Podcasts about Resident Advisor

A dive into the important role an RA plays in cultivating community.

The Honduran artist talks about the rise of reggaeton, the dark side of beauty standards and her new album, Vanity.In the past decade, reggaeton has taken the world by storm, expanding from beyond its origins in Panama and Puerto Rico to become an undeniable global force. Yet, within this massive cultural explosion, few artists are navigating the sound with the distinct, subversive energy of Isabella Lovestory.Originally from Honduras but shaped by a formative migration to the US and the liminal spaces of the internet, the Montreal-based artist has developed an aesthetic she calls a "plastic fantasy"—a hyper-stylised world of bootleg luxury and cinematic flair.In this Exchange, she talks to Resident Advisor's Chloe Lula about her new album, Vanity, which she calls a response to her obsession with the "dark side of beauty standards." She also discusses her place within the wider reggaeton landscape; her efforts to reclaim and feminise a historically male-dominated genre; the financial erasure of women in the scene; and how her experimental approach challenges the self-seriousness of electronic music. Listen to the episode in full. -Chloe Lula Hosted on Acast. See acast.com/privacy for more information.

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

The drum & bass veteran talks about bass music eras, dance culture in America and his new album, Contact. British artist Nicolaas Douwma, AKA Sub Focus, has been steadily putting out big-room drum & bass since the early 2000s. In more recent years, he's become staggeringly popular, releasing a string of Top 40 UK pop hits that have made him synonymous with a more mainstream sound. His influence looms large across a whole generation of young producers, particularly in the US. In this Exchange, Douwma sits down with Resident Advisor editor Gabe Szatan at the beautiful Red Rocks Amphitheater in Colorado. They speak about how he hit number one in the US dance music charts last year, as well as how drum & bass moved from being popular with a "secret clique of people" to becoming what, for lack of a better term, could be called "brostep." There's a new Sub Focus album dropping on November 21st called Contact, which includes collaborations with Grimes and Katy B. Grab your copy when it comes out. Watch this interview in full on our YouTube channel, or listen to the audio via SoundCloud, Spotify or Apple Music. -Chloe Lula

The drum & bass veteran talks about bass music eras, dance culture in America and his new album, Contact. British artist Nicolaas Douwma, AKA Sub Focus, has been steadily putting out big-room drum & bass since the early 2000s. In more recent years, he's become staggeringly popular, releasing a string of Top 40 UK pop hits that have made him synonymous with a more mainstream sound. His influence looms large across a whole generation of young producers, particularly in the US.In this Exchange, Douwma sits down with Resident Advisor editor Gabe Szatan at the beautiful Red Rocks Amphitheater in Colorado. They speak about how he hit number one in the US dance music charts last year, as well as how drum & bass moved from being popular with a "secret clique of people" to becoming what, for lack of a better term, could be called "brostep." There's a new Sub Focus album dropping on November 21st called Contact, which includes collaborations with Grimes and Katy B. Grab your copy when it comes out. Watch this interview in full on our YouTube channel, or listen to the audio via SoundCloud, Spotify or Apple Music. -Chloe Lula Hosted on Acast. See acast.com/privacy for more information.

57 minutes of sharp, fast, freaky techno from the underground pop star. Long before SoundCloud made him famous, RJ Glasgow was already producing edits from his bedroom in Philadelphia. The artist now known as LSDXOXO spliced R&B classics with DMX Krew and Madonna, then graduated from bedroom producer to internet provocateur with his 2010 mix series Spit or Swallow, where La Roux met Ratatat and Rihanna collided with Crystal Castles. A decade later, that same DIY energy has taken him far beyond the online underground. Now based in Berlin, Glasgow has opened for Beyoncé on her Renaissance tour, remixed Kelela, Lady Gaga and Björk, and taken his Floorgasm party worldwide. His RA Mix captures that evolution in full flight. Across 57 minutes and 26 tracks, RA.1012 tears through shades of contemporary techno—from big-room precision (Adam Beyer) to looping hardgroove (Italia 90, River Moon) and razor-sharp edits (EsDeeKid & Fakemink). “Maybe my music invokes that freaky feeling,” he told Resident Advisor in 2022. “A lot of people have that inner freak.” That spirit still drives him today—sensual, chaotic, unapologetic—and reminds us that wherever he plays, LSDXOXO will always be a club kid. Find the tracklist and Q&A at https://ra.co/podcast/1031 @lsdxoxo

Hear the word "Dionysus" and you picture the Greek god of ecstasy: overflowing tables, delirious revelry, chaos. Not the austere soundworld of Guy Brewer, AKA Carrier. On the surface, the UK artist's latest alias feels almost Spartan. But look closer and the Dionysian link starts to show: it's about shedding fixed forms and identities, to allow something more true, more alive, to form. RA.1011 marks Brewer's third entry in the RA Mix series, following editions as drum & bass outfit Commix (RA.269) and, later, the techno alias Shifted (RA.310). "I guess it's an effort to step away from purism," Brewer told Resident Advisor back in 2023. "Right now the thresholds between genres are where you find the most exciting music." Carrier's phenomenal debut album, Rhythm Immortal, delivers on that promise. Low-end pressure cloaks like foreboding shadows, punctured only by eerie, otherworldly percussion comparable only to Photek or T++. Listen to the LP in full and it feels like walking through a scene in a true-crime drama: a fog-drenched city street in the deep of night, ambushed by gusts of wind, whispers and strange noises—and it sounds totally, utterly original. Tracing a line through dub pressure, fractured percussion and narcotic ambience, Brewer explores that same world on RA.1011. As with the album, there's a primal pulse that threads through the recording. Walls of negative space seem to hover before dissolving inexplicably, their tension intact; drums move more like the weather than rhythm. - Bella Aquilina

RA.1010 1OO1O by Resident Advisor

Lunes 20 de Octubre de 2025 Ya esta disponible MEDELLIN TECHNO PODCAST 290 Presentado por: DERAOUT Invitada: Julea (Belgica) ______________________ Soundcloud: https://soundcloud.com/juleacopin Instagram: https://www.instagram.com/juleacopin/ Resident Advisor: https://ra.co/dj/julea ______________________ Design: www.boldbravestudio.com _____ #medellintechnopodcast #medellin #techno #podcast #djset #deraout #medellintechnofestival #julea

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries. In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect.

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries.In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect. Hosted on Acast. See acast.com/privacy for more information.

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries. In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect.

