotation for nearly three years and promising to maintain an "oh-my-god-I-love-this-song" status until the end of time. So it was only natural that it get sucked and plucked for a new generation. These mixes began surfacing in summer of 2007 and have finally been released as a CD along with a bonus disc containing nearly all the former mixes, including several newbies, like those by Armin van Buuren and Paul Van Dyk. This is your just desserts. 2008-05-12T17:50:00-08:00 http://www.noizemag.com/index.php/articles/zingles/me/ http://www.noizemag.com/index.php/articles/zingles/me/ It'd been a while since we'd gotten a taste of the honey vocals that fall from Tamia's lips, and when that return is served atop Rosabel and Soul Seekerz beats, the years disappear and all we're left with is a grateful reunion. "Me" is a power ballad in the same vein as "Stranger In My House," covering the familiar territory of "lover done me wrong." This time, the topic is approached by proclaiming infidelity with herself, not to mention a threesome with "myself and I." Initially appearing only on Abel's "Alegria Universo" compilation, this is a promo for now, but can be found on iTunes. 2008-05-12T17:45:00-08:00 http://www.noizemag.com/index.php/articles/zingles/4_minutes/ http://www.noizemag.com/index.php/articles/zingles/4_minutes/ Madonna does hip-hop. Initial response: disappointment. Not in the song, it's solid enough, but in Madonna. This just doesn't measure up to the level of trendsetting ingenuity we've come to expect from The Mother of [re]Invention. This move seems contrived and unnatural, like she's dressing up for Halloween and seeing how many people say, "Wow, you pulled that off." It feels like a gimmick. And getting Timbaland to produce a single feels passé after the deluge of Tim-produced songs on the radio last Fall. This'll get Madonna airtime again, but if that's all she's striving for then our icon has really and truly sold out. 2008-05-01T21:10:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/alchemy_gst_reloaded_the_suar_sessions/ http://www.noizemag.com/index.php/articles/music_reviews/alchemy_gst_reloaded_the_suar_sessions/ Alchemy is a special, glamorously packaged double-CD, that continues to demonstrate Ultra Naté’s dedication to the fans, DJs and dancers who’ve sustained her career.  The first disc is essentially “Grime. Silk. Thunder. Remixed”, containing mostly previously unreleased remixes of the original album’s tracks by top producers like Bimbo Jones, Kenny Dope, Quentin Harris, Morgan Page, Craig C., Mood II Swing, DJ Spen and DFA, including the newly released Automatic 2008 remix by Tikaro, J. Louis and Ferran.  The second disc, titled The Sugar Sessions, is a continuous DJ mix by Ultra Naté herself.  Didn’t know she could spin, did ya?  The set is an example of what you can expect at Sugar in Baltimore, the club Ultra has been spinning at every Friday for the last five years, and is comprised of a mix of tracky deep house mixes of Ultra’s own material. The Favorites:  Falling (Mark & Shark Mix), Love’s The Only Drug (Adam Rios Shelter Mix) 2008-12-18T06:14:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/opus_secundo/ http://www.noizemag.com/index.php/articles/music_reviews/opus_secundo/ Practice makes perfect.  Mr. Sam released Opus in 2007, and went on and on in the liner notes about how much of an undertaking the creation of a compilation is, how personal the tracklisting should be and how much it all needs to come together to say something, to have an underlying statement.  And I’m sure it did have all that, problem is it was dull.  Aside from a few choice tracks, the album felt like big landscapes of mediocrity broken occasionally by musical fireworks.  Someone must have said something, because Opus Secundo is hands down amazing from beginning to end.  What’s funny is that many of the same artists from the first are present on the second, but this second batch just works better, stirs deeper, moves more.  It’s more dramatic, I think that’s it.  If you love trance, you’ll bust one over this. The Favorites:  In The End, Stay With Me, Alive, Cygnes, Hold My Breath 2008-11-17T07:12:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/sirens_of_the_sea/ http://www.noizemag.com/index.php/articles/music_reviews/sirens_of_the_sea/ This is after-the-party music. Not really a hook-up soundtrack, though some songs have a certain sensuality. More so, this is the perfect backdrop to dark skies creeping toward the blue of dawn and coming down in someone’s living room. Uplifting, beautifully vocalized, gentle, at times driven, and deeply intimate. OceanLab is the alternate moniker for the Above & Beyond production team paired exclusively with singer/songwriter Justine Suissa. Fans have been aggressively waiting for this one since the release of the group’s first single “Clear Blue Water” in 2002. The group has been trickling releases throughout the years, but only two of those singles appear on the Sirens album—10 of the album’s 13 tracks are fresh, original pieces that represent a new musical brand: album-oriented pop trance. Lacking the huge arpeggio crescendos of big room anthem-trance, or the disposable cheese of trance-NRG, the music and lyrics of Sirens have the same timeless quality as Sarah McLachlan, but use the hallmarks and ambience of trance to further the subject matter and create a watery sound that lets the listener melt away into its aquatic texture. 