It is rare to find a moment in club land where the music bows to genuinely emotional disposition. My own moment of clarity came during a swift working visit to Ministry of Sound as I stood alongside Gregori Klossman during an appearance alongside Chuckie for his Dirty Dutch takeover. Several months prior to the show, I had been willing to sign off the infamous sub-genre of Electro House to a swell of repetitions and fashionable cross over factors. It took just one track to persuade me that the world had not succumbed to mediocrity and that the new found enthusiasts of Electronic music had finally done their homework.
The life and times of any self-respecting modern recording artist rely on those moments of outright professional clarity. Be it his overnight explosion upon the global House circuit, his ability to sit honestly amid the stateside club renaissance or his inauguration to one of the more prominent families in Electronic music, Tim Mason’s global Dance overhaul has made perfect sense of late. Sitting down at a South London recording studio for what would later be dubbed as the ‘Size Sessions’, Dan Carter explored the life and times of a wondering British House asset well and truly alight amid times of intense stead for Electronic music.
Given the omnipotent yet often clichéd reign of Sweden’s widespread clubbing legacy, Jeremy Olander is a tough talent to box. Be it the dark Techo backdrop of his Dhillon alias or the euphorically tinged Progressive House hallmarks that now resound across global club land, the original Pryda Friends protégé of Eric Prydz has transitioned from Stockholm sensation to welcomed White Isle resident with meticulous force. Dan Carter met the aspiring producer to trace the divergent journey from the days of stalking Prydz in Stockholm to joining him onstage at the iconic Alexandra Palace while exploring just what it takes to maintain a heartfelt approach amid hysterical times for Electronic music.
Some artists force their standing modern music. Others simply make it. At just 20-years-old, Vermont’s aspiring club connection Pierce Fulton can safely say he did it his way. In a weird and wonderful spree of passionate club compositions, the American producer has fulfilled every college kids wildest dreams, only to return to the classroom to see out the reality that is his education inbetween the industry landmarks. But as Dan Carter discovered in a lengthy chat with the everyday kid who has taunted the works of Usher and Chuckie alike, dreams attained outside of the box are not always found on the steadiest of slopes.
Perhaps the least likely asset to emerge from West Yorkshire, Miguel Campbell’s seductive underground revival has been a welcome fire to times of cold club conformity. Ahead of the hotly tipped release of his debut album ‘Back In Flight School’ for Hot Creations, Dan Carter explores the story so far for Britain’s best shot at stealing the throne for seductive club anthems.
Accused of sporting the looks of a young James Dean and the voice of a club-savvy John Mayer, Andreas Moe is perhaps the most abundant up and comer to bless Swedish music of late. But between the vitalic collection of modern Dance anthems and electronic tinged pop escapades stands a boy of amorous integrity; lost among the tides of love, fostered on creative integrity and embellished with a celestial voice as easy on the ears as it is transferable to the du jor global club epiphany. More than halfway through the year that has seen his second club cutaway turn Tiesto and the globe’s clubbing elite alike turn within spitting distance of his court, Dan Carter met the aspiring all-around architect of Scandinavian music with an overtly universal guise.
On Febuary 1 1999, some twelve years before the monotony of dub step and the infallible coinage of ‘EDM’, Marc Pomeroy would emerge from the teeming American House scene under the guise of Soulsearcher brandishing the inaugural offering of a fresh House outlet known as Defected Records. Now a seal of outright quality that has overrun the variables of economy, taste and technology alike, Simon Dunmore’s meticulous imprint has shown little sign of letting slip its epitomic stance as the connoisseurs of a sound you could happily sink your teeth into. Between their weekly residency at Pacha Ibiza and an extensive summer output of tectonic grooves fit to chill, thrill and distill the tedium surrounding modern Dance music, Ministry of Sound witnessed the esteemed floor filling stronghold bring the sun kissed energy of the White Isle to the unsuspecting capital city in a manner that only Dunmore’s elite club mongers know how to execute.
When one reaches the heights of their wildest dreams, balance becomes the hour-robbing battle of everyday triumph. For all his years on the beat, Mark Knight remains one of the most ardent flag bearers to the ‘have-it-all’ heroism that has engulfed the overwhelming ascent of modern Dance music. As an artist of note for sparing yet quality productions and a thirst for tectonic live endeavors that has kept his passport in excessive use over the years, that fatherly instinct now pervading his life amid a new family is cut from the same paternal mindset that has forged Toolroom Records and its affiliated concepts such eccentrically appraised movements from Maidstone to Miami alike. Dan Carter caught up with the paternal peak timer to scope the essential tools of the trade that have allowed his likeminded army to bridge the market like few other independent labels of this generation.
Emotive elegance and Big Room buoyancy in full-effect, the soaring force of Vancouver’s newfound floor aficionado Benji is not one to be taken lightly. Falling safely outside the decorum of his stateside neighbors alleged House resurgence, the young Canadian has mounted the radio-friendly ranks of the explosion while leading with firm coherence for his likeminded peers still desperate to ascend the industry ladder. Developing his key driven knack since the tender age of five and building strong affiliations with Tiësto and his Musical Freedom imprint of late, Dan Carter caught up with the newfound Terminal City triumph to explore his double-take victory for club-savvy creation and national pride alike.