Andrei Osyka (click for more on Culprit)

One of the more prominent and international events taking place at next weekend’s Sochi Music Winter Conference 2012 will be the showcase of LA’s stellar label — Culprit.

The showcase will feature Ukrainian expat Andrei Osyka, leader of the mighty Droog collective and label owner of acclaimed underground tech-house label Culprit. Also releasing on the likes of Crosstown Rebels, the trio of Andrei and fellow Droogs Brett Griffin, and Justin Sloe have held residencies at LA’s Avalon as well as touring the world spinning events including Sonar and Miami’s Winter Conference.

Chatting to Skrufff this week on the eve of SWMC, Andrei admits it’s an event he’s particularly looking forward to.

“I’m a native Ukrainian so that part of the world is dear to me, my family still lives there and I still consider myself as a carrier of the culture,” he explains.

“I’d love to be able to support the development of proper dance music culture in the former Soviet lands, as much as I can. This is my first trip to Sochi for SWMC and I’m excited.”

Skrufff (Jonty Skrufff): How much more pressure do you feel performing there compared to anywhere else?

Droog (Andrei Osyka): “I’ve never performed at SWMC but I don’t feel pressure to play in Russia or in Ukraine, in general, quite the opposite. There is still a fresh feeling about performing there, the crowds are very receptive, even more so because I am someone with a similar background to them but also am a foreigner at the same time, so it’s a somewhat fascinating scenario, I imagine. There is no pressure, just lots of fun.”

Skrufff: Why did you decide to leave Russia and why did you settle in the US and LA in particular? (why not New York, or Berlin?

Droog (Andrei Osyka): “I left Ukraine when I was 16 for reasons that had nothing to do with what I’m doing now in life. Back then was a more chaotic uncertain era and as teenager, my family sent me to the US to get a ‘proper’ education, to learn a different way of life. Which I did, on both counts. I ended up in Los Angeles when I was 24 looking for new adventures and an alternative to the corporate job that I’d had up until then. And I’ve never looked back. Los Angeles has become my home. And why not? If you ever come to LA in January, you would understand.”

Skrufff: You had a residency at Avalon as Droog years before the Guetta/ pop-dance scene exploded; how much have you guys been affected- is it filtering down to your scene much?

Droog (Andrei Osyka): “There has always been plenty of cynical mainstream dance music, but yes, the last 3 years have seen that one particular brand of it completely dominate big venues and events in the US. It doesn’t affect what we do in the slightest; it’s a completely different world. But the genre of dance music we play and support has also become more popular, at least for less commercially minded people. The overall scene here has grown, definitely, and bigger event promoters are more willing to get us involved in their massive parties. Which isn’t always a bad thing.”

Skrufff: Having moved to LA, how has it changed your understanding of how foreigners view Russia?

Droog (Andrei Osyka): “There are plenty of stereotypes about Slavic people, there always have been, always will be. Not all of them are incorrect either. It’s just a weird place for a lot of those with no reference point about Russian/Ukrainian culture or history. And it’s ok…the reverse is also true, Americans are misperceived plenty.”

http://www.youtube.com/watch?v=mgXVDyardfU (Live @ Avalon)

https://www.facebook.com/CulpritLA

Jonty Skrufff: http://listn.to/JontySkrufff

Click on the picture to listen to the new mix on demand

Acapellas by Marlon Brandon, Bonnie Raitt

1. Jet Project: Alright (Snatch Records) 6.07
2. Mark Holmes – Coming Home (MUM) 12.13
3. Solo: The Flea Circus (Kling Klong) 17.39
4. Red Snapper: Jack (V2) 23.47
5. Harvey Mackay: Want You (Soma Records) 28.58
6. Zenbi; Double Trouble (Great Stuff): 32.49
7. Graphics: Mama Grizzlies (Made To Play) 39.43
8. Mick Finesse: Sex Machinas  (Perc Trax) 44.49
9. Aeroplane: Storm Queen: (Jamie Jones RMX) (Defected) 49.50
10. Dosem: Tales Of Tomorrow (Tronic) 54.39
11. Meda: Curtain Call (Neverending Records) 59.39
12. Rockers Revenge: Walking on sunshine (Jonty Skrufff Vocal RMX) (white label)

click on the picture for instant listening

Malawi's Lake of Stars: Cancelled

30 British music festivals went bankrupt last year, the Independent newspaper noted last week, in a feature which asked the question ‘are our field days over?’

Citing ‘an increasing feeling that festivals have shifted too far from their original hippie-spirited ethos’, writer Lena Corner blamed corporate sponsors for diluting many events’ sense of ‘alternative reality’ while eFestivals guide chief Scott Williams identified a new breed of ‘festival tourists’ for doing the same thing.

