Three years after its momentous release, a glittering staple of Flume‘s sonic catalog, “Never Be Like You,” has amassed a staggering one billion streams across major streaming platforms—a watershed waypoint in an already star-spangled career.
The Kai-assisted cut was one of the lead singles from the avant-garde Australian visionary’s sophomore album, Skin. The cohesively constructed tune foregrounds some of Flume’s artistic strengths: inventive song constructions that derive their eccentricity from glitchy beat arrangements and creative chord couplings.
In acknowledgment of the achievement, The Australasian Performing Right Association (APRA) and the Australasian Mechanical Copyright Owners Society (AMCOS) have awarded Flume distinction on the 1,000,000,000 list, a running roster of Australian artists who have eclipsed the coveted benchmark. Flume is the third entity to grace the list: predecessors include Dean Lewis (“Be Alright”) and Nat Dunn, who co-wrote Marshmello and Anne-Marie’s “Friends.”
“Flume’s songwriting and production has had a huge influence on how music sounds, and his success has opened doors for his fellow Australian creators,” APRA, AMCOS chief executive, Dean Ormston, said.
Discerning listeners would likely expect an aural brainchild between Australia’s Alison Wonderland and New Zealand’s QUIX to be a highly explosive festival weapon, riddled with resounding bass. See: QUIX’s serrated remix of Alison Wonderland’s “Happy Place.” But, in fact, their new collaboration, “TIME,” is subtle and smoldering, with far less audacious bass displays than their longtime catalogs hold affinity for.
As the listener enters the swirling, cosmic corridors of “TIME,” pensive piano and a languorous club beat precede the quickening tick-of-the-clock sample, nearly in time with a mounting snare. Slow and deliberate bass enters the forefront, alongside a glitchy synth line, before Wonderland’s fraught vocal cut segues into a pummeling breakdown for the track’s finale. The song invokes the cinematic lysergia of Chromatics‘ “Running Up That Hill” or the indie dancefloor hypnosis inherent in Tame Impala and ZHU‘s “My Life.”
Opalescent and free-flowing down to its finest fibers, the kaleidoscopic sonic tonic was apparently the result of some quixotic musings from one of Wonderland’s psychedelic encounters. She attributes the metaphysical nature of the track to her desire to “stretch time.” She tweeted that the production process was one of her most enjoyable creations to date.
In response to several deaths at local music festivals attributed to drug overdoses, the Australian New South Wales government has decided to buckle down on festival regulations with costly new measures that have caused the an uproar among the Aussie music scene. New South Wales’ live music market is the biggest in the country and the announcement has prompted both music fans and festival industry leaders to protest.
Beginning March 1, the new rules require festivals to individually apply for liquor permits and meet strict safety standards that include providing clear evidence of safety measures in an effort to create the country’s “first music festival-free zone.” Despite criticisms voiced by figures like Peter Noble, director of Byron Bay Bluesfest, New South Wales premier Gladys Berejiklian had no hesitation stating, “You can’t just make a quick dollar without thinking of the safety of young people.” Simultaneously, even political parties have been chiming in as well in light of the upcoming state election. As the status of the live music scene remains shaky, Australia’s beloved festival scene will remain a point of contention for everyone alike.
2018 feels like the year for ecstasy cuisine. Early on in the year, sources from the UK alleged a new trend among the middle class was stuffing wheels of brie with MDMA powder to make gatherings more jovial. It seems that Australia took this idea to breakfast, however, as the latest mass drug bust on the island-continent was centered around the party drug being hidden in sausage machines.
Nearly half a ton, or $57 million AUD-worth of molly powder, was discovered in the meaty devices by the Australian Federal Police (AFB) while en route to a grocer in Syndey. After a crackdown with a fake, tracked package replacement, three were arrested as part of a “larger syndicate” dedicated toward distributing illicit substances around the region.
Perhaps a better strategy would have been to hide the MDMA in the eggs…
Cooking pasta involves “rolling” boil. It seems one Irish DJ named Stephen Donnelly has really taken these instructions a little too close to heart, and has gotten himself embroiled in a scandal that saw him getting arrested for smuggling MDMA via noodles containers. He also smuggled cocaine using the same means.
Donnelly was initially caught by Australian authorities in October, after he got caught paying a glamor model $700,000 to pick up his goods alongside a local. Among the items seized were 5,000 pressed pills and 127 grams of cocaine. Police also discovered Donnelly was part of a larger drug ring, whose operations had allegedly translated into millions Australian dollars worth of narcotics being smuggled into the island country.
After the court was done with him, Donnelly scored around seven years in jail. The judge apparently stated that those involved in the operation, “had the time of their lives” before officers ruined the fun.