2008-10-07T21:21:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/invol2ver/ http://www.noizemag.com/index.php/articles/music_reviews/invol2ver/ Sasha’s essentially a prophet in the world of dance music. The man is so celebrated in his vision of sound that there are artists who write and produce music specifically for him and him alone to spin. Unlike a lot of producers out there who have surrendered to a feeling of immediacy—music that says “you are a regular person inside a club listening to this"—Sasha has held to that classic clubber’s ideology of “experiencing an altered state through music,” and creates compositions that truly lift out of this reality and leave you feeling as though you’ve seen something, experienced something, and are changed for it. Invol2ver is the second chapter following the initial 2004 Involver, and is a continuous mix of Sasha artist tracks and Sasha remixes of others’ material. The Favorites: Arcadia, Destroy Everything You Touch, Burma, You Are The Worst Thing In The World 2008-10-07T21:18:01-08:00 http://www.noizemag.com/index.php/articles/music_reviews/happy_people/ http://www.noizemag.com/index.php/articles/music_reviews/happy_people/ Happy People is a combination follow-up artist album and mixed compilation—the double-disc release contains every artist track he’s done since the First Time debut album, but like Forever Tel Aviv, is in a continuously mixed format, chock full of hand-picked favorites and remixes he’s done for other artists. The catch, however, is that its release is somewhat fragmented, mainly due to the unlicensed usage of samples from Britney’s “Gimme More” and Michael Jackson’s “Billie Jean.” It was allegedly allowed into the U.S. after the tracklisting was revised not to include the unlicensed content but then disappeared from distribution and hasn’t been heard from since. The album is still available on Israeli sites, though whether an order of it would make it across the Atlantic is iffy. The risk is totally worth it. Tracklisting includes five new tracks with longtime collaborator Maya, a reconstruction of Captain Hollywood Project’s “More & More”, and Offer Nissim remixes of Deborah Cox, Shirley Bassey, Kim Cooper, Suzanne Palmer, Tony Moran, Erin Hamilton and Christina Aguilera. The Favorites: Love, More & More, Shine, Flame 2008 2008-10-07T21:16:01-08:00 http://www.noizemag.com/index.php/articles/music_reviews/unexpected/ http://www.noizemag.com/index.php/articles/music_reviews/unexpected/ While Sarah Palin’s out there making religion look about as heinous as possible, Michelle Williams shows the world (and The Gays) that just because there’s faith in her life, it doesn’t mean she’s a hater. Following her first two devotional albums, Michelle returns to the pop world she dominated as one third of Destiny’s Child, but this time on her own terms and with a unique sound. Unexpected is exactly that, the Michelle you never saw coming and won’t be forgetting anytime soon—an album that radiates confidence and unforced sensuality over a musical texture that blends muscular urban funk with Euro-sweetened pop, a marriage of cultures completely unheard in the American musical landscape. The Favorites: Hello Heartbreak, We Break The Dawn, Private Party, Stop This Car 2008-10-07T21:13:01-08:00 http://www.noizemag.com/index.php/articles/music_reviews/elevate/ http://www.noizemag.com/index.php/articles/music_reviews/elevate/ Following the unofficial release of his bootleg remix compilation aptly titled Cease & Desist from a few years ago, it was time Page showed the world what had become of his musical genius since making the transition to legal productions. And the result is nothing short of dizzying. Where other producers seek to create a pounding rhythm that moves the body, Page seeks to create a calculated maelstrom of sodden emotion that moves the innards. It’s like trance but without the ethereal intention, a moody trip across a solid percussive foundation. The compilation contains several of Page’s own artist tracks mixed among his remixes for other artists. Despite the listener’s inklings to head straight for the two biggest names to have been given the Morgan Page treatment—Nelly Furtado and Delirium—these are actually among the least noteworthy of the album’s offering, completely overshadowed by tracks like Jenny Owen Youngs’ “Fuck Was I,” Leigh Nash’s (formerly of Sixepence None The Richer) “Nervous In The Light Of Dawn,” and Page’s own tracks “Call My Name” feat. Tyler James, “Fade Away” feat. Matt Wasley and “The Longest Road” feat. Lissie, a Deadmau5 remix of which is contained as a bonus track.  2008-08-04T19:33:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/one_mighty_weekend_2008/ http://www.noizemag.com/index.php/articles/music_reviews/one_mighty_weekend_2008/ Dana Divine’s hook in the first song says it all: “Remember the Music? Turn It Up!” Coming out of the Pride season, one compilation stands above all the rest in its encapsulation of the “I Love Being Gay!” vibe and impeccable track selection that reminds us of all the music and energy our weekends were steeped with in the glory days of gayness. It’s no surprise all that comes from the ever-dependable Masterbeat label. The double-disc set, co-conducted by Brett Henrichsen and Alyson Calagna, follows Masterbeat’s rock steady commitment to joygasm-inducing, sing-a-long club music with top artists like Ultra Naté, Inaya Day, Suzanne Palmer, Debby Holiday, and power producers like Paulo, The Cube Guys, Twisted Dee, Tony Moran, Warren Rigg and Manny Lehman. While the months of flags, fabulousness and faggotry are coming to a close, music like this demands that you keep sashaying all the way to Santa’s lap. 2008-08-04T19:23:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/imagine/ http://www.noizemag.com/index.php/articles/music_reviews/imagine/ Armin Van Buuren is nothing short of amazing: At the age of 32, he had made the steep ascent to