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Review: SZA, Z

opinion by JEAN-LUC MARSH

With SZA, ambience is everything. Her soundscapes often skew towards the mellifluous and enticing, doused in layers of honey and inching forward with a leisurely sweetness. This polished exterior spans throughout Z, making for a smooth descent into SZA’s unhurried universe. It helps that her voice is the equivalent of a chloroform-soaked doily, capable of lulling even the stubborn insomniac into a drowsy daze.

Even the guest appearances are subdued, with Chance the Rapper’s lysergic hysteria tamed to a gravelly cadence on “Child’s Play,” and Kendrick Lamar’s usually unnerving voice blending particularly well with the backdrop on “Babylon.” However, it is Isaiah Rashad’s turn on EP highlight “Warm Winds,” that melts most seamlessly into the mild mixture. The prayer said in tandem at the song’s midpoint, and subsequent harmonization, are so smooth that it becomes easy to forget about Rashad’s presence. SZA takes the reigns gently, beckoning to venture deeper still while muttering something about flowers and space rides, over a rhythm evoking exactly what the song’s title lays claim to.

“Sweet November” sticks out among the rest of the material for less positive reasons. SZA’s take on jazz with an R&B twist strays from the tone of the remainder of the EP, which seems more focused on a foggy, hip-hop inflected goal. In addition, her strident outbursts commit the cardinal sin of disrupting the trance that the previous seven tracks constructed.

Throughout Z, SZA demonstrates that “glitter trap,” the self-coined moniker for her music, is most fitting. Her vox serves as a glowing lure leading to a languid world built on reverb. The main downfall of Z is a lack of strong lyricism. In the rare moments that the murk clears or the light becomes too bright, what lies behind is less graceful than what it seemed. The remedy is simple though. Some more thoughtful strokes of the pen and SZA won’t have to resort to glitter or traps. B-

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Review: The Afghan Whigs, Do To The Beast

opinion by MATTHEW M. F. MILLER

With the exception of Twinkies and maybe Hulk Hogan, step away from anything for 18 years and you’d expect it to deteriorate during that time. Especially in music, where the landscape changes daily and fan-ship is particularly fickle, which makes comebacks generally disappointing. Fans want the artist to remain frozen in time, to pick up where he/she/they left off upon departure, but the passage of time rarely does favors for anyone. Comebacks are a bitch on fans and performers alike, and after a beloved artist has returned we tend to walk away wishing and hoping for something that no longer exists, for something that can’t be recreated.

Pretty much every 90s indie lover has gotten himself worked up into a minor frenzy at the prospect of The Afghan Whigs’ reformation. If anyone can recapture the magic of the 90s, surely it’s a band that has never released a bad album. Surely the geographical challenges that caused the band to disband means there was never any ill-will they’d have to work through in order to make this train chug once. Lead singer Greg Dulli has been super active with his side projects, so it’s not like he’s rusty or anything. Maybe The Afghan Whigs will be more of a restart than a comeback. Maybe this time and this band would be different.

With that baggage unpacked, it brings nobody pleasure to announce that Do to the Beast, the new one from The Afghan Whigs, is indeed a comeback in every sense of the word.

The last time we heard from the Whigs proper was 1998’s stellar, very 90s sounding 1965. Like a phone call from a long lost relative you haven’t heard from in decades, their seventh album Do to the Beast sounds both familiar and confusing. It’s the aural equivalent of watching a retro sitcom (see: The Goldbergs) that perfectly hits all of the obvious notes, and misses out on the nuance completely. Do to the Beast fails to recapture a bygone era because it hinges on the elements the Whigs are best known for and not the little things that elevated them to another level.

Lead track “Parked Outside” has a sexy, 80s rock crunch and swagger, but Dulli’s voice seems to have lost the fragile edginess and raw emotion that powered the band’s best songs (“Gentlemen”, “66”). On too many of the mid-tempo rockers featured here (“Matamoros”, “Lost in the Woods”) the band ends up sounding more like a Kings of Leon cover band that also dabbles in The Afghan Whigs songbook, allowing their R&B indulgences to become unbalanced with their rock roots. And without founding guitarist Rick McCollum’s searing, melodic leadership, could-have-been great songs, such as “The Lottery” and “Royal Cream” start off with hoards of guitar-screeching, alt-revival promise, but they never find a hook or even a way to develop beyond their opening anthemic salvos.