Two of pop music’s most venerable forces are teaming up for a short run of shows, as Zedd joins Katy Perry‘s final shows on WITNESS: The Tour. Zedd, who’s commanded his own international touring itinerary, often times with multiple supporting acts billed beneath him, joins Perry as a special opening guest as her tour reaches Australia, capping nearly a year of consecutive touring for the “Chained to the Rhythm” singer. With Zedd’s high energy performance style warming the stage for Perry’s larger-than-life live production, fans in Australia are in for a treat.
Zedd is slated to open the Sydney and Brisbane stops, with Perry also roping in additional star power from vocalist Starley on a number of final tour stops as well. Zedd’s trip down under is hardly the first time major pop stars have employed the support of the world’s top DJs while out on tour though. Madonna’s 2012 MDNA tour included support from Laidback Luke, Martin Solveig, and of course Avicii among others. Martin Garrix and Justin Bieber have shared tour dates, and 2016 even found Skrillex opening stops for Guns N Roses.
Australia’s Listen Out lineup bears a name that festival goers haven’t seen on a lineup for quite some time now.
Electronic veteran Skrillex tops the touring festival’s 2018 lineup, scheduled to make four stops in Melbourne, Perth, Brisbane, and Sydney in September. Petit Biscuit, A$AP Rocky, KLLO, Fisher, and more join the event’s diverse yet hip-hop leaning lineup.
Tickets to Listen Out are on sale now and can be purchased, here.
Legends Carl Cox and Eric Powell remain heroes in the house and techno sphere. Despite clocking in three decades each behind the decks, their passion for their craft and drive to continually move forward musically allows them an endurance that has stood the test of time. Paired with this endurance is a profound connection with their dance genres of choice, stemming largely in part from their roots.
Jazz, soul, funk, and disco are as deeply embedded in house and techno as they are in Cox and Powell’s musical backgrounds. Both their parents exposed them at a young age; Carl, for example, recalls a childhood playing classic records at family gatherings. Similarly, Eric’s hunger for jazz and funk led to him sneaking out of school to ravishly consume new albums. Hearing of their pasts greatly clarifies the present — it seems as though curating and purveying these soulful sounds that moved them so much, in one form or another, was a path they were both meant to travel down.
Three decades after earning their stripes on the DJ circuit, it’s time for Powell and Cox to pay respect, and revive the jazz/disco/funk side of them. Their evolution subtly made its introduction a decade ago, when the two began throwing their Mobile Disco (MD) parties across Australia. Throwing events simply wasn’t enough, however; there was a desire for something deeper, more tangible. Thus, both icons converged their talents and creative vision into a brand new project based around the Mobile Disco brand: MD Funk Connection.
The main M.O. of the project aside from its event arm is to gather new and old live artists currently upholding the music that is the backbone of Cox & Powell’s existences, and output music alongside them. Based off the first single, what we have is a refreshing endeavor that elicits an organic, empathetic response in its listeners. They’ve taken Mass Production’s classic “Shante,” and remastered it with a bit more of a modern flair that preserves the original’s integrity. In the future, more original works are expected.
Curious as ever, Dancing Astronaut flagged down MD Funk Connection to spill some details on the project’s inspiration, the profound influence their roots have played in their dance careers, future plans, and more.
Obviously both of you are very familiar with just how much funk, disco, & jazz have influenced/helped the birth of dance music. We’d love to hear you guys give us a history of this influence in your own words!
We both have West Indian heritage – Carl’s parents are from Barbados and Eric’s dad is from St Kitts, Carl grew up in the south of England and Eric grew up in the north of England, listening to soul, bluebeat, reggae, funk and jazz.
In our teens we went to All Dayers – Caister/Blackpool Mecca – great times and great music. Amazing self contained bands – Slave, Mass Production, early Jeff Lorber Fusion, Funkadelic, Parliament, Maze, Brass Construction, Eric says he always thought he was a rebel sneaking off from school to listen to new jazz/funk albums. A ten year old Carl Cox would play records at his dad house parties. Spending your last five pounds on an album, having to walk home because you had spent your bus fare on records. When we old enough to go out, it was at the end of disco for some people, but looking back it was the start of house music, with the benefit of hindsight you can see the musical progression.
What is it about jazz and funk that make them such soulful and timeless genres, in your opinions?
The musicians, the singers – gospel vocals mixed with experimentation of jazz and the locked down groove of funk – the perfect storm allowed the genre to grow and develop.
Who were your favourite musicians growing up that have played the most influence in your sound?
Nile Rodgers, George Clinton, Ronnie Laws, Randy Muller, all grooved based producer musicians and all little bit different – Nile Rodgers and Chic was disco with soul, George Clinton the ultimate funk producer, Ronnie Laws, including his sisters and brother Hubert Laws, Debra Laws, Eloise Laws, Randy Muller and Brass Construction almost rock but never with out his unique brand of funk, probably our favourite producer was Jimmy Douglas – he was so young when he produced “Slave” Eric Powell thinks those albums were his heaviest influence especially “Snap Shot”.