Acknowledgement of Country HeadlinesDeclassified Australia reveals covert shipping of F-35 fighter jet parts to IsraelCritical reception of UN / US / Israel colonial ‘peace' deal and proposed transitionary authority for GazaGlobal Sumud Flotilla intercepted by Israeli forcesBayside City Council adopts discredited definition of antisemitismVictorian Government undermines calls to raise the age of criminal responsibilityClass action commences against remote work for the dole schemeVenezuela prepares to declare state of emergency after US military aggressionDr Amy McQuire's ‘Black Witness' wins at Queensland literary awards  ***WE HAVE A WINNER!!!*** Congratulations to Liz Shield, winner of a copy of Micaela Sahhar's Find Me at the Jaffa Gate. Our thanks to everyone who entered, and to Tony Birch for this wonderful giveaway prize.  We listen back to a talk by Ana Chã of Brazil's Landless Workers Movement (MST) on the story of MST's organising around food sovereignty, an issue that the movement has championed for over 40 years. This talk originally aired on 3CR's Earth Matters program on 18 May 2025, and was presented at the event 'Food Sovereignty Day' on the 12th of April 2025, coordinated by LASNET, Degrowth Network Australia, and Guerrilla Gardening Naarm Collective. Catch Earth Matters every Sunday from 11-11:30AM on 3CR855AM. We played the final episode of the ‘Our Stories, Our Flats' series, produced by Ayan Shirwa. In this episode, we heard from R-coo from 44 Flats United about their campaign to defend public housing, and community advocate Barry Berih shared what motivated him to take Homes Victoria to court. If you missed an episode of ‘Our Stories, Our Flats' or want to listen again, you can do so by visiting 3cr.org.au/ourstoriesourflats File Explorer spoke with Inez about their latest club night, Phantasy Break, which he started in early 2025 to champion the sounds of Footwork from Chicago and Jungle from London.File Explorer took this opportunity to further showcase alternative dance music in Naarm with queer, trans, and femme selectors, creating a safer space away from some of the ''bro-culture'' of mainstream club scenes, and a place to truly let loose. File Explorer spoke about how the first club night went, their music influences, the nuances of curating an event where people feel free to actually dance with each other, and what they hope to bring into their club night tomorrow, Friday the 3rd of October at QQQ St Park 2 Peel St Collingwood, from 7pm - 1am. Get your tickets at Resident Advisor or via the Phantasy Break Instagram page.3CR Thursday Breakfast listeners get an exclusive 50% off tickets - click on this link for the discount, or use the code ‘HEART' at purchase. Vicki McNamara, Senior Research Associate at UNSW's Centre for the Future of the Legal Profession, joined us to discuss concerns about the use of generative AI in the Australian legal system, including by an increasing number of self-representing litigants. Vicki has extensive professional experience across private legal practice and with in-house legal teams, and joined the Centre in early-2024. Her current research focuses on how technology, particularly GenAI, is impacting the legal profession and reshaping how legal services are delivered. T4T: Trick 4 TreatThis Friday the 3rd of October, Racerage is hosting “T4T: Trick 4 Treat” a Halloween themed night to kick off the Spooky Season @ Cafe Gummo!Expect DIY Halloween props, a monstrously stacked lineup of trans and nonbinary music and a mini mutual aid market. Come Dressed to Distress and you might win our secret cursed prize!FEATURING:LION- Ethiopian Australian electro-pop starRACERAGE- Queer Blak rapbratHETEROPHOBES- grunge/punk 3 pieceTHE CROP TOPS- trans folk punk Tix online here: https://events.humanitix.com/t4t-trick4treat $10 general entry. Free for Mob (nobody turned away for lack of funds) 8pm til midnight.

Galaxian has made a crucial contribution to modern electronic music in the 21st century, de- constructing & turning it on it's head while making bold strides into unexplored territories. Often recognised as a pioneer & innovator, his inventiveness is only surpassed by his ability to mine consistently new seams of sound, rhythms and intricate arrangements. More than a decade of authoritative releases on world-class labels & counting Aphex Twin, Mary Anne Hobbs, Helena Hauff & DJ Stingray among admirers, the latter being sometime collaborators. Notable live & DJ sets played worldwide at Boiler Room, Dekmantel, Resident Advisor and key releases on Tresor, BPitch, Ilian Tape, Return to Disorder, Micron Audio and many others & featured in a number of BBC Essential Mixes, BBC Radio 1 + BBC Radio 6 Mary Anne Hobbs. Beginning his journey behind the decks long before stepping into production, DJ sets display a reflect a deep well of knowledge and experience. Stylistically mixing style is rooted in a classic old-school approach, completely contemporary in track choices, techniques and performance. Sets are tightly woven, dynamic, incendiary, evocative. With recent releases on BPitch and Herrensauna, Galaxian - along with his alter ego Naix - continues to reaffirm his reputation for crafting unconventional yet essential electronic music that resonates in the 21st century and beyond. With such an intense output of 5 albums in 3 years it was time to take a long earned rest and consider new sonic avenues, developing new ideas and adopting different sound palettes and production techniques. During this extended period there has been a lot of evolution and shift for the Galaxian and Naix sounds resulting in dozens of new tracks and a few albums worth of material. In 2025 Galaxian turned his attention to the sample library world, launching a new platform called Wavkore in late March 2025. Designed to give producers fresh creative possibilities, it offers access to his signature sounds, a curated artist series, and plenty more developments on the horizon. Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

‘It's been a few years since I've recorded something but was recently inspired by the hot summer we've had here in the UK to put something mellow, bright and beautiful together which I wanted to make into a bit of a journey. Expect hazy jazz, stoner soul, balearic bites, tear jerkin 45's & international rhythms. Recorded on 100% vinyl from my listening collection for extra warmth!' Jonna has been playing music with soul for the past 20 years, from the City Fly basement parties @ Sophbeck (RIP) in his hometown of Leicester, to the festival circuit in Croatia to the dark underground clubs of Berlin and as far as Tokyo. He has also supported the likes of Roy Ayres (RIP), Children of Zeus, Benji B, Underground Resistance & MCDE to name a few! Jonna has released notable music on Lumberjacks in Hell, BBE, Shadeleaf Music, Flat White Records and his own imprint City Fly Records which has gained support from the likes of BBC 6 Music, Mr Scruff, Jimpster and Derek Carter to name afew. His last release 'Jus Move' featuring Javonntte with Marcellus Pittman & SoulPhiction (RIP) Remixes was featured in Juno Records Top 10 'Best Deep House Records' of the year and was ‘Release Of The Day' on Resident Advisor. Recently, Jonna has been concentrating on his music promo service ‘Unveil PR' and starting a family but is still an avid record collector and selector spanning many genres of the musical spectrum. @city-fly

Dj Lock Up -vinyl touch first hour-breaks/house Robbie C second hour- 140 breaks Yes yes! The Vinyl Touch is going "Back 2 Basing House"After the amazing "Decibels til Dusk" collab event with Essence of Chi in May, we return to East London's finest Basing House on Saturday the 20th of September.Expect big dirty basslines and breakbeats to make you move your feet - with Funktion One sound throughout, 360 Main room booth and an outdoor roof terrace, this is the perfect way to end summer!Essence of Chi Djs will be hosting the loft, bringing multi genre goodness, from Liquid D&B and authentic Jungle right the way to classic house & hip hop vibes! Earlybird tickets have already sold out - grab a first release while you still can from Resident Advisor!! Lineup:2 BAD MICEELLIS DEEMINI DA MINXMADAME ELECTRIFIEAPPLY THE BREAKSLOCKUPMISS CHIVERSJAY MOJUNGALICEHEALING CREWT1UZUME Hosted by:PJ (SHUT UP AND DANCE)CASH MC See less