Revenge and redemption are at the heart of many of these tunes, and at it’s best, as on the lovely, out-of-time “Aligers” and the haunting “It Kills” (“now you’re gone and you ain’t coming back”), Do to the Beast screeches with purpose, not just because it’s what Dulli does but because it helps the songs build from acoustic simmers to a boil without excess noise or forced emotion. It still sounds like The Afghan Whigs, but it sounds more like re-workings of b-sides that may have shined in the sun of another decade. C+

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Ridin’ Dirty: Ship Faced 2014

Ship Faced

There were a couple of ideas that were floating my boat prior to boarding the Ship Faced cruise on Friday. For one, I was a little bit excited to be able to purchase and skull a beer past the 10pm Good Friday cut-off (it’s secular on the high seas matey!), I was rather keen on the fact that I’d be doing this whilst cruising around the most beautiful harbour in the world – plus the fact that the soundtrack to both these activities would be the sounds of a handpicked group of Australia’s dance elite was not a bad thought either. With spirits high and ravers rummy – it was time to celebrate the 3rd birthday of the annual event – it was time to get shanty.

Alighting the monster double-decker glass boat – fairly $waggy, I must admit – my rave sister and I took to the sky deck to catch some local groove-masters. First up was Kiss Kiss – two young lads who were intent on busting out some deep and funky house/techno vibes.

Very similar to a Hannah Wants set and a nice departure from dance pop – the boys’ set was bass heavy and a highly impressive opener for the evening. Disappointingly most of the punters were still making their way onto the boat (don’t be fooled by it’s seaworthiness- the boat is security heavy) and Kiss Kiss may not have had the crowd they deserved. We still boogied guize!

The sky deck was an awesome place that night to showcase local up and comers – other artists including Eratik & Lemond, Parental Guidance, Blow Out DJs, Fiktion & Them Again and Unknown Associates did not disappoint. With a capacity of 200 people  - the deck was filled to the brim with bumping and grinding despite the harbour wind. Even so, it was darn chilly – scantily clad midriff ladies and muscle-tee enthusiastic dudes be warned – fripples ahoy!WP_20130307_23_52_46_Pro

Heading down to the main room, we arrived just in time to groove to Lewi McKirdy. Far from lunch – Lew still wanted to serve up a spread – the gent looked like he was having as much fun as anyone in the crowd and pumped some highly decent jams. It was a short intro however to German house legend Doctor Dru – who gave an absolutely mesmerising performance behind the decks. Turning the ship into a giant pulsing house machine – the response to the incredible sounds of the good Doctor were refreshing too. Pushing away the trashy banger-esque party boat conceptions – Sydney harbour became home to an awesome underground (luckily, not underwater) euro house den.

The highlight of the evening, however, was a complete draw between the last two acts.

Ok, I need to take a minute to talk about Touch Sensitive. Seriously, how fucking great is this guy? I managed to do the sneaky behind the deck and have a chat to the legend, who seemed a little nervous under that fantastic mo. Upon investigation – he was nervous about pulling out the plethora of instruments he had prepared in the gap after Dru. Backpack bound – out came the bass guitar, midi controllers, a whole host of sound creating goodies. We often talk about the questionability of live electronic performance (this video is a case in point) – but Touch puts those to bed. An artist who truly understands the computer/instrument divide (/balance?), the bass skills are absolutely out of control. Dropping favourite tracks Pizza Guy, Body Stop and new Slowments (available here for free download), Touch was slappin da bass the whole time and groovin’ his Converse off. It was nothing short of fucking awesome… and hot.


Never ones to disappoint – it might be no surprise that we also frothed over the match made in heaven that is L D R U and Yahtzel. It’s good that we were on water because these guys were on FIRE. Dropping mainly other Aussie producers (nice to see a healthy dose of Indian Summer and others in there), whilst dropping homemade track ‘The Only One’ – which might have seen the crowd have a collective peak. Hectic flailing lad. It was a sweaty affair which literally saw the inside of the boat get one hell of a steamin’ (great for writing creepy love letters on the walls of the boat – noice). Love was definitely on board as Yahtzel and I exchanged world’s sweatiest hug and I was bestowed L D R U’s damp captain’s hat, hooray for germs!

All together, Ship Faced was an amazing way to make some motion on the ocean. The amount of talent on one boat was unbelievable – from the excited local performers to the international headliner – the music was absolutely primo. This isn’t to mention the beautiful Sydney harbour which we cruised around. Ship Faced really brought the decks to the decks (aye!) and turned a Good Friday into a bloody great Friday!

Here are some of the more random things I spied/experienced whilst creepin’ around the cruise:

  • Some chick trying to catch smoke from the smoke machine in her mouth and breathe it out into her friends faces like a dragon. Hecccccctic fail lad.
  • Yahtzel catching some cheeky Z’s before his set. The legend was all tuckered out after a week of touring.
  • So many almost-overboards. Just one would’ve been funny, but safety was top notch.
  • A guy selling E-vapours humped me leg. Not keen.
  • Dr. Dru standing directly behind Touch during his set – havin’ a creepy admiring sesh. It was nice to know I wasn’t alone.
  • More floor condoms than I care to admit. I wasn’t aware I was on the love boat, shwing? 