Carl’s favourite “Slave” album is “Just A Touch of Love”
On that note, did you two have any specific songs, artists or eras within funk/jazz/disco in mind to emulate while writing ‘Shante?’
Shante is a version of Mass Productions “Shante”, its a track we had been playing at our Soul and Funk parties, other tracks are “Welcome Aboard” – Webster Lewis, “Lovers Holiday” – Change, P-Funk All Stars – Hydraulic Pump
Who are your favorite acts in jazz and funk at the moment? Dream collaborators for future tracks?
We have a house/disco collaboration with Nile Rodgers that we are working on, we would love to work with Jimmy Douglas, on the U.K. side we are also hoping to do something with the Incognito guys and we are really excited about a revisit of a George Clinton classic – we got access to the original twenty four track tape.
We read that MD Funk Connection arose from your Mobile Disco parties that you’d throw in Australia. Any plans to bring those parties out to an international setting?
We are just about to do a “Mobile Disco” party in Bali, the location is off the hook – Ulu Cliffhouse, absolutely amazing venue, Both of us are looking forward to doing something in Europe and the States in the near future.
Tell us more about the decision to create a whole project around Mobile Disco in general. Why is now the right time to unleash it, and was there a particular moment that made you want to evolve the project past simple parties in your localities?
We have been doing our soul, funk and disco parties for ten years now, after seeing the response to some of those classics and the hard to find tracks we personally thought we were at a stage were we could re-imagine some of the tracks, write some originals, we have got a fantastic producer/engineer in “Joe Roberts” in the U.K. and Chris Coe in Australia plus an amazing array of musicians in both Australia and the U.K. – the timing was just right for us and we think that we could do justice to the soul funk disco genres.
What is your methodology for recording music under the MD Funk Connection project? Do you employ live instrumentation? Do you write through jam sessions and edit on the computer, or are all your sounds synthesised already and you mostly produce as you would a usual track?
So far all the tracks have been live musicians, We have a brain storm, talk to Joe and Chris, work out if we can find the right musicians and vocalists, then off we go – it is really exciting, its a different way of working than when you are solo in front of the computer. We are still into writing tracks in front of the computer but this gives us a slightly different creative outlet.
Which record stores are your favourite for finding jazz & funk records for your collection? What other places do you go to to search for records?
We both have extensive record collections, its more about disappearing sorting through our vinyl, coming up with tracks and artists that we forgot about. A track might come to mind then its scouring online retailers rather than going to record shops, we don’t live that close to any vinyl stores.
When did you two first start building your collection of jazz and funk records? Carl, I believe I read you began during your childhood?
We both started as kids – very young around nine years old could have even been younger, its amazing how similar, both of us would ask for albums for birthdays and Christmas.
If someone wanted to know more about jazz and funk, which tracks would you tell them to start out with?
Expansions by Lonnie Liston Smith, Jazz Carnival – Azymuth.
What other plans and ideas do you have in store for MD Funk connection in the future?
Its pretty organic project – no rush, enjoying ourselves in the studio, working with live musicians – we are finishing of a reggae track at the moment, the next track will be on a latin tip maybe.
A definitive time scale by which new Flume music will arrive remains elusive, but the ID that the Australian producer shared during a recent performance at Australia’s Field Day Festival arrives as evidence of time spent in the studio.
Defined by its eccentric electronic embellishments and mounting percussive elements, the ID bears the distinct trappings not only of a Flume release, but of a would-be fan favorite, pending release.
Back in 2012, Calvin Harris reportedly pledged to remix the Spice Girls classic “2 Become 1” if Australia eventually legalized marriage equality.
Calvin Harris likely forgot about the promise he made half a decade ago, but Filip Odzak has certainly not forgotten about the Scottish superstar’s agreement with him. After the Australian House of Representatives voted overwhelmingly in favor of same sex marriage, Odzak was quick to remind Harris of their gentleman’s bet.
Odzak took to social media following the legislation’s passing, proclaiming that “We made a deal — sealed with a handshake,” adding that he has been waiting a lengthy five years for this. “I’m very excited to hear what you do with the track to celebrate the occasion.”
Even Spice Girl’s own Emma Bunton weighed in on the wager, “Let’s spice up Calvin Harris! It would be fab for Calvin to remix ’2 Become 1,’” she told British outlet The Sun.
It is unclear whether or not Calvin Harris will follow through with the bet, but Odzak is holding out hope, going so far as to state in an interview with Australia’s Power Back Radio show, “You’re very rich, you can have anything you want. I’ve got nothing, just do this for me.”
Here’s to hoping, for Odzak’s sake, that Harris does good on his word.