“(The festival tourist) is someone who would never have dreamt of going to a festival 10 years ago,” he said.

“They saw that festivals were fashionable so they go out and buy all the right kit from the high street – Cath Kidston tent, Hunter wellies”.

“The popular festival bubble has burst,” he declared. (Independent: http://ind.pn/wuuhAu )

The report emerged just weeks after Australian business journal the Financial Review reported on a similar crisis afflicting the local scene after leading event promoters Big Day Out scaled back productions and admitted losing money for the first time in 20 years.

Citing exorbitant fee demands from A list artists and a ‘glut of rival events’, Big Day Out founder Ken West said revellers suffering from ‘festival fatigue’ were also scaling back as ticket prices rise ever higher.

“Audiences who were going to four or five events a summer are now thinking, ‘how did I afford it?’,” he told the Journal.

“The scene needs to contract and the oversupply of events and under-supply of talent will subside and the future will improve again.” (Australian Financial Review: http://bit.ly/A7Mpfq )

Meanwhile in Malawi, organizers of acclaimed international event the Lake of Stars International Music Festival’ announced they’re cancelling this year’s event‘ following fuel shortages and increasingly tough economic conditions in the Southern African country.

British festival organizer Will Jameson, who also runs acclaimed Liverpool events organization ‘Chibuku Shake-Shake’, told the Malawi’s Sunday Times, however, that ‘they were taking a break to concentrate on supporting other local arts initiatives’.

“It’s not to do with the problems troubling the country but rather we just wanted to take stock of our activities and then come back fresh and bigger next year,” he told Malawi’s Sunday Times.

“But we are not going out for good, we just want to take stock and come back bigger and better,” he promised. (http://bit.ly/weyKWf )

Jonty Skrufff: http://listn.to/JontySkrufff

Storm Queen; click to listen

Sure every man and his dog adores Jamie Jones right now which as a rule would make us run a mile, but in Jamie’s case, he really is the exception that proves the rule.

This new remix ( click HERE or on the picture to listen to it) is out on Defected so it’s unashamedly housey but it’s also a great club track that works.  Click HERE to buy it.

Click on the picture for loads more from PUSH

Sure, we’re going overboard a little this week on the Simon Cowell story but it’s sparking debate all over the place, so why not? Skrufff contributor Push (famed as the man who founded seminal EDM magazine Muzik) is curiously ambiguous…..

Push; “I’m both disturbed and intrigued by the news that Simon Cowell is preparing an “X Factor”-style TV talent show for DJs.

I suppose I shouldn’t really be surprised that Cowell wants to extent his already excessive influence over another area of the music industry – and funnel more money into his bank account along the way – but he’s a wee bit late in his assertion that “DJs are the new rock stars”. Err, Simon, people have been saying that for well over 20 years . . .

I don’t feel any better about Cowell’s new show – I hope he calls it “Double Deckers” – knowing he’s joining forces with Overbrook Entertainment, a US production firm founded by Will Smith. By rights, Smith ought to have a solid understanding of the noble art of turntablism. When he first adopted the name The Fresh Prince, he was a rapper not a fictional TV character, and his partner was Jazzy Jeff, one of the finest hip hop scratch DJs of his day.

Push (AKA Paul Simonen) back in the day (click for more)

As it goes, I interviewed Jazzy Jeff and The Fresh Prince once. Lovely blokes they were too. The trouble is, Will Smith won’t be involved in the development of Cowell’s DJ show. Overbrook’s input will instead be directed by Smith’s wife, Jada Pinkett Smith. And she’s a singer in a heavy metal band.

However dismayed I might be at the notion of “Double Deckers” (please call it that, Simon), it’ll be fascinating to see how this pans out. Who will the judges be and what will they be judging? Beat matching and scratching skills, that’s for sure, but what about the use of effects and samples? Will contestants be judged on their choice of tunes? How will they be able to demonstrate building a set and steering a crowd? Will any spinner who’s got any sense want to join what will inevitably be a circus freak show?

If it’s not a circus freak show, it won’t be watchable telly. If they’re actually any good, wouldn’t they rather take a stab at the highly respected DMC DJ Championships, which have been running in the UK and the US since 1985?

Thinking about it, there are still lots of mobile disco jocks out there, so perhaps these are the guys who will be queueing round the block when the auditions roll into town. In which case, you can forget mixing and scratching.