international stardom that earned him the status of DJ Magazine’s No. 1 DJ of 2007. A seven-year weekly gig as host of the popular radio show “A State of Trance,” a successful compilation series of the same name, his own Armind label, three albums and an overwhelming list of artist tracks and remixes hardly seems an appropriate résumé for someone whose humble beginnings fresh out of secondary school into a local Dutch nightclub began in 1995. Armin proves that if you follow your passion, the potential for success is limitless. Imagine is Armin’s third artist album. It includes the DJ Shah collaboration track “Going Wrong” featuring Chris Jones, and employs the vocal talents of Jaren, Audrey Gallagher, Sharon Den Adel, Jacqueline Govaert, Kathy Burton, Vera Ostrova and the soon-to-be-classic Jennifer Rene. Though not breaking any new ground thematically, the album demonstrates the vast emotional depth electronic music is capable of and the stark beauty of a lovelorn voice. Vocal tracks like “Unforgivable,” “Never Say Never” and “Fine Without You” seem destined for a single release, and instrumentals like “Imagine” and “Intricacy” will doubtlessly be making appearances on purist trance compilations.  2008-08-04T18:58:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/spirit/ http://www.noizemag.com/index.php/articles/music_reviews/spirit/ Heralded as having the biggest debut of any winner/con- testant from a musical talent game show, Leona Lewis has been turning heads and setting records ever since the world took notice of her on Britain’s American Idol predecessor, X Factor. Leona set a world record when her debut single “A Moment Like This” was downloaded over 50,000 times in the first 30 minutes after she was announced the winner of the show’s third season. Then BBC News reported that she had set another record when the first single from her debut album Spirit, “Bleeding Love,” was downloaded 1.7 million times in one week. Spirit employs the combined efforts of many of today’s hit-making producers and songwriters, including ballads by Avril Lavigne, longtime Mariah Carey collaborator Walter Afanaseiff and Simon Cowell himself. Unlike many involved in these career-making game shows, Leona’s debut isn’t a misfire attempt at creating a career via image for the artist. Instead Lewis’ debut album cover looks not unlike Mariah Carey’s—not overly sexy, not overly styled, just a beautiful face set against a black background and timeless type framing her. This woman has a voice and if you purchase this disc, you’re going to hear it. Simple and honest. Expect even more big things from this one for years to come. 2008-08-04T17:34:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/fierce_pussy_the_remix_album/ http://www.noizemag.com/index.php/articles/music_reviews/fierce_pussy_the_remix_album/ Paris Hilton wishes she could be Amanda Lepore. The self-proclaimed "Number One Transsexual in the World", Lepore has represented enigmatic, underground glamor and fame since the early 90s and has remained infamous across the globe for her daring and willingness to not only cross the line, but drag a throne across it, recline, spread her legs and proudly aim a million watt spotlight and her lady hamper. This spring she releases the teaser album Fierce Pussy: The Remix Album, featuring 4 songs across 12 tracks and reinterpretations by Funky Junction, Craig C, Tim London and guest appearances by Cazwell and Larry Tee. All tracks (Champagne, My Pussy, I Know What Boys Like, and My Hair Looks Fierce) are plucked from her forthcoming full length album, Brand New Woman out later this year. 2008-06-12T20:45:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/discipline/ http://www.noizemag.com/index.php/articles/music_reviews/discipline/ Discipline is the first album since Velvet Rope to feel inspired from beginning to end; the last few have been plagued by well-written ballads with bland production (slow still has to sound good) and dance tracks that sounded more trend-following ("So Excited") than trend-setting ("if"). Janet loves her sex, and she loves to sing about it. Just about everything notable she’s done in the last 15 years has been about or was inspired by sex. So with a title like Discipline, you know her heart’s in it. The album’s chock full of radio-friendly singles that promises to keep Janet in the public consciousness, but after seeing that cover, I could’ve done with a bit more naughty sex content. 2008-04-28T18:28:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/robyn/ http://www.noizemag.com/index.php/articles/music_reviews/robyn/ Robyn could be the next huge thing if this country decides to elevate to stardom a white female artist for her talent instead of her scandalous image or clothing line. The album and its singles have been in circulation in Europe since 2005, so Interscope's decision to distribute it domestically was a no-brainer. What remains to be seen is how America is going to digest a plain-faced Swedish blonde with a Peaches-like sound and an urban-by-way-of-Europe edge. Interscope's already attempted to market her as the "chorus 'ho" when they had her guest on the remix of Snoop Dogg's "Sexual Eruption," which-despite being worlds better than the original-never made it to the radio. I'm just going to cross my fingers, sit back and watch what happens. 