A trip into Trance - the dance music genre that launched a thousand cheesy synth lines and Euphoria compilations. Music journalist Niamh O'Connor (DJ Mag, AlphaTheta, Mixmag, Resident Advisor, Discogs) joins us to discuss how trance music is the sound of an Irish summer, and hyperlocally in Dun Laoghaire specifically. What is trance music? Trance music was primarily formed by producers in Germany, Netherlands and the Benelux countries in the early 90s where producers like German DJ Sven Väth fused techno-style beats with euphoric melodies, inspired by his time in Goa in india and listening to psychedelia. Paul van Dyk, Armin van Buuren, Tiësto and Ferry Corsten are some of the producers who were at the beginning of the genre. Trance is hypnotic, euphoric, bombastic and bright – making use of repetitive overpoweringly melodic arpeggio synth lines paired with percussive builds, drops and trance gates to induce – the trance state – a musical attempt to replicate the altered euphoric state of mind, and the feeling of being high in the club a aided by ecstasy and mind-altering drugs. Darude's ‘Sandstorm' is trance. Tiesto's ‘Adagio For Strings' is trance, Alice Deejay's ‘Better Off Alone' is trance. Robert Miles' ‘Children' is trance. Gigi D'Agostino's ‘L'Amour Toujours' is trance. The Big Brother theme song is trance.   Niamh joins us to enthuse about her favourite trance tunes, and talk to us about the DJs who are dropping trance in their sets these days. We go on a history of trance music, trance in an Irish context, leading through the '90's to the chart poptrance, psytrance and recent music influenced by Trance from FKA Twigs, Burial, Oklou and Danny L Harle. Are you ready? Let's open the trance gate! Niamh O'Connor's Substack / Instagram The Trance songs played on this episode. * Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord community Listen on Apple | Android  | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Pod.Link  

Nesta edição, Cleber Facchi (@cleberfacchi), Renan Guerra (@_renanguerra) e Nik Silva (@niksilva) conversam sobre a volta do Weezer ao Brasil em um evento que ainda contará com shows de Bloc Party, Mogwai, Otoboke Beaver e Judeline.

"We're trying to show more of who we are." The Belgian brothers unpack their decades-long career and first album in more than seven years. There are some songs that have become pervasive, nearly universally recognisable features of pop culture. And my guess is that even if you don't know the Belgian duo Soulwax (AKA 2Manydjs) by name, you'll know their biggest hits, like early 2000s indie electronic anthems "E Talking" or "NY Excuse." In this interview with Resident Advisor editor Gabriel Szatan, the brothers David and Stephen Dewaele talk about their decades-long career and writing their first album in more than seven years, All Systems Are Lying, which they road tested for ages before deciding to put it out. They also unpack bigger thematic arcs in their work and lives: the abiding influence of New Order's Power, Corruption and Lies LP; their creative philosophy ("If it sounds too simple, leave it alone);" and the nature of musical trends and revivals, which have fluctuated intensely since they began performing and releasing records. Listen to the episode in full. -Chloe Lula

A real mixed bag in this edition - music, television shows, makeup and sportswear. As always, please send your ideas to our instagram @makingthecutpodcast.Pikes - https://www.pikesibiza.com/David Holmes -https://www.instagram.com/davidholmes_1969/Resident Advisor - https://ra.co/Footprint Insoles - https://www.fpinsoles.co.uk/Over+Above - https://www.oaperformance.com/Ruler of London - https://ruleroflondon.com/Jones Road - https://www.jonesroadbeauty.com/The Assembly - https://www.bbc.co.uk/programmes/m001xyj5Sunshine on Leith - https://open.spotify.com/track/3Vu6IeuO4sZMt8RAO4du7sIn Flight - https://www.imdb.com/title/tt22299034/Lucky Number Slevin - https://www.imdb.com/title/tt0425210/Indi Supplements - https://indisupplements.com/Anna Lapwood - https://annalapwood.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

