• Richie Hawtin confirms that his first Vegas solo show has come at the “right time”
• Watch the trailer for the new Swedish House Mafia film
• Max Cooper Shares New Track from Upcoming EP
Richie Hawtin confirms that his first Vegas solo show has come at the “right time”
Las Vegas’ glitzy clubs have been a hub for EDM DJs such as Avicii and Afrojack in recent years but there’s about to be a dramatic, and welcome, change as Richie Hawtin gears up for a first solo show in Sin City.
The techno artist has been used to treating sun-drenched Ibiza clubbers to techno sets at his recently finished Enter residency at Space this summer but he may have to take a slight change in direction when catering for the booming, EDM-craving Vegas crowd.
Heading to the bright lights of Marquee nightclub, known to host the likes of Chuckie and Benny Benassi, on Saturday, Hawtin believes it’s the “right time” to introduce the city to a different kind of sound, and thankfully so.
Speaking to Las Vegas Weekly, he said: “I’m happy to see the growth of our scene and the music, but you do have to be careful with the timing of introducing new and deeper sounds to any new developing scene.
“I want to play to a crowd who are open-minded and ready to hear something a bit different than perhaps they’ve been exposed to so far.”
From the sounds of it, he’s certainly not going to be taking any requests, aka Deadmau5′s $200,000 jukebox charge. He says: “[It would be terrible to] come for a performance and the crowd before you is just not ready for the type of music you play. It’s a game of balance; of course I can play slightly to the left or right, but there’s a line that I won’t go over.”
Whether or not his show will open the eyes of a fresh crowd, there’s no doubt the underground aficionados from the USA’s new tribes of dance music will be ready for the Hawtin.
Watch the trailer for the new Swedish House Mafia film
If Rob Reiner wanted to remake This Is Spinal Tap for the 21st century, he wouldn’t have Marty DiBergi following a washed-up British rock band; he’d embed him with a European DJ crew.
This thought occurs approximately four minutes into Take One, a documentary – if you will, rockumentary – about popular DJ tag-team Swedish House Mafia. One of their number, Sebastian Ingrosso, is throwing a hissy fit because he hasn’t been given his own car to take him from his hotel to a nearby festival site. “Shit fucking organised shit!” spits the portly disc-spinner in the direction of an unfortunate lackey. “I don’t want to sit with 15 people; my head is in my DJ set!”
In fairness to him, all great artists probably need a bit of “me time” before taking the stage, but if Take One is anything to go by, a typical Swedish House Mafia DJ set involves little more than three pot-bellied men punching the air to an electro-house version of Sweet Dreams by Eurythmics.
These days, rock bands are extremely wary of any behaviour that could be considered even vaguely Tap-esque, especially when there’s a video camera around. As a result, most rock tour films are excruciatingly dull. Take One benefits hugely from the fact that This Is Spinal Tap does not appear to be such a rite of passage among the dance music fraternity. Blissfully unaware of the hapless capers of the band who brought us Stonehenge, the Swedish House Mafia – a kind of smug DJ supergroup featuring Ingrosso, Steve Angello and Axel “Axwell” Hedfors – embrace all the old cliches of life as a touring band with commendable gusto.
Many of the situations they get into will be instantly familiar to fans of Rob Reiner’s film. As well as their tantrums and over-earnest dissections of what is essentially some pretty dumb music, they have trouble distinguishing between sexy and sexist (“You wanna party?” inquires Axwell optimistically of every single female he encounters, while Ingrosso rocks up to one venue and declares, with no apparent irony, “I’m going to fuck this nightclub in the pussy”); they invoke the dance music equivalent of turning it up to 11 (“I don’t wanna hear the bass, I wanna feel it”); and even find themselves booked to play somewhere called Mystery Land and having to share the stage with a man dressed as Big Bird from Sesame Street.
Of course, one crucial difference between Take One and This Is Spinal Tap is that Swedish House Mafia are currently at the peak of their popularity, so there are no awkward moments when nobody turns up to an in-store signing or one of their girlfriends insists on playing tambourine. If the film-makers return to follow Swedish House Mafia in 10 years’ time, the results should be even funnier.
(via the Guardian)
Max Cooper Shares New Track from Upcoming EP
As we first announced last week, prolific London producer Max Cooper has launched a new EP series which will see him collaborating with contemporary classical composer Tom Hodge. Entitled Fragmented Self Pt. 1, the first installment of the series is set to drop on October 28, but before then, Cooper has given us an exclusive stream of “Von Der Klippe Fallen,” the forthcoming effort’s closing cut. ”This track is about having a walk on a nice sunny day in the countryside, all is well and good, until you accidentally fall off a cliff.” That is the apt description Cooper himself sent over with “Von Der Klippe Fallen,” a tune which starts innocently enough with a placid piano progression, but soon turns into a thumping affair in which screaming electronics and heavy rhythms completely take over. The tune can be heard in its entirety using the player on XLR8R, before Cooper’s and Hodge’s full Fragmented Self Pt. 1 drops next week via the FIELDS label.