2008-04-28T18:22:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/soundboy_rock/ http://www.noizemag.com/index.php/articles/music_reviews/soundboy_rock/ If Discovery was Daft Punk's breakthrough album into completely digestible pop dance, then Soundboy Rock is Groove Armada's. This sounds like a more grown-up version of Junior Senior, combining their propensity for bright, exuberant sounds with the experimental enthusiasm of late-'90s Electronica, the gypsy ambience of Gotan Project and the dubby MC vocals of urban hit radio. What results is a mix of disparate, unexpected delights as deliciously fascinating as the contents of a club floor at closing time. 2008-04-28T18:20:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/fierce_disco_2/ http://www.noizemag.com/index.php/articles/music_reviews/fierce_disco_2/ The clouds have finally given way to blue skies and enough exposed skin to give you blue balls, so what better way to kick off the summer months than with some peak-hour dance music that reflects the season’s light mood and sunny disposition? Fierce Angel, the next creative venture of Hed Kandi founder Mark Doyle-and consequently an exact copy of the former-produces compilations of unmixed, full-length dance tracks and remixes, and does so with every bit of its predecessor’s success. Fierce Disco 2’s three discs combine the latest unmixed House, Disco House, Garage and Electro, boasting marquee names like Joey Negro, Todd Terry, Kenny Dope, Jocelyn Brown, Moto Blanco, Love To Infinity, Tony Moran, Martha Wash, Kristine W, Peyton, Eric Kupper, The Wideboys, Amanda Wilson, Andrea Britton, Robbie Rivera, K-Klass, Seamus Haji, and on. With all this warm, glowing goodness you’re sure to find more than a couple favorites, so shed the cold, hard beats of winter like that last bit of clothing you’re still wearing and dive into the sounds of endless summer nights. 2008-04-28T18:14:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/night_blossom/ http://www.noizemag.com/index.php/articles/music_reviews/night_blossom/ Have sex to this album. Or at least pop some wood and grind someone sortakinda special under the disco ball. The remix companion to the Fire Flower album, Night Blossom is a double load in the face, with one disc compiling the best remixes from the album's singles, and the other spooling remixes of all Ananda's albums into a continuous mix of sensual heavy petting. The greatest thing about Ananda Project in a club setting is that you don't even need to wait to get to the bedroom: the tempo, the instrumentation, the delicate vocals, the dancing that comes from that is far hotter than anything that happens between the sheets. Playing this may require latex. 2008-04-28T18:09:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/last_night/ http://www.noizemag.com/index.php/articles/music_reviews/last_night/ Moby's been through an incarnation or two-underground unknown, über-trendy illegible, frighteningly commercial jingle machine, Gwen Stefani's motorcycle buddy. So it was probably about time for it all to come around and make a circle. Harkening back to his early days, Last Night is all about the club and the roots of club music, before the divas and the "remix as promotion tool" thing came along, when DJs were godly maestros, not just background noise, and their musical constructions were what brought you into the night. The sound is very eclectic, very experimental vocal content, with varied tempos and moods. This is the perfect album for a dance purist who loves the journey and loves to taken through all veins of house. 2008-04-28T18:01:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/nineteen/ http://www.noizemag.com/index.php/articles/music_reviews/nineteen/ Despite the endless comparisons, Adele is not "The New Amy Winehouse." They're both English and have enormous jazz voices, but to say they're the same is like saying Avril Lavigne and Celine Dion are the same because they're both Canadian and have ankles. More than anything else, Adele falls into the category of "singer/songwriter," both writing down in verse the intricacies of her lovelorn mental muddle and relating it by way of her husky yet agile voice and stinging, feisty tongue. Titled after her age when recording it, the album plays like pages of a nice school girl's diary and the liner notes of which cite disparate influences like Etta James, Björk, Billie Holiday and Jeff Buckley. Perfect "alone time" music. 2008-04-28T18:00:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/seventh_tree/ http://www.noizemag.com/index.php/articles/music_reviews/seventh_tree/ A far cry from the Goldfrapp most of us got used to over the past few years, with image-defining hits like "Strict Machine," "Oh La La" and "Ride A White Horse," Alison channels a little Olivia Newton John on an album that could be seen as a return to Felt Mountain if it weren't the soundtrack for an entirely different kind of movie. Seventh Tree is the backdrop to a summer afternoon love scene on wooden floors in a bright, modest home furnished in ashy whites and faded yellows. Unlike the high contrast, black and white Italian street scene of "Felt," "Tree" feels monochromatic and granular, like wheat blowing in the wind, which works nicely over the end credits following the darkness and disco light. 2008-04-28T17:46:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/flexible/ http://www.noizemag.com/index.php/articles/music_reviews/flexible/ Flexible is right. The delicate white boy with Aretha's power releases his sophomore full-length and stretches in some funky new directions. In contrast to his initial release, which was a fierce but homogenous sample of sexy 1 a.m. Circuit anthems, Flexible is a more mellow, eclectic drama club of ten unique atmospheres that explore myriad ways to say something musically while getting a butt or two on the dance floor. 