…We have a weird connection, don't we? The scene was from The Television People, but the image was the clear as day vision of Patrick in a sunlit warehouse somewhere in Manhattan with one of his many lovers—somewhere in my mind, amidst the distractions, I was still trying to formulate the leeways between things I'd already written, and for whatever reason assembling an actual plot for its pilot season. STEPHEN COLBERT enters and unbuttons his suit jacket— in trademark Colbert. This is obviously not something he's doing subconsciously— because just as some bystander on the train engaged the same action, I realized suddenly that I must retrieve some sort of information. STEPHEN COLBERT Drew Barrymore! DREW BARRYMORE seems annoyed, but obliges somewhat politely. DREW BARRYMORE …Colbert. STEPHEN COLBERT I— have an offer you're not gonna refuse. DREW BARRYMORE takes a sip of her fruity drink. DREW BARRYMORE Jesus Christ. The Unforeseen Overture: Navigating Adversity in the Pursuit of Art and Community The rhythm of the electronic music scene pulsed through my veins, a beat I deeply understood and longed to amplify. My vision for the July 11, 2025 event was more than just a party; it was an ambitious undertaking for The Festival Project, Inc.™, an immersive arts installation designed to embody peace, love, unity, and respect within the dance community. This wasn't merely a gig; it was a profound manifestation of my artistic ethos, a crucial step for my non-profit, The Collective Complex ©, and a testament to my dedication to community building through performance. Yet, the week leading up to that date became an unforeseen overture, a discordant prelude that challenged my core values and tested my resolve. The sudden, unprofessional cancellation of the event, shrouded in a symphony of miscommunication and control, forced a deeper understanding of both the industry and my own resilience. What initially felt like a devastating blow transformed into a profound learning experience, a disruption that, though painful, ultimately strengthened my commitment to my artistic path. The first jarring note in this unforeseen overture came with the concealed venue closure. I learned, not through direct communication, but by having to track down the event coordinator on social media, that the very foundation of our event—the venue itself—was in jeopardy. This wasn't just a logistical oversight; it was a profound failure of transparency, a direct contradiction to the collaborative spirit I champion. The shock of having to chase down such critical information was immediate, leaving me feeling disrespected and marginalized, a chilling echo of the systemic gatekeeping I've seen affect so many aspiring artists. What followed was an almost immediate escalation. Hours after the event was belatedly posted as "confirmed" on Resident Advisor, with an incorrect title, my team discovered the ticket link was already canceled. This wasn't a glitch; it felt like an act of deliberate professional sabotage. My team had dedicated countless hours, reaching out to networks and brand sponsors, only to find their efforts rendered moot by a link that was dead on arrival. The emotional toll was immense, a sharp, uncommunicated blow to the meticulous hard work we had poured into this project. It was as if the stage lights had been plunged into darkness without warning, leaving us, the performers, to navigate a sudden, unexpected void. The formal cancellation notification, when it finally arrived on Sunday, felt absurd. The event had already been effectively canceled on RA since Friday night, and I had already made the difficult decision to independently pull the plug due to the egregious lack of communication. Receiving the email, first to a personal address because my professional emails had been blocked—a detail that still baffles me—and then a minute later to my professional one, underscored the profound unresponsiveness and operational deficiencies of the other party. It was a clear demonstration that their actions were consistently behind the curve, creating mounting pressure and uncertainty for everyone involved. The feeling of constantly being one step behind, not due to our own failings but theirs, was demoralizing and deeply frustrating. Amidst this chaotic unraveling, the coordinator leveled a baffling accusation: that my "tone and communication have come across as consistently rude and disrespectful." This was a pivotal moment, a direct challenge to my professional integrity. To be accused of disrespect when I was simply trying to coordinate crucial event logistics with a non-responsive party felt like an insidious form of gaslighting. It wasn't just a disagreement; it was an attempt to undermine my perception of reality, to deflect from their own severe shortcomings by shifting blame onto my proactive efforts. This experience, however, served as a powerful lesson. It cemented my understanding of the critical importance of meticulous documentation in any professional endeavor. My screenshots of unresponded communications and the precise timeline of events weren't collected out of spite, but out of necessity—a commitment to truth and accountability in business. This meticulous record-keeping became my shield against their baseless accusations, allowing me to maintain an unimpeachable professional record. It also highlighted a broader, unfortunate reality within creative industries: how persistence, especially from marginalized individuals, can be unfairly labeled as "disrespectful" simply to dismiss legitimate concerns or deny opportunities. This incident, for me, mirrored the systemic biases and devaluation of Black women I've encountered, reinforcing the need to stand firm against such tactics. My attempts to gain a response, including offering to "meet in person and to buy you coffee to get to know each other outside of a digital space," weren't aggressive; they were a genuine effort towards collaboration, a desire to create a "strong foundation for future maneuvering within the scene and community." This demonstrated my unwavering commitment to the values of "peace, love, unity, and respect" even in the face of escalating adversity. Their interpretation of my persistence as "disrespectful" was a fragile perception based on surface assumptions, a stark contrast to my deep sense of responsibility to my team, brand sponsors, and the community relying on timely information. The cancellation of my event was a painful experience, but it became a crucible for profound personal and professional growth. Perhaps the most significant lesson was the catastrophic impact of a lack of clear, timely communication in event production. I learned that robust communication protocols aren't just good practice; they are fundamental to artistic collaboration and business integrity. Moving forward, this experience will inform every partnership I forge, prioritizing transparency and open dialogue. This adversity also forced me into an act of incredible resilience and adaptability. Despite the immediate disappointment and disruption, I pushed through, knowing that my vision was bigger than any single setback. This inherent drive to pivot and re-strategize, to find new ways forward when traditional avenues are blocked, directly echoes the "accidental entrepreneurship" that defines my journey as Blū Tha Gürū in my Series Bible. It taught me that while external circumstances can throw us off course, our inner compass, guided by purpose, can always find a new direction. Furthermore, this situation underscored the vital need to protect my vision and my team's livelihood. Many people were relying on the timely dissemination of information, and the coordinator's disregard for this business was a sign of disrespect not just toward my time, but toward my entire team's dedication and economic well-being. This experience has made me a more discerning and empathetic leader, committed to ensuring that all future dealings are underpinned by transparency, mutual respect, and clear agreements that safeguard everyone involved. Perhaps most profoundly, the attempt to gaslight me, instead of diminishing my resolve, actually solidified my power. It taught me the importance of trusting my own perceptions, standing firm against unjust accusations, and recognizing attempts to undermine my professionalism. It reinforced my inherent worth and power, independent of external validation. This growth directly mirrors Blū's journey of overcoming "self-perception of unworthiness" and rising above "saboteurs, gatekeepers, and rivals" in the broader narrative of "Tales of a Superstar DJ." Finally, this event served as a stark reminder of the intricate intersection of art and business. Even in the vibrant, expressive world of performing arts, business acumen, clear contracts, and meticulous contingency planning are paramount. I gained invaluable, albeit painful, lessons in the practicalities of event management, risk assessment, and navigating challenging professional relationships within an often monopolized and gatekept industry. The unforeseen cancellation of my July 11th event was a challenging overture, but it did not, and will not, silence my music. Instead, it has been a crucible that forged greater resilience, sharpened my professional instincts, and deepened my understanding of effective leadership and uncompromising integrity in the arts. My dedication to creating high-production value events and arts installations with peace, love, unity, and respect at the forefront remains not only unwavering but amplified by this experience. At this performing arts college, I seek to refine these lessons, to merge my intuitive artistic vision with rigorous professional training. I am not merely seeking admission; I am seeking the tools and collaborative environment to forge a path that counters the very systemic flaws I encountered. I am now better equipped to lead, understanding both the creative and logistical complexities of bringing ambitious artistic projects to life. This experience has solidified my purpose: to build authentic, impactful platforms that uplift artists and foster genuine community. I am not just a survivor of this event; I am a stronger, more discerning leader, ready to embark on the next act of my journey, transforming adversity into a powerful catalyst for positive change in the world of performing arts. “Dont do that.” Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

The Medellín maverick opens RA.997 with another mind-altering home run. As part of our countdown to the 1000th edition of the RA Podcast, a milestone in the 18-year history of Resident Advisor's weekly mix series, we're switching up the usual format. This week, following heady excursions through Lagos, Kampala, Detroit and Chicago, our focus shifts to Latin America—arguably the story in underground electronic music since the pandemic. After years of being all but overlooked internationally, the explosion of distinctive club sounds emerging from Peru, Brazil, Colombia and beyond has finally begun to get its due. Among the movement's great success stories are two artists who exemplify its refreshingly undogmatic energy: Verraco and Bitter Babe, and the former handles the A-side of RA.997. Is there a more compelling electronic artist around right now? Both in the studio and behind the decks, the Medellín-based DJ and producer currently sits in that coveted creative sweet spot, where every fresh musical morsel feels like a moment. To bask in any of his singular tracks on VOAM, Timedance and now XL Recordings, is to be bowled over by their rhythmic brilliance, madcap hooks and whirlpool basslines. ("Basic Maneuvers," anyone?) His mix is tough to pin down—a blend of dubby techno, tribal atmospheres, slanted bass and sharp edits. Or, as he puts it in the accompanying interview: “an intersection between dub-infused techno but with some flow, reduced atmospheric tribal, edgy bass cuts, mental emo-tek.” There's plenty of unreleased TraTraTrax material here, alongside tracks from artists like Virginia, A Made Up Sound and a euphoric flip of Ploy's “Ramos.” Slippery, emotional and surgically precise, it's Verraco doing what he does best. Find the tracklist and interview at ra.co/podcast/1000

Bitter Babe takes the second half of RA.997, revelling in the fullness of the Latin electronic continuum. As part of our countdown to the 1000th edition of the RA Podcast, a milestone in the 18-year history of Resident Advisor's weekly mix series, we're switching up the usual format. This week, following heady excursions through Lagos, Kampala, Detroit and Chicago, our focus shifts to Latin America—arguably the story in underground electronic music since the pandemic. After years of being all but ignored internationally, the glut of special club sounds coming out of Peru, Brazil, Colombia and beyond have finally received their flowers. Among the movement's great success stories are two artists who exemplify its refreshingly undogmatic energy: Verraco and Bitter Babe. Bitter Babe, naturally, takes the B. As a DJ, she reflects the fullness of the Latin electronic experience—"diverse, messy, emotional, political and full of contradictions," as she says in her interview. Her rollicking rides through guaracha, dembow, cumbia, techno and everything in between are powerful counters to anyone who believes the culture begins and ends with Shakira and Bad Bunny. And, as she'd like to remind everyone, "not every offbeat rhythm with Latin percussion is reggaeton." Skip through the 60-minute mix and you'll hear wildly different rhythms at every juncture. Surely, you might assume, at the expense of flow? And yet enjoyed (as intended) from start to finish, the tunes gel like milk and honey, each silky transition subtly phasing in fresh tones and percussive flourishes. It's fast, feverish and intensely riveting. Find the tracklist and interview at ra.co/podcast/1001