The winner of Simon Cowell’s DJ show will be based on the ability to suddenly fade a track out and breathe unnaturally heavily into a microphone while saying, “Will the owner of the green Nissan Almera please move it because you’re blocking in the hall caretaker and she wants to get off home because she’s got the doctors first thing tomorrow. I’ll play some slow ones in a minute, but first off here’s an old favourite by The Dooleys…”

Click HERE for more from PUSH.

Producers for an upcoming European DJ talent show ‘Superstar DJ’ reacted angrily to the news that Simon Cowell’s Syco Entertainment is planning a rival DJ talent show, suggesting this week that the karaoke king’s version will be inauthentic.

Show creator Gilly Da Silva said she’d been working on her series’ concept for over 11 months and said her winner will need to have ‘proved he/she has the stamina and is prepared to fight tooth and nail to be come one of the world’s most in demand DJs.’

‘It takes a lot of commitment and hard-work to become a Superstar DJ, its all about branding yourself, building a strong following and obviously keeping the audience engaged,” she told Televisual News, “It’s not something that can be judged on a stage like X Factor.” http://bit.ly/xrOloh

Chatting to Skrufff, Gilly (who as well as being the wife of chart topping club crossover star Rui Da Silva) has worked in the nightlife business for two decades, revealed she felt ‘sick to my stomach’when she first heard of Cowell’s plans.

Gilly Da Silva

“His announcement has made us resolute that we are better placed to deliver something that is a genuine opportunity and one that can reflect authentically the real experiences of our participants and partners,” she continued.

 “He needs to stick to his freak shows, because that’s where his expertise lies,’ she stormed.

Speaking about their shows advantages, Gilly’s co-producer Barry Ryan (boss of London production company Free @ Last TV) singled out the ‘credibility of our expert DJs and advisors who have worked for years in what is essentially a closed industry’, a point Gilly also emphasised.

“Our partners are insiders,” she explained.

“We all know that there are some insiders who shouldn’t be on the stage but are there because of nepotism . . . and if we can encourage a few people to step up and grasp an opportunity why should we not – especially in these bleak times.”

So why should the dance industry open its doors to some outsider winner of a competition?

“It’s all in the wording, isn’t it,” Gilly responded.

“If they are labelled ‘some outsider winner of a competition’ then they will have no chance but it’s about who has judged them worthy and brought them forward and with our partners we hope to create a more positive and empowering energy than the usual downbeat and dismissive UK mentality,” she said.

“It’s also about the grammar of how it is filmed – anything can be shown on TV but it’s about the filming style and how the audience is allowed a window to that world – and how you allow your contestants to connect with the audience in the venues and at home. Cowell is planning arena scale and this is misleading,” she suggested.

Gilly also stressed they are currently still in talks about who is giving away the prize away, in contradiction to details posted on the earlier Televisual News report.

Jonty Skrufff: http://listn.to/JontySkrufff

click for more information

Resident Advisor are coming to the Sochi Winter Music Conference next week and they’ve just posted full details of the party line-ups on their site.  Click HERE for full details (I’m Djing with Perc at the Elite Showcase after-hours party on Saturday February 11.

Special Case (Roustam stage left)

“Basically Russia is a large country with tremendous resources and almost unlimited opportunities. If the majority of the club industry stops striving for the lowest possible denominator with which to earn money, we will have a music scene to rival that of any other big electronic scene in the world.”

Growing up listening to Mid-western house and rave techno as he divided his time between Detroit and Moscow, Roustam Mirzoev received an impeccable grounding in electronic music, honed his knowledge still further after he opened a record shop in St Petersburg.

Promoting parties in Russia along the way, as a DJ he became well known for spinning acclaimed back 2 back sets with many of his headline guests such as Matt Tolfrey, Clive Henry, Valentino Kanzyani, culminating in him dipping his own toes in production in 2010.

“I recorded a track called ‘round:about’ just before Kazantip of 2010 with some gear I got for my birthday and sent it to a lot of my DJ friends just for fun,” Roustam recalls.

“To me I considered the track as already a great success and the highest point in my (then-non existent) musical career when Rhadoo played it with [a:rpia:r] one morning at Kazantip, during what was probably the most amazing Z-session ever,” he smiles.

“Honestly I thought that would be the pinnacle of my music career and I was happy with it.”

“Then to my surprise I came home to find an email from (Droog producer) Andrei Osyka, which included a video of him playing the track at LA’s Avalon and the place just exploding. He wanted to sign it to Culprit immediately, which was more than I’d ever hoped for, for my first real production.”

Long-term friend Arram Mantana also loved the track, introduced him to fellow Russian producer Tripmastaz and a mutual passion for each other’s music led to the trio teaming up as Special Case.