2008-04-14T22:40:01-08:00 http://www.noizemag.com/index.php/articles/music_reviews/alegria_universo/ http://www.noizemag.com/index.php/articles/music_reviews/alegria_universo/ Ever since releasing the first in this three-part series, Abel has expanded the audience of tribal house exponentially with his hooky, vocal presentation of the genre and a meticulous selection of truly intoxicating tracks and remixes. Take his trademark blend of anthemic beats and tribal percussion on Disc 1. Add tribal house interpretations of dance artists like Tamia, Jeanie Tracy, Karen Young and Bob Sinclar. And bake to keep the listener forever wondering where Abel will take them next. As a counterpoint, Disc 2 is composed of “Morning Music,” a lighter, more vocal companion to the heavy, complicated rhythm that dominates the night. To match the blown-out blue-and-yellow light of the hour, artists like Ultra Nate, Southside Hustlers, Tamara Wallace, Karen Young and Frankie Knuckles form a continually brightening mood that ends with the sax and strings of the Freemasons’ “Pacific,” extending the Alegria into the day ahead. 2008-04-14T22:39:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/makeshift_feelgood/ http://www.noizemag.com/index.php/articles/music_reviews/makeshift_feelgood/ Not that they needed the company, but it seems the experimental approach of Basement Jaxx suddenly has some. On their sophomore album, X-Press 2 takes the aggressive beats of their debut, puts ‘em through a food processor, adds whatever it finds in the dumpster out back, and creates a danceable chunkiness that references way too many influences to list here. Singles from the first album were all vocalist collaborations, so it’s no surprise that this time around every track includes some words, and the format is more pop-centric than the other’s club orientation. The disc’s initial single, “Give It,” which was originally release over two years ago, has been re-released with additional mixes by Friscia & Lamboy. 2008-04-14T22:39:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/i_love_montreal/ http://www.noizemag.com/index.php/articles/music_reviews/i_love_montreal/ Continuing the I Love series, Peter ventures this time to Michael Moore country and nestles in amongst the moose and free health care et voila! The mixmaster’s interpretation of Montreal’s unique vie en rose. Joining the usual cast of Star 69 artists and producers are Dangerous Muse, Dave Aud feat. Jessica Sutta, Kaskade, Axwell, Nelly Furtado and Noir’s re-rub of the classic jingle “My MTV.” 2008-04-14T22:38:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/in_search_of_sunrise_6/ http://www.noizemag.com/index.php/articles/music_reviews/in_search_of_sunrise_6/ Few series have ever made it to a sixth volume with the same eager anticipation and continuous critical acclaim like Tiesto’s In Search Of Sunrise. With every release, Tiesto carefully cross-sections the ever-morphing genres of trance and progressive house. The world-class DJ calls attention to the newest roster of artists and producers that are defining and challenging the hallmarks and standards of ambient dance music. Here the flying Dutchman presents cultural shifts like the blend of electro and trance, and African tribal percussion atop rounded beats. He also underlines vocalists like Jes, Julia Thompson, Anita Kelsey and Jennifer Rene. And this is the only place you’re gonna find Tiesto’s own ISOS remix of the indie hit “Hide & Seek” by Imogen Heap. 2008-04-14T22:37:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/greatest_hits_remixes/ http://www.noizemag.com/index.php/articles/music_reviews/greatest_hits_remixes/ Oakie’s career has included underground raves, hyper-publicized stadium massives, ultra-trendy urban hotspots and sold-out nightclub world tours. His body of work, both as an artist and a producer, has spanned nearly as many years as his name has syllables, and earned him the Guinness World Record title of “Most Successful DJ in the World.” This compilation attempts to frame that body of achievement. That intention may seem impossible to accomplish with shiny plastic and binary code, but the enormous diversity of the tracks included serves to outline his vast musical ingenuity. That in mind, it should come as no surprise that the album is available in one-, two- and three- disc versions, all of which contain multiple new 2008 Oakenfold mixes of selected favorites. 2008-04-14T22:37:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/some_people_have_real_problems/ http://www.noizemag.com/index.php/articles/music_reviews/some_people_have_real_problems/ Sia is a vocalist and songwriter of inimitable integrity and individuality. She is also one of the few people in the world who immediately renders me a girl of thirteen face-to-face with her ultimate idol - I ran into her at a tanning salon in LA and acted like a teeny-bopper backstage at a Justin Timberlake concert. Until recently, Sia was the voice of Zero 7’s biggest singles. Then overnight she achieved her American breakthrough as the artist responsible for the musical capstone of the Six Feet Under series when her song “Breathe Me” closed out the finale. On her third solo album, Sia combines the jarring lyrical intimacy of her debut Healing Is Difficult with the whisper-soft instrumentation of her second album, “Colour The Small One”, and creates pop-friendly chill-out with her brazen voice and a lush, layered acoustic sound. 