"Music kept me sane." The hard techno breakout opens up about how life's greatest challenges have made her headstrong. To honour Mental Health Awareness week, the RA Exchange sits down with hard techno DJ Lee Ann Roberts, who opens up about her tough childhood in Durban, South Africa, and how music saved her life. While to some it may appear that Roberts broke through only a few years ago, she's been hard at work for much longer, starting out in South Africa's fashion scene before moving to Los Angeles and finally committing herself to pursuing a career as a DJ and producer. She speaks candidly about her abusive household and the limited opportunities for self-expression and creativity she had as a child. As a result, she's become headstrong; nothing has stopped Roberts from being herself and chasing her dreams, and she talks about how self-care, self-compassion, authenticity and a sense of humour have gotten her through some of the darkest periods of her life. As a member of the contemporary hard techno scene, Roberts also shares her reaction to the recent Resident Advisor feature on the movement and the underpinnings of a trend that has polarised the underground. Listen to the episode in full. -Chloe Lula

Tony Price a Toronto based producer and DJ, his latest album 'Street Theatre' was released earlier this month on Maximum Exposure. On Saturday April 26, Tony was DJing at local hotspot Juice when an angry neighbour stormed into the club and demanded he cut the music. The whole interaction was recorded and ended up on Resident Advisor the following day. Tony stopped by our new studio to tell us the whole story. We also discuss touring with Marie Davidson, how he accidentally recorded the interaction at Juice, macho men, noise complaints, nightlife boundaries in Toronto, special events permits, DJing as work, the nightlife economy, The Brunswick House in the 90s, Juicefest, the club as a meeting place for artists, Toronto pretending to be a 'music city', Athens Greece, 'Gench Coffee', the Loukoumades from Athens on the Danforth, E-bikes, city life as a dance, calling himself a metropolitan elitist, his comment on our AI post, drum machines stealing jobs, person style, Gesaffelstein turning into a statue and more!Tony PriceJosh McIntyreNick Marian----COLD PODsign up below to access all episodeshttps://www.patreon.com/coldpod

"It was so difficult to become someone." The house hero talks about Chicago's competitive scene, developing a sound and letting go of his ego. Theo Parrish is one of dance music's most influential DJs and producers. Raised in Chicago, he's become synonymous with slow-burning, immersive grooves and sets that mix classics with obscurities. He began DJing in 1986 aged 13, eventually earning a degree in sculpture and moving to Detroit, where he hit his stride as an artist and became a member of the collective Three Chairs alongside Moodymann, Rick Wilhite and Marcellus Pittman. He also started the label Sound Signature, which uses the language of soul, jazz, disco, Chicago house and Detroit techno. A few months ago, Resident Advisor teamed up with London institution fabric to host Parrish for an eight-hour set—his first time playing the club. While he was in town, he also spoke with CDR's Tony Nwachukwu. In the Exchange, Parrish talks about the intensely competitive scene he grew up in. He DJ'd for 13 years before he was ever paid or had his name billed on a lineup. It took years of passion and hard work to break out of his local scene and build the career he's become known for. "At five years, you're dealing with the technical part [of DJing], at ten it's finding your sound and at 15 it's dealing with the ego of it all," he says. "It's not until much later that you actually start to play for and with people." Parrish also reflects on the ongoing dearth of diversity in the dance music industry and posits whether some of the most popular music in the US—such as trap—reinforces counterproductive racial stereotypes. He asks: did house music ultimately survive because it left where it originally came from? Listen to the episode in full. -Chloe Lula

"It was so difficult to become someone." The house hero talks about Chicago's competitive scene, developing a sound and letting go of his ego. Theo Parrish is one of dance music's most influential DJs and producers. Raised in Chicago, he's become synonymous with slow-burning, immersive grooves and sets that mix classics with obscurities. He began DJing in 1986 aged 13, eventually earning a degree in sculpture and moving to Detroit, where he hit his stride as an artist and became a member of the collective Three Chairs alongside Moodymann, Rick Wilhite and Marcellus Pittman. He also started the label Sound Signature, which uses the language of soul, jazz, disco, Chicago house and Detroit techno. A few months ago, Resident Advisor teamed up with London institution fabric to host Parrish for an eight-hour set—his first time playing the club. While he was in town, he also spoke with CDR's Tony Nwachukwu. In the Exchange, Parrish talks about the intensely competitive scene he grew up in. He DJ'd for 13 years before he was ever paid or had his name billed on a lineup. It took years of passion and hard work to break out of his local scene and build the career he's become known for. "At five years, you're dealing with the technical part [of DJing], at ten it's finding your sound and at 15 it's dealing with the ego of it all," he says. "It's not until much later that you actually start to play for and with people." Parrish also reflects on the ongoing dearth of diversity in the dance music industry and posits whether some of the most popular music in the US—such as trap—reinforces counterproductive racial stereotypes. He asks: did house music ultimately survive because it left where it originally came from? Listen to the episode in full. -Chloe Lula

FRSCKO WORLD RADIO #45 Mixed by MIKE. D (Juárez, MX | Vatos Locos / Losh)TRACKLIST Coming soon

Alvin and German conduct a great conversation with Professional Development Quality Assurance Manager at New York Works for Children, Tinnycua Williams, '94. A passionate advocate for strength-based programming, Tinnycua is dedicated to empowering children, families, and the professionals who serve them. In her role, she collaborates with city and state licensing agencies, professional organizations, and training providers to elevate high-quality professional development across the early childhood field. She is also an active leader within the National Workforce Registry Alliance (NWRA), where she co-chairs the Professional Development Committee. With more than 20 years of experience, she has provided direct support to children and families while holding leadership roles at organizations such as Homes for the Homeless, Samuel Field YM & YWHA, and Harlem Children's Zone. At Colgate, she was President of the African American Student Alliance, Resident Advisor of the Harlem Renaissance Center (HRC), campus tour guide, and a member of Konosioni, Colgate's senior honor society. She is currently pursuing a Master's Degree in Early Childhood Education (0–8) at City College of the City University of New York and holds a Bachelor of Arts from Colgate University.

Arielle Lana LeJarde is a journalist, DJ, and creative based in NYC. Arielle founded the live event series, Heads Know, an independent party and platform dedicated to music history, local scenes, and the underground.Arielle is big on Twitter, going viral constantly with the takes. Recent ones have been on the state of the club world. If you want controversies, conspiracies and a good laugh go give Arielle a follow.Arielle has written for MixMag, DJ Mag, Rolling Stone, Resident Advisor, Clash Magazine, Brooklyn Magazine, The Fader and Genius. Arielle is a genius.Please welcome Arielle Lana LeJarde to Wear Many Hats.⁠⁠instagram.com/aariellenyc⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The famed electro house duo open up about their 2024 album and the challenges of touring live. In the mid-'00s, songs like "D.A.N.C.E." and "We Are Your Friends" emerged as stadium-sized anthems during a new wave of electro house that weaved in elements of rock and disco. The architects behind these hits were Parisian duo Justice, AKA Gaspard Augé and Xavier de Rosnay. Together with their Ed Banger contemporaries, they rode a craze that took over airwaves and dance floors, alongside peers like label founder Busy P and the late DJ Mehdi. Their first album, Cross, quickly became a classic, helping to establish Ed Banger as the flagbearer for French electro. Justice went on to tour a dynamic live show with spectacular lights and visuals, and later released two more albums before taking an eight-year hiatus and largely disappearing from the spotlight. Last year, Augé and de Rosnay returned with their fourth studio album, Hyperdrama, which features a GRAMMY-winning collaboration with Tame Impala. Referencing indie rock and early '90s hardcore techno, the LP sparked a revived interest in the duo—if you watched last year's Olympics in Paris, 18 minutes of their music featured in the closing ceremony. In this RA Exchange, Augé and de Rosnay talk to Resident Advisor's editor, Gabriel Szatan, about being back on the road and balancing touring with family life, a rhythm that hasn't felt natural to them after so much time off. They open up about dealing with technical issues and making mistakes when performing, despite having played countless iterations of their live shows. The conversation also touches on their earliest influences—like gaming culture and bands including the White Stripes, and how they've cultivated such a dedicated international fanbase. This episode was recorded over the course of multiple backstage conversations. Listen to the episode in full. -Chloe Lula

The famed electro house duo open up about their 2024 album and the challenges of touring live. In the mid-'00s, songs like "D.A.N.C.E." and "We Are Your Friends" emerged as stadium-sized anthems during a new wave of electro house that weaved in elements of rock and disco. The architects behind these hits were Parisian duo Justice, AKA Gaspard Augé and Xavier de Rosnay. Together with their Ed Banger contemporaries, they rode a craze that took over airwaves and dance floors, alongside peers like label founder Busy P and the late DJ Mehdi. Their first album, Cross, quickly became a classic, helping to establish Ed Banger as the flagbearer for French electro. Justice went on to tour a dynamic live show with spectacular lights and visuals, and later released two more albums before taking an eight-year hiatus and largely disappearing from the spotlight. Last year, Augé and de Rosnay returned with their fourth studio album, Hyperdrama, which features a GRAMMY-winning collaboration with Tame Impala. Referencing indie rock and early '90s hardcore techno, the LP sparked a revived interest in the duo—if you watched last year's Olympics in Paris, 18 minutes of their music featured in the closing ceremony. In this RA Exchange, Augé and de Rosnay talk to Resident Advisor's editor, Gabriel Szatan, about being back on the road and balancing touring with family life, a rhythm that hasn't felt natural to them after so much time off. They open up about dealing with technical issues and making mistakes when performing, despite having played countless iterations of their live shows. The conversation also touches on their earliest influences—like gaming culture and bands including the White Stripes, and how they've cultivated such a dedicated international fanbase. This episode was recorded over the course of multiple backstage conversations. Listen to the episode in full. -Chloe Lula

Give it up for our next SPND20 Mixtape guest: @steya_music!

Chloe Lula is a resident DJ and releasing artist at Tresor. She's played at Berghain, Boiler Room, Radion, Movement weekend in Detroit, and countless clubs, festivals and parties across Asia, Europe, and, North and South America. Chloe has released on Tresor Records, Blueprint Falling Ethics. In addition to her career as a DJ and producer, Chloe is a cellist—her debut instrumental full-length was released in November 2024—and Chloe is also the senior producer of Resident Advisor, where she hosts and curates talks and music workshops at festivals like Nuits Sonores, Dekmantel, Unsound, Wire, and many more. Follow https://soundcloud.com/chlo-lula https://www.instagram.com/chloe.lula/ https://www.facebook.com/chlolula/

Resident Advisor is wrapping up 2024 with an episode dedicated solely to vinyl culture, from dubplate production to record store culture, all-vinyl DJing and running labels that release records. In the first part of this episode, which was recorded live at Wire Festival, panelists and vinyl DJs Mary Yuzovskaya, Clarisa Kimskii and Devoye Folkes discuss the benefits and drawbacks of playing records in the digital era with RA editor Gabriel Szatan. According to the panelists, playing vinyl could be seen as a skill analogous to driving stick shift: while it's not always necessary, it gives new artists a better understanding of a DJ set's underlying machinery. They also talk about how a DJ's identity used to be intertwined with their personal collection of records, and how the digital paradigm shift presents today's DJs with infinite choices. The Exchange's second half takes listeners behind the scenes, investigating the challenges and opportunities inherent in running a business based on vinyl sales. Live from Wall to Wall Festival at RSO, HHV Records, Bandcamp Berlin, Objects Manufacturing and Elevate Record Store speak to the overhead investment, production time and ecological considerations they take into account in their day-to-day operations. They also shed light on the statistics behind the enormous sales of vinyl records in the past few years and the breakdown of which artists are making money from digital versus physical music sales and why. Listen to the episode in full.

The trio behind our party of the year discuss creating space for the FLINTA community, their most outrageous live performances and more. Resident Advisor is wrapping up the year, and alongside our best-of-2024 records and tracks lists comes our favourite party: Barcelona-based platform MARICAS. The self-described "loving and pervy LGBTQIA+ techno collective" started in 2018 when ISAbella, Eloisa Blitzer and graphic designer Gina Guasch decided it was time to create a fun space for queer women and nonbinary people in their city. Since then, MARICAS has become a celebrated international series, revealing in its ascent how much of the techno scene—even in its queerest corners—continues to cater to men. In this RA Exchange, the trio talk about their humble origins as well as the ongoing obstacles they face in promoting the party in the face of discrimination. Performance plays an important role in their events, and they take an entertaining trip down memory lane, discussing some of the most outlandish theatrics and installations that have made it onto their dance floors: a Catholic confessional booth where the priest gave kisses, a livestreamed toilet stall where people undressed in front of the camera and a make-out session from figures covered in paint. Underneath the showmanship, however, is an unwritten code of respect and acceptance that extends far beyond the rave—their mission is to transform the social taboo surrounding difference into a positive force in our world. Listen to the episode in full.

The trio behind our party of the year discuss creating space for the FLINTA community, their most outrageous live performances and more. Resident Advisor is wrapping up the year, and alongside our best-of-2024 records and tracks lists comes our favourite party: Barcelona-based platform MARICAS. The self-described "loving and pervy LGBTQIA+ techno collective" started in 2018 when ISAbella, Eloisa Blitzer and graphic designer Gina Guasch decided it was time to create a fun space for queer women and nonbinary people in their city. Since then, MARICAS has become a celebrated international series, revealing in its ascent how much of the techno scene—even in its queerest corners—continues to cater to men. In this RA Exchange, the trio talk about their humble origins as well as the ongoing obstacles they face in promoting the party in the face of discrimination. Performance plays an important role in their events, and they take an entertaining trip down memory lane, discussing some of the most outlandish theatrics and installations that have made it onto their dance floors: a Catholic confessional booth where the priest gave kisses, a livestreamed toilet stall where people undressed in front of the camera and a make-out session from figures covered in paint. Underneath the showmanship, however, is an unwritten code of respect and acceptance that extends far beyond the rave—their mission is to transform the social taboo surrounding difference into a positive force in our world. Listen to the episode in full.

Lunes 18 de Noviembre de 2024 Ya esta disponible MEDELLIN TECHNO PODCAST 242 Presentado por DERAOUT Invitado: Ali Az Soundcloud: https://soundcloud.com/aliazdj Instagram: https://www.instagram.com/aliazdj/ Resident Advisor: https://es.ra.co/dj/ali-az Info Deraout: www.deraout.com _____ Design: www.boldbravestudio.com __ #medellintechnopodcast #medellin #techno #podcast #djset #deraout #aliaz #plusone #madridtechno

Luke Hess – Detroit, MI USA [DeepLabs / Rekids / Dolly / FXHE / Planet-e / Echocord] Born in 1980 and raised in the Detroit area, Luke Hess has harnessed a deep appreciation for electronic music and the expression of the underground movement. His background in mathematics and engineering has given him a scientific approach to the dance floor, using frequencies, tones, and soundscapes to transform surroundings and mood. His faith based music production has landed him numerous vinyl releases (EP's, LP's, and remixes) on labels like Planet-e, Rekids, FXHE, Echocord, Kontra-Musik, Dolly, Finale Sessions, Ornaments, and Prime Numbers among others. His debut album was released in early May 2009 by Denmark based label Echocord. In 2010 he began his own interpretation of Detroit techno with his Detroit project and record label - DeepLabs. His sophomore album “Keep On” was released on FXHE records in 2012 and received a Recommended 4.5/5 rating on Resident Advisor. With 20 years of DJ experience, he is regarded as a perfectionist behind the decks layering his tracks in a very detailed and hypnotic manner. Luke has played at many notable venues and festivals in Europe, Asia, Australia, and North America including numerous appearances at the illustrious Berghain/Panoramabar in Berlin. Luke's continued hard work in the studio and as a music collector/curator combined with his unyielding interest in technology and sound will no doubt stimulate the boundaries of electronic music. Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

"There are so many different takes on reggaeton." The Latine supergroup discusses dembow, Afro-Caribbean music and more in this Playing Favourites live from C2C Festival. This week's RA Exchange revisits one of Resident Advisor's flagship live formats, Playing Favourites, where we bring guests onto the pod to walk through their musical influences and play us some tracks that have been formative in their personal and creative development. This week, we're honouring El Dia de la Raza—which happened on October 12th—an occasion that remembers the colonisation of Latin America and pays tribute to its heritage and cultural diversity. Our guest is Sangre Nueva, a trio made up of the artists DJ Python, Florentino and Kelman Duran. They all come from different backgrounds: Kelman is a Dominican multidisciplinary artist, Florentino is a musician of Colombian heritage signed to XL Recordings and DJ Python is Ecuadorian-Argentinian, releasing prolifically under a number of aliases in the worlds of ambient and club-adjacent music. Together, their style explores pan-Caribbean musical styles, especially dembow, which is experiencing a parallel renaissance in the underground and commercial dance music spheres. In this conversation, they talk to journalist Christine Kakaire from last year's C2C Festival about what it means to approach Latin music from an experimental perspective to bring an amalgamation of Caribbean and Spanish-speaking musical cultures into their work. They also reflect on the stigma that was attached to reggaeton for a long time and the songs that represent its reclamation in the world of contemporary club music culture. Listen to the episode in full.

Are you aware of the harmful impact workplace stress can have on our well-being? Tune in for an inspiring discussion with Dr. Melvin Mahone on his #book Coping with Stress and Building Leadership: One Man's Journey.  Moments with Marianne airs in the Southern California area on KMET1490AM & 98.1 FM, an ABC Talk News Radio affiliate! Melvin Mahone, PhD, is a full-time Assistant Sociology Professor, at Paine College in Augusta, Georgia. He graduated with a Ph.D. in Criminal Justice with a Special Emphasis in Corrections at Union Institute and University, in Cincinnati in 2002.  Dr. Mahone started working in criminal justice in 1972, as a Federal Protective Officer for GSA. Dr. Mahone was employed for the Bureau of Prisons as a Correctional Officer and Correctional Treatment Specialist. He then went on to become a Florida State Probation and Parole Officer in 1982. After that he worked briefly as a Illinois State Parole Agent. He started working as an Investigator for a private law firm as a Process Server. After that he was employed as a Mental Health Worker, and as a Drug Counselor. He then went on to be employed as a Social Services Career Trainee for the state of Illinois. He was a Resident Advisor briefly. https://doctormahone.comFor more show information visit: www.MariannePestana.com#book #bookclub #stress #backtheblue #police #leadership #bookclub 

Chicago house pioneer Vince Lawrence and law professor Dr. Olufunmilayo Arewa unpack how record companies have undermined Black musicians—and what we can do to enact change. This past week, Resident Advisor screened and distributed a new, award-winning documentary called Taking Back the Groove. It tells the story of Bronx-born disco legend Richie Weeks, whose song "Rock Your World" with Weeks & Co. climbed to #1 on the dance charts in the '80s. Like many Black artists throughout American recording history, his talent was strip-mined to enrich corporate record labels. In the film, Weeks and Still Music label owner Jerome Derradji narrate the story of how they clawed back the rights to Weeks's tracks, as well as the ongoing battle he's had to wage to restore his legacy and ownership over his creative work. This story is, sadly, perennial, especially for artists of colour and otherwise marginalised musicians who continue to be sidelined by major players in the music industry. In this RA Exchange, Vince Lawrence—a Chicago-based house producer and the original founder of Trax Records—speaks with Washington DC-based guest Dr. Funmi Arewa, a graduate of Harvard Law School and UC Berkeley, and a current professor at George Mason University, where she teaches business law in the creative industries. The two engage in a fascinating discussion about the history of the recording industry and the exploitation of marginalised artists that runs through its fabric. How do we make it easier for artists to claim things that are rightfully theirs? What if we could create incentives to create fairness at the core of how record labels function? Listen to their thoughts on these questions in the full episode.

House music pioneer Vince Lawrence and law professor Dr. Olufunmilayo Arewa unpack how record companies have undermined Black musicians—and what we can do to enact change. This past week, Resident Advisor screened and distributed a new, award-winning documentary called Taking Back the Groove. It tells the story of Bronx-born disco legend Richie Weeks, whose song "Rock Your World" with Weeks & Co. climbed to #1 on the dance charts in the 1980s. Like many Black artists throughout American recording history, his talent was strip-mined to enrich corporate record labels. In the movie, Weeks and Still Music label owner Jerome Derradji narrate the story of how they clawed back the rights to Weeks' tracks, as well as the ongoing battle he's had to wage to restore his legacy and ownership over his creative work. This story is, sadly, perennial, especially for artists of colour and otherwise marginalised musicians who continue to be sidelined by major players in the music industry. In this RA Exchange, Vince Lawrence—a Chicago-based house music producer and original founder of Trax Records—speaks with Washington DC-based guest Dr. Funmi Arewa, a graduate of Harvard Law School and UC Berkeley, and a current professor at George Mason University, where she teaches business law in the creative industries. The two engage in a fascinating discussion about the history of the recording industry and the exploitation of marginalised artists that runs through its fabric. How do we make it easier for artists to claim things that are rightfully theirs? What if we could create incentives to create fairness at the core of how record labels function? Listen to their thoughts on these questions in the full episode.

Lunes 23 de Septiembre de 2024 Ya esta disponible MEDELLIN TECHNO PODCAST 234 Presentado por DERAOUT Invitado: Jon Hester Soundcloud: https://soundcloud.com/jon_hester
 Website: http://jon-hester.com Instagram: https://www.instagram.com/jon_hester__/ Facebook: https://www.facebook.com/jonhesterpage
 Resident Advisor: https://www.ra.co/dj/jonhester/ _____ Design: www.boldbravestudio.com __ #medellintechnopodcast #medellin #techno #podcast #djset #deraout #jonhester #rekids #klockworks #berlintechno #chicagotechno #minneapolistechno #tresor

Kazim Rashid is an artist, manager, and creative director based in Berlin and London.  I found out about him through my good friend David Okumu who is our magical, mutual connection. Aside from his work as a manager, Kazim is chief creative officer at Resident Advisor, the world's largest and most influential electronic music platform.  His work often focuses on collaborating with artists, record labels, and brands to help them achieve their goals in the music industry. We get into the current state of things for artists navigating the changing tides of music commerce. Strap in!   Music for this episode comes from a chap I met in Berlin thanks to Hainbach. Mr Ayjay Nils plays Viola in the Berlin Phil and is a great improviser :) A rare combo! He's also super into weird and wonderful electronic music which is featured in this show. It's all from an upcoming album Here's his Bandcamp to check the action! https://ayjaynils.bandcamp.com

K. Guillory (aka Aemeth) has been writing The Metaculture online magazine since August 13, 2021 with over 70 articles covering the latest trends in arts and culture on social VR platforms such as VRChat. She focuses primarily on the live music and performance scenes, but also has been tracking the historical evolution of the underground clubbing scene in VRChat, virtual fashion, as well as many other artistic trends from painting in VR to film in VR to VTubers. In fact, I mention some of her intrepid work in my own interviews with Starheart on VTubing and BabyBonito on painting within VR as her previous interviews on these topics and coverage on these trends came up they were continuing to evolve and be featured at the Raindance Immersive festival in 2023 and 2024. Guillory has been ahead of the curve in terms of tracking some of these trends of virtual culture before they get picked up and highlighted by other curators and virtual cultural critics and essayists. Guillory was inspired to start The Metaculture magazine from a conversation that I had with her on July 24, 2021 at Nanotopia's Mycelia exhibition in VRChat as a part of the AMAZE festival. She was sharing with me all sorts of insider tips on the underground dancing and clubbing scene with VRChat, and so I suggested to her that she find a way to archive, document, and publicly share more of this oral history knowledge as most of the information about the nuances of these hidden corners of the VRChat cultural scene were scattered across disparate Discord servers, ephemeral Twitter announcements, as well as insider community knowledge from knowing someone who knew someone about it all. Starting in 2021 and 2022 there started to be more and more YouTubers creating documentaries about VRChat's underground clubbing scene trend with Straszfilms' The Virtual Underground: An Introduction to VRChat's Rave Scene published May 5, 2021. Then Phia's The EXPLOSIVE Rise of VRChat Clubbing published her take on it on her The Virtual Reality Show channel on Mar 12, 2022. Then I actually conducted this interview with Guillory featured here on March 25, 2022 right as the zeitgeist about the clubbing scene started to explode. I knew she was tracking it very closely, and I wanted to get a bit of an insider's perspective on it all. Then a few weeks after I recorded my chat with Guillory, PBS Voices published their I Went Clubbing in Virtual Reality: Raves of VRChat on Apr 6, 2022, and then Guillory/Aemeth was featured as a subject matter expert on Resident Advisors' piece The music, venues and creators driving virtual reality clubbing that was featured on Sep 28, 2022. You might able to detect some of the parallels of how she tells me the story in this interview as well as some of the points that she also makes within the Resident Advisor video. The Origin Story of VRChat In the process of producing this episode, I came across this documentary by YouTuber Twice about the History of VRChat 2014-2022 that does a really great job of establishing the major platform developments, UI/UX changes, as well as turning points in the cultural evolution of the VRChat platform. Twice first came across VRChat in 2017, and so his video aggregates some archival footage before he started creating his own content, but for everything after 2017 he weaves his own personal history, footage, and memories on the platform to help flesh out the broader story of VRChat as a platform. This documentary inspired me to go on my own trip down memory lane as well as a entering into a bit of a rabbit hole of research into the origin story of VRChat itself, and so I wanted to share some of the results of my archeological dig here. I first ordered my Oculus Rift DK1 on January 1, 2014, and I received it about a week later. I along with many VR enthusiasts and VR developers ended up obsessively following the /r/Oculus subreddit as this where a critical mass of the community was congregating to share ...

"I started in the clubs, and that's where my heart is." The British singer-songwriter and RA's newest cover star talks about her new album, BRAT, live from AVA London. This week's Exchange is with Resident Advisor's latest cover star: Charli xcx. The British singer-songwriter has garnered a reputation as one of the most unpredictable and boundary-pushing pop artists of her generation, collaborating with contemporaries like A. G. Cook, Yaeji and the late SOPHIE. And she's now on the heels of her most recent album, BRAT, which came out in June and has already been lauded as one of the best albums of the year. In this conversation recorded live at AVA London with journalist Chal Ravens, Charli xcx dives into the making of the album. She calls it a club record—that, she says, is "where her heart is." After posting songs on MySpace around 2008, she was asked to DJ at warehouse parties when she was still in her teens. She felt alive in that space, she remembers, doing crazy, embarrassing things. Now in a different chapter of her life and career, she contemplates her desire to make challenging music that still appeals to a broad audience. It's a pendulum that swings radically in both ways, and she finds herself reinventing herself within the pop space and navigating that tension again and again. Listen to the episode in full.

Hear from two people who knew Amanda years ago - before the blog, before Lisa and Steve - back when she was a college student and Resident Advisor. What was she like during her time at San Jose State? And what exactly was she doing? Be prepared!  Scamanda is a Lionsgate Sound podcast: http://lionsgatesound.com Hosted by Charlie Webster. Listen to another Lionsgate Sound podcast hosted by Charlie Webster, Died & Survived: https://link.chtbl.com/diedandsurvived?sid=sc Learn more about your ad choices. Visit megaphone.fm/adchoices