WP_20130308_02_20_57_Pro(Photo: Doctor Dru creepin’ on Touch… whaaaaaaaaaat.)

(and my souvenir for the evening…)

Review: Kelis, Food

opinion by PETER TABAKIS

Earlier last month, Kelis Rogers opened her debut SXSW gig with a rendition of “Feeling Good.” Augmented with a bright horn section and a pair of background singers, her take was a stirring, if minor, facsimile of the classic. This is no slight to Kelis as a live performer, nor to her instrument, a deep and sultry mezzo. “Feeling Good” belongs to one artist, and since the 1965 album I Put a Spell on You, that artist has been Nina Simone. But as a programming choice, the song acted as an exhilarating salvo, brazenly self-conscious. It was a nod to the joy that follows a change in direction, in this case a striking shift in musical style. If any of this was lost on the Austin crowd, Kelis made her point clear by later adding snippets of “Feeling Good” to the material from Food, her sixth and finest LP.

Fans of Kelis’ previous idiosyncratic forays may be surprised to find little contemporary R&B on Food. Those partial to the futuristic electro-pop of 2010’s Flesh Tone, in particular, may even be disappointed. Her new album is, instead, a feast of sweaty funk grooves and impeccable soul melodies. With the help of producer Dave Sitek (of TV on the Radio), familiar sounds are frequently renewed and made dazzling. This classicist revamp is hardly a risky move in 2014. Food arrives on the heels of Daft Punk’s triumphant Grammy coup, which amounted to a victory lap for nostalgia on the pop charts. But Kelis’ ambitions are far less grandiose, placing the album somewhere in between recent works by Sharon Jones (on the formalist end) and Janelle Monáe (at the weirder extreme).

Review: Kelis, <i>Food</i>

Its misleading title notwithstanding, Food isn’t a gastronomic concept record. (Kelis rarely references edibles in her lyrics.) And despite some seemingly ridiculous names – such as “Jerk Ribs,” “Biscuits n’ Gravy,” “Friday Fish Fry,” and “Breakfast” – these songs don’t aim for laughs. In other words, we can brush aside comparisons to Cibo Matto’s Viva! La Woman. Kelis happens to be both a Le Cordon Bleu trained saucier and the host of a Cooking Channel show. She understands a meal provides more than sustenance for the body. It can be sensual and soulful, a portal to a specific time and place, a stimulant for the subconscious.

I’m reminded of a scene from Pixar’s culinary masterpiece Ratatouille, which fully dramatizes the power of taste-sensation. Late in the movie, a bite of the titular dish returns a miserable restaurant critic to his youth. He is instantly transported through time to the comfort of his mother’s kitchen. A forkful of expertly prepared vegetables changes him – taste humanizes and, ultimately, redeems him. When Kelis sings of jerk ribs, her subject isn’t Caribbean cuisine: she is recalling the wisdom handed down by her jazz-musician father (“He said to look for melody in everything”). Biscuits with gravy are dashed childhood ambitions (“I’m standing in the middle of some other person’s life”). Fried fish become a representation of the singer’s libido (“I need ice-cold water!”). The prospect of a meal is a prize waved in front of a lover, if she hasn’t yet kicked him from her bed (“Maybe we’ll make it to breakfast”).

Food is consistently satisfying and often fabulous. Its lesser ingredients (“Cobbler,” “Floyd,” and “Dreamer”) may distract, but only mildly, from what is some of the best work of Kelis’ career. The album abounds with engrossing hooks and vivid instrumental arrangements. Case in point: the Technicolor brio of “Jerk Ribs” and “Breakfast,” Food’s opening duo. “Rumble” lopes atop a lithe piano lick and then dances alongside a fat chorus. A couple of mid-tempo ballads (“Runnin’” and “Bless the Telephone”) and a superb torch song (“Biscuits n’ Gravy”) sneak some very real emotional heft into the routinely upbeat Food. “Friday Fish Fry,” a euphoric rave-up that features a call-and-response breakdown, surges with carnal electricity. For my money, it’s Kelis’ sexiest and most indelible song since “Bossy.”