“I knew Arram from way back in the day when he used to buy records from me at my record shop in St.Petersburg and we’d stayed in touch ever since,” Roustam recalls.

“Anyway they made a great track with Tripmastaz which became Aurum — I knew immediately it was going to be a hit and would fit perfectly with the Culprit sound.”

“So I sent it to Andrei and he also loved it right away. After some deliberations (doing a split EP, etc) we just decided that we’re going to start our own brand new thing and to see how our three very different styles and creative approaches to music production and DJjng would turn out. The rest is as they say history.”

18 months on, they’ve released a follow up single with Tiefschwarz’ Souvenir Records and continue to work closely with Andrei Osyka and his label Culprit, performing together next weekend at Culprit’s label showcase at the Sochi Winter Music Conference (Saturday February 11). Musically, Roustam personally leans towards a ‘more minimal, reduced sound’, though Special Case he points out is different.

‘The concept for Special Case is simple,” he chuckles, “We make dance music for orgies.”

Skrufff (Jonty Skrufff): Starting with your upcoming show at Sochi Winter Music Conference (SWMC), what’s your perception of SWMC and its importance for Russian nightlife?

Special Case (Roustam): “This is my 5th year coming to SWMC and I think its importance can’t be overstated enough. It really brings the crucial majority of important nightlife professionals together for one awesome weekend in Sochi. For me personally it has lead to great panels, some of my most favorite and memorable gigs amongst my peers and really helped with my DJ career and bookings as many promoters discovered my sound during some of the night time SWMC events that I’ve played before.”

Skrufff: How has the event changed over the years? Are the Winter Olympics having much of an effect yet?

Special Case (Roustam): The conference is definitely improving every year. The quality of the daytime panels is becoming increasingly relevant and more interesting with every year that passes. Nighttime events are definitely also improving in quality. This year with the big foreign presence in both I think it will be the best and most diverse conference yet. As far as the Olympics I haven’t felt much effect yet, except for increased traffic and construction. Maybe this year we’ll see something else.”

Skrufff: Most dance producers work solo or in pairs: why did you decide to do a trio? 

Special Case (Roustam): “We’re quite different in our styles. Tripmastaz is on a housier vibe, he’s good friends with DJ Sneak, releases on his Magnetic label, has been on two Fabric compilations and numerous great labels and out of the three of us is the most technically proficient in the studio. His skills make it possible for us to quickly realize our ideas and projects in the best possible ways in the studio.

Arram has been a veteran of the tech house scene in Russia for the longest time. I remember just starting out, going to his sets and he was already a legend, very much respected by his peers and a renowned DJ. I grew up in the States and have lived all around there and Russia — and have gone through everything from Midwestern rave techno to New York house, owever, I lean towards a more minimal, reduced sound these days (laughing).

What can I say, I spend a lot of times with Romanians who have influenced me a lot and also taught me just as much, I feel privileged to have their support and friendship to rely upon — plus I get sent the most amazing music.)

So these quite different three styles can lead to very excellent results that have a unique and “special”, if you will, sound. That is when we don’t try to strangle each other — we’re quite passionate guys when it comes to music.”

Skrufff: How do you physically work together in terms of making music?

Special Case (Roustam): “As far as working together it’s always different — sometimes the guys will create a track, sometimes I will do one, at other points I’ll send them a piece I’ve been working on and they develop it, or I’ll be in the studio with Tripmastaz when I catch him during some tour stops in Moscow or St.Petersburg.

But honestly we’ve never sat down the three of us to make one specific track in one room — this is something that lies in the future and we’re excited, but kind of nervous about it. It’s always been two in the studio, one over the internet or in some other capacity. But I’m kind of anxious to see what happens when all three of us finally come together and we don’t set the building on fire. This may lead to our beat work yet.”

Skrufff: SWMC’s very much intended as a gateway event: what’s your view of the Russian club scene today; how different is it (if at all) from scenes in say Germany or America?

It’s quite a unique scene. I think that Moscow sometimes has an excess of great parties and bookings — no matter how much the locals complain, almost every weekend there are amazing parties in great clubs with cool artists. We’re a bit spoiled over there in the capital I think. Unfortunately for the regions it can’t be the same — it’s very commercial and rarely do they book interesting foreign artists.

While the many of the local “Russian stars” that haven’t done anything worthwhile on the global scene or the Russian scene in years, but were just some of the first ones starting out back in the day — which lead to their popularity, enjoy a healthy touring schedule and quite large fees (our domestic market doesn’t make any sense to most foreigners).

So the regions I think have still a lot of room to grow and the local promoters, residents and clubbers are quite behind unfortunately. Which doesn’t mean there aren’t amazing places and people, but of such a large country it’s quite sad. SWMC actually helps that out quite a bit as it brings in promoters and DJs from all over Russia and this year particularly will expose them to some fresh new ideas and music.

Resident Advisor; click for more

Skrufff: Mixmag, Resident Advisor and DJ mag are all coming out; how much attention do you and your peers pay to these media; how much influence do they have on Russian clubbers and music fans?

Special Case (Roustam): “I don’t know about my peers, but I read Resident Advisor regularly. To me it’s the most professional, objective and relevant publication that fits my tastes and preferences in music. It also gives me new information about some other styles, genres and artists that I wouldn’t normally check out, but they present it in a great way and I can’t complain.

The other ones I’m used to reading more in print and unfortunately they don’t have versions in Russia, so I haven’t been following those as much lately. As for Russians — if they would read more RA and listen to more RA podcasts etc., I think it would only serve the industry better. Perhaps some would even know that their fellow countrymen got a great review of their debut release on RA, for example:)

Skrufff: How much has the Russian scene been affected by the rise of cheap technology, making DJing- and music making loads easier: how much are you seeing (or do you expect to see) a new wave of Russian talent emerging?

Special Case (Roustam): “As much as everywhere in the world — in the worst possible way. No matter what Mr.Hawtin says about beat-matching these days, I remember catching his “decks, fx and 909″ tour and the man could mix some vinyl records before he became the golden technology god or whatever he is now. However, most young DJs don’t understand these processes here and I’m very saddened by the rise of those DJS uneducated in the history and culture of the art; talentless wannabees that illegally downloaded some music, bought the cheapest tractor box available and are playing horrible music on auto mix.

This brings pain to me and makes me very sad — it’s spreading like a bad virus. So not a lot of young djs are really striving to do much. I still drag a case of vinyl and some CDs with me everywhere and make sure it’s in my rider, to me this is essential for a DJ’s performance. I can’t picture myself these days without digging for old records in Chicago’s Gramaphone or ordering new goodies from Decks. This is part of what makes playing and performing special, most others sound, look and play the same boring bullshit.

However new technology has helped in the production field quite a bit and while there aren’t many new DJs I can point out (at least ones that have emerged in the last year or so) there are numerous young talents making some amazing music. Alongside established producers like Anton Zap, Nina Kraviz and our very own Tripmastaz, I see a great young crowd from all over Russia that are being adventurous and exciting with their music.

One of my favorites so far has been Unbroken Dub. 001A is another one to watch out for. He’s got a unique style. Our neighbors and close relatives, as I like to think, in the Ukraine are also full of great talents with Technique and Yaroslove and Etapp Kyle coming to mind right away. So I don’t know if we’ll ever take the world by storm via DJing (Special Case will certainly try — for me and Arram it’s essential), but production-wise the former Soviet Union is on the right path indeed it seems.”

Skrufff: Plans for the future?

Special Case (Roustam): “Just to conquer the world one EP and 12 hour dj set at a time. The third Special Case ep just got finished and we have big plans for that as long as several great remixes that we just finished for our friends. So we’re looking to expand on what we built last year and keep going.”

Special Case: Round:About: click here to listen; http://bit.ly/wh5PCJ

http://www.swmc.ru/ru/days_en/

Jonty Skrufff (Skrufff.com)

click to buy the book

Barefoot Doctor: “It’s not that you have to settle for second best at any time. You have to trust that what manifests for you is the best on offer at that time and while it may fall short of long-held dreams, accept it graciously as a step along the way to their fulfillment.

Never relinquish the dream. It’s crucial to keep hold of it in your heart, as that provides a rudder to guide your reality into being. At the same time appreciate what’s happening now fully, from moment to moment as if it’s your last day on earth. The more you do that, the more your reality grows. But never settle. It’s not about settling.

Where you are is merely part of a work in progress – the manifestation of your dream is still in motion. So stay loose, relax, be flexible in your thinking, gracious in your appreciation of what is and in the fullness of time, things will keep getting better and better.

Questions by Skrufff.

Barefoot Doctor’s new book, THE MESSAGE, vision for a new world, is now available in all formats via www.barefootmessage.com

Click on the picture to buy Power in the Darkness

Despite being one of the most talented  bands of the entire punk/ new wave era Tom Robinson Band (TRB) have largely been written out of punk’s history, perhaps because their fiercely political genuinely radical lyrics were too prescient and indeed powerful for safe retro consumption.

25 years on, they remain as powerful, prescient and inspiring as ever. Click below for three modern classics.