2008-04-14T22:36:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/summer_of_space/ http://www.noizemag.com/index.php/articles/music_reviews/summer_of_space/ Haley Gibby, the voice of Summer of Space, seems to be an artist with a true intention and an indomitable will. When she was recognized by Warner Bros. and offered a contract, she declined, deciding instead to continue pursuing her musicality without Big Brother steering the wheel. In 2001, she met producer Finn Bjarnson and explored the musical course she chose instead of commercial success. Later, along with Ryan Raddon (Kaskade), a group was formed, and following the success of their initial single an album was completed and the result is nothing short of aural bliss. Haley’s vaporous voice atop emotion-sodden instrumentation plays like a gorgeous footnote to life - quiet, saturated commentaries floating like fog over hills, commanding your attention in the most delicate way possible. 2008-04-14T22:35:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/transport_systems/ http://www.noizemag.com/index.php/articles/music_reviews/transport_systems/ On Transport Systems, Ari combines all the best of contemporary pop conventions with his own blue-eyed soul, and sets to music his life experiences of love, lust, sex, heartbreak, infidelity, and frayed relations. This all sounds like coloring within the lines until you realize Ari’s not singing about bitches, boobs, and juicy booties - his sentiments stem instead from his experiences with other men. And he’s not coding it in any way. Ari is in-your-face gay without the camp and the crassness. He doesn’t take the “Queer As Folk” approach to gay social equality via music, shoving butt-sex and blowjobs down everyone’s reluctant throats. Instead he creates music that sounds like everything you’ve heard before, but inserts the otherwise deleted gay male perspective on the same ups and downs of life that inspire the lyrics of mainstream straight pop. He inspires acceptance via normalcy - instead of something like Britney’s “Stronger”, a song about her moving on from a cheating boyfriend, Ari offers the alternative “Mr. Mistress”, a song about his moving on from a man who refuses to live honestly about his same-sex feelings. One of the album’s highlights is a cover of Human League’s “Human”, which adds a new dimension to the already laden lyrics (I’m only human/ Of flesh and blood I’m made/ I am just a man). Transport Systems, along with Gold’s two previous albums, is a tasty slice of radio-friendly R&B/pop that allows man-loving men the opportunity to fully relate to the fun and frivolity of pop music without having to switch gender pronouns or emasculate themselves by obligatorily identifying with the female role in the song. Ari just might be our Justin Timberlake, and frankly it’s about time. 2008-04-14T22:34:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/bring_the_night/ http://www.noizemag.com/index.php/articles/music_reviews/bring_the_night/ Kaskade’s new mix compilation Bring The Night spent weeks at the #1 position on iTunes’ Dance Albums for a reason: funky electric beats, soul-soaked vocals, catchy-as-hell melodies, and such an overall diversity of artists and sounds that anything else you listen to just sounds tired and typical. The tracklisting blends several of Kaskade’s own tracks and remixes, including mixes of Nelly Furtado’s “All Good Things (Come To An End)”, Floetry’s “Supastar”, and his artist track “Sorry” remixed by Dirty South, with a crunchy trail mix of underrated creations by artists like Axwell, Armand Van Helden, Bob Sinclar, D.O.N.S., and David Tort & Fedde Le Grand. Not one of the disc’s fifteen selections is fill, but as with all great compilations, it’s the closing song that stands out amongst all that came before and lingers in your ear for days. The track is “Hearts Reaction” and the group is Summer Of Space, the musical union of Kaskade and Finn Bjarnson with the gossamer vocals of Haley Gibby. The track alone is worth the price of admission. Seems Kaskade’s finally been sleeping with the right people or something, because his musical ingenuity is finally being recognized, and his remix abilities have recently been commissioned for Britney Spears, Paris Hilton, The Pussycat Dolls, Justin Timberlake, and Seal. Keep an eye on this one - the attention he’s getting is finally catching up with his talent. 2008-04-14T22:31:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/rise/ http://www.noizemag.com/index.php/articles/music_reviews/rise/ This is late-summer evening horizontal house. And while that’s nothing new, Samantha James manages to differentiate herself from an immense group of sound-alike artists. The downtempo, loungey, nu-jazz sound reached a new level of mainstream popularity in the early 2000s, and the market has since become saturated with Buddha Lounge, Hotel Costes, and similar compilation series. Labels like Hed Kandi, Naked Music, and James’s own Om are continually churning out new artists to satisfy the demand, but amidst all that, Samantha James’s debut album Rise distinguishes itself by its superior songwriting. The sticker on the album’s cover says “For Fans of: Sade, Morcheeba, Bebel Gilberto & Everything But The Girl”, so without even peeling back the cellophane, Samantha’s already elevated to the level of some of this generation’s most deeply personal songwriters. That height could be precarious if she were teetering atop only label promotion and a pretty face, but Samantha’s got the chops to back that up along with the aforementioned. The quality is consistent throughout the album; the uncompromising lyrics and lavish vocal arrangements fall effortlessly from James’s lips and sustain a continuous intimate connection with the listener. The production, courtesy of collaborator ROCAsound, flaunts all the bells and whistles electronica has to offer - watery instrumentation, liquid beats, and gorgeous filtering and layering of the vocals - but serves to augment what is preexisting, not make up for weakness. The album would sound just as beautiful unplugged. I’ve been waiting a year for this to drop, since hearing the initial single of the same name, and I couldn’t feel more rewarded for the wait. For any who love music that gets inside and lingers like the taste of red wine, this one’s just waiting for you. 2008-04-14T22:30:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/disconnect/ http://www.noizemag.com/index.php/articles/music_reviews/disconnect/ Jes Brieden has undergone a true renaissance. From her gritty indie rocker ways she’s made a complete transformation, of both sound and image, to a powerhouse dance floor singer/songwriter. But it’s her innate rock sensibilities that separate her from the trademark blonde dance vocalist: she’s rougher, rawer, and more ragged, which translates to a sound that touches emotional crannies not usually accessible by way of the 4-4 beat. Her voice has no ego, no fear of overexposure, an honesty that sounds like a naked body standing before you, arms outstretched and eyes to the heavens, laying bare all they are and believe. I know that’s dramatic, but really, her delivery’s unrivaled; she’s like no one else out there. Jes’s transformation began when “Starchildren”, an MP3.com hit from her band Guardians of the Earth, was picked up by Paul Van Dyk and reworked for the first volume of his groundbreaking Politics of Dancing series. Inspired by the new version of herself she heard, she began working with more DJs and producers and went on to form Motorcycle with Gabriel & Dresden and voice the instant club hit and Billboard No.1 “As The Rush Comes”. Overnight, Jes became clubland’s Evan Rachel Wood, a fresh “previously unknown” with the talent of a superstar and the momentum to become one. She went on to work with such renowned producers as Solarstone, Deepsky, D:Fuse, and most recently Tiesto, who she toured with promoting his Elements of Life album, the first vocal track of which Jes is responsible for. Disconnect is her debut solo album boasting her new “rocktronica” sound, co-produced with a myriad of other talents and tightly wound with her latticed lyrical constructions. Tracks contained that have already scorched both mix CDs and club speakers alike are “Ghost”, “Like A Waterfall”, “Imagination”, and “People Will Go”, with the majority of the ten remaining tracks all carrying the potential to be just as big. Alice Deejay’s forgettable debut asked “Who Needs Guitars Anyway?” And the answer: those who dare to innovate. Rock on, Jes. 2008-04-14T22:30:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/the_world_as_i_see_it/ http://www.noizemag.com/index.php/articles/music_reviews/the_world_as_i_see_it/ Screw drugs. Ditch the fake sexy attitude. The mothership has landed. It’s time to get real. This is purist house. Dennis Ferrer presents house music as an underground culture separate from the rules and conventions of the rest of the world, where a 4/4 beat is as commonplace as the soil beneath your feet and organic instrumentation and African percussion intertwine to create fertile landscapes on the polished dance floor. The atmospheres span from aggressive to dreamy, feeding intentions of mandated salvation, deflated romance, starry-eyed love, and the belief that “one man can change the world.” Aside from Mia Tuttavilla on “Touched The Sky,” all vocals throughout are refreshingly male including Tyrone Ellis, K.T. Brooks, Selan, and Danil Wright on the disc’s initial single “Church Lady.” Ferrer’s distinctive tracks have been included in innumerable compilations framing disparate genres ranging from big-room tribal to sunny, sandy Ibiza anthems, and has contributed remixes for names like Blaze, Fish Go Deep, Copyright, and Junior Jack. 2008-04-14T22:27:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/forever_tel_aviv/ http://www.noizemag.com/index.php/articles/music_reviews/forever_tel_aviv/ Here and now, I am nominating Offer Nissim’s Forever Tel Aviv for Best Compilation Ever. Ever. Offer Nissim is one of the most visionary DJ/producers to come along in the last decade. Combining Middle Eastern musical influences and an intense flare for editing and manipulating vocals, Nissim’s sound envelopes listeners in a reality as separate and extreme as what Junior Vasquez first presented to clubgoers in the 1980s. Nissim strives far beyond playing music you can dance to and produces such a concentrated alternate sonic atmosphere that sitting and listening almost seems more appropriate. This two-disc set was released only in Israel but special arrangements have allowed a limited number to be imported into America and made available to select retailers. The set combines Nissim’s own tracks and remixes with works by a number of others, and includes private Offer Nissim remixes of Beyonce’s “One Night Only” and “Deja Vu,” Kristine W’s “Be Alright,” Donna Summer’s “Power of Love,” Christina Aguilera’s “Hurt,” and Angie Stone’s “Wish I Didn’t Miss You.” 2008-04-14T22:26:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/open_your_box/ http://www.noizemag.com/index.php/articles/music_reviews/open_your_box/ This album frames such a unique phenomena. Not since Everything But The Girl post-"Missing" has an artist with this level of integrity embraced such a dramatic makeover of their sound. Starting with “Yang Yang” back in October of 2002, Ono publicly dove into the world of club music and Circuit parties with remixes by Peter Rauhofer and Orange Factory. A string of singles followed employing the skills of John Creamer & Stephane K, Pet Shop Boys, Danny Tenaglia, Felix Da Housecat, Rui Da Silva, Basement Jaxx, Murk, Dave Aud�, Ralphi Rosario, Superchumbo, and The Passengerz, among others. The product is the most after-hours appropriate material ever � Yoko blaring her crazy-ass sentiments, sounds, and imagery, mostly without musical conventions, over productions by the best of the best. All that experimentation has been collected onto this single disc containing thirteen tracks, mostly edited but not brutalized, of the best of the lot, including the formerly vinyl-only tracks “Kiss Kiss Kiss” (Superchumbo Remix), “Hell In Paradise” (Peter Rauhofer Remix), and the Orange Factory mix of the title track. Other highlights include the Basement Jaxx mix of pro-same-sex relationship anthem “Everyman… Everywoman...,” the Pet Shop Boys’ eerie remake of “Walking On Thin Ice,” and Bimbo Jones’s smooth interpretation of the jittery love song “You’re The One.” 2008-04-14T22:25:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/out_of_the_woods/ http://www.noizemag.com/index.php/articles/music_reviews/out_of_the_woods/ Out Of The Woods began as Tracey’s autobiography of her life in bands and essentially who she was prior to motherhood. While researching for the book she was reminded, “You still are this person.” Tracey abandoned the book and set out to reclaim herself and she began writing and collaborating and Out Of The Woods developed into the intricate composition that it is. The lineage of Out Of The Woods is more direct to her last solo recording, 1982’s A Distant Shore, than it is to EBTG’s final 1999 album Temperamental. The emphasis of the songwriting is the delicate, pensive contents of Tracey’s head, mulling over details and analyzing events, instead of the more conventional, pop-formatted structure of EBTG hits. The only direct link to EBTG is the now organic relationship between Tracey’s voice and electronic production, provided on Woods through collaborations with renowned electronica producers Ewan Pearson, Tom Gandey (Cagedbaby), Martin Wheeler (Vector Lovers), and Alex Santos. Thematically, Tracey dissects marriage, her role as mother, creeping depression, gay teens being bullied at school, and innocent burgeoning sexuality. One of the album’s only two true dance tracks, “Grand Canyon,” can be interpreted as one of the most affirming gay “home in clubland” anthems ever, employing the incredible hook “Everybody loves you here.” 2008-04-14T20:51:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/shakedown/ http://www.noizemag.com/index.php/articles/music_reviews/shakedown/ David Morales. Junior Vasquez. Hex Hector. Thunderpuss. Peter Rauhofer. And now the Freemasons. Comprised of James Wiltshire and Russell Small (formerly of Phats & Small), the Freemasons have become the next in a lineage of remix producers whose name is so synonymous with the creative re-working of a song for the dance floor that the presence alone of their name in a tracklisting elicits purchase without even having heard a thing. What instantly sets the Freemasons apart from the rest is their trademark sound - funky, soulful disco house. Amidst the trend of dark, chiseled Circuit beats, the Freemasons sound radiates like the million twinkling reflections off a mirrorball. The Freemasons’ public presence began back in 2005 with a sleepy track called “Mesmerized” by R&B soulstress Faith Evans. In its original version, “Mesmerized” was straight “jook joint down at the Suga Shack on the bayou” - naked vocals with solo bass guitar, bare percussion, and minimal harmonies - pretty, but it was panting for a remix if it intended on making any kind of mark. A Freemasons remix was commissioned and, despite being released at the end of summer, “Mesmerized” became the most coveted dance track of the party season. Then, just weeks later the Freemasons released their first artist track, “Love On My Mind” featuring elements of the disco classic “This Time Baby” by Jackie Moore and newcomer Amanda Wilson, a vocalist the pair stumbled across singing karaoke in a pub, and the track became a UK Top 20 hit. (Incidentally, the pub was called Freemasons and is the origin of the name.) Since then, the Freemasons have released a slew of chart-topping singles and become the golden boys of dance makeovers. Demand for the group’s remixes is enormous, allowing them to be very selective about which projects they take on, and consequently to bang out an A-list resume including Fatboy Slim, Angie Stone, Jamiroquai, Heather Headley, Blaze feat. Barbara Tucker, Loleatta Holloway, Luther Vandross, and most recently Beyonc�. After only two years of working under the name, the Freemasons have already created a body of work large enough to drop Shakedown, the group’s debut double-disc full-length release. Shakedown serves dual purposes as both a “greatest hits [so far]” compilation featuring the legendary remixes of “In My Mind” (Heather Headley), “D�j� Vu” (Beyonc�), “Mesmerized” (Faith Evans), “I Wasn’t Kidding” (Angie Stone), and “Love Sensation �06” (Loleatta Holloway); and as a studio album with its ten new artist tracks featuring vocals by Amanda Wilson, Siedah Garrett, Judie Tzuke, Katherine Ellis, and Julie Thompson. The Freemasons’ groovy bounce has garnered an overwhelming fan base since their inception, and Shakedown rewards the fans’ devotion and will likely win over more than a few new ones. Six bonus tracks are included as MP3s as well. 2008-04-14T20:47:00-08:00 http://www.noizemag.com/index.php/articles/music_reviews/i_love_miami/ http://www.noizemag.com/index.php/articles/music_reviews/i_love_miami/ So Peter’s a Circuit god or whatever, but did you know he’s also a fitness model? And an avid surfer and all around beach bum? See, who says Austrians don’t know how to let go and let flow? And who says Photoshop’s pixel magic isn’t the 8th wonder of the world? Peter’s back with even more warm and cozy, hard-as-pink steel beats in the “I Love...”