Though she’s no stranger to the Billboard charts, Kelis exists in fame’s outer reaches. And aside from her universally beloved single “Milkshake,” she has yet to receive a wholehearted embrace from critics. It took sixteen years for her, an artist with a solid best-of compilation already under her belt, to reach firm creative footing. Newfound commercial success may or may not follow. Either way, Kelis’ late arrival deserves celebration – and her Food, relish. B+

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13Tracks | Tunes to Tickle your Tastebuds Playlist | #thirteenisthenewten


Craftily selected from the overflowing supply circling the web-o-sphere, I present to you: 13TRACKS – Tunes to Tickle your Tastebuds #thirteenisthenewten

1. Aston Shuffle – Tear it Down (GAMPER & DADONI Remix)
Gamper and Dadoni are two German Klangtherapeuten/Naxxos/Androma- like musicians. Between them, Stefan Biniak and Klangarussell I can only assume it’s something in the German water. Their crafty work turning commercial tracks into European trop vibes, is truly easy on the ears. I LOVE this remix of Aston Shuffle’s, Tear is Down, from their new albumPhotographs.

Oh, two men from Germany again you say? Now it’s just getting pathetic. A super funky choon – 0.51 seconds is where it is at. Free, makes you want to donse donse donse.

3. Basenji – Dawn
Sydney based Basenji, recently performed on the Boiler Room so I saw it only fitting to include him. A wise Stoney Road-er once said, “The track sounds like a bunch of kindergarteners got hyped up on undiluted red cordial and went nuts on one of those big pianos that you play with your feet,” and I couldn’t have said it better myself!

4. Wildred Giroux – Stronger (Clancy Remix)
The original, which came out roughly two months ago, was different and much greater than anything I had heard in a while. It has so many layers, you spend most of your time working out how they work so well together. Clancy’s remix has only enhanced the track making it a tiny bit deeper, a tiny bit darker and a tiny bit better.

5. Chrome Sparks – Goddess
Brooklyn’s Chrome Sparks project, has returned with a new mesmerizing EP out April 28th. The mysterious orange-blue flower graphics complement the tunes spiraling sounds, and deep choral loops. Around 2.24 it gets even a bit trancy and A&B-esque, dare I say! The change of pace at 4.35 really throws you, but ties it back to the subtle beginning well.

6. ZHU – Paradise Awaits
The ZHU EP is super stylish, original and all things grand. I chose it over Faded because… well, I prefer it. (Just marginally).

7. Amine Edge & DANCE – Came Around
Just, great. Well described by Nick Tho as “the blend of vocals of early 90s hip-hop and the latest trends in deep-house to create what now known as “G-House.”

8. XO – What’s Luv
A def favourite at the mo’. Oh, and he’s eighteen years old.

9. Taches – Malindi
DeepNDreamy production; a perfect release to follow Don’t you Know and Turn of PhaseTaches and ZHU are perking up to be the leaders in the underground scene. Looking forward to producers jumping the remix bandwagon with this one!

10. Sam smith – Stay with me (Rainer + Grimm Remix)
This track has been countlessly remixed with the leading likes of Shy FX and Florian Paetzold, but this one overpowers them all.

11. MSMR – Think of You (Wet Remix)
Ever since Bones, MSMR can do no wrong. Wet, in the space of 4 months has undoubtedly become my most over played artist and with this, I don’t think much will change on my end.

12. Mapei – Dont wait (giraffage)
Original>=Remix. Here’s what James Ledger had to say.

13. Frame & Felix Lloyd – Pacifique
Yep! Not much gets me more excited that Indian vibes threaded through a tune.

Have a lick and a taste, and enjoy your week before the LONGGG weekend (round two)! That is… until you wake up… face planted in cushion, smudged mascara, a brooding list of missed calls and realise it’s Monday again. A coffee and this 13TrackMusicFix should help.

Splendour In The Grass: 5 Acts We Want To See (Please)


Splendour in the Grass will return for its annual jaunt in July running from the 25th to 27th at it’s spiritual home in Byron Bay following a successful event last year that saw The Presets, Hermitude, Flume, Flight Facilities and more conspire to help people have a good time in the sun and mud!

It got us thinking ahead of the official lineup announce this week, as shared by a recent Splendour tweet who we’d like to see on the lineup of the dance and electronic kind.

Already South Coast producer Yahtzel, who featured on our free compilation ‘Volume One’ was confirmed through an update bio mishap while indie darlings London Grammar have been given the nod to perform. Expectations are high for an Outkast exclusive show having free dates outside of their single stop on the Mad Decent Block Party Tour and who may have accidentally confirmed on their own site while both Sky Ferreira and James Vincent McMorrow are also expected to make the trip downunder.

Although electronic only makes up a portion of the festival excluding the awesome local lineups from Red Bull Music Academy and others it’s got us scratching our heads as to who’s been making enough waves globally to earn a spot on the lineup. Add to the fact most years it’s a live experience ie not just a laptop/CDs/USBs and it narrows the spectrum a little further as to who could end up playing!

Our picks? Read ‘em and weep.

Simian Mobile Disco

Simian Mobile Disco
The Simian guys have a strong history with Australia having visited several times over the years. They did have a new album ‘Whorl’ penned for 2013 but yet to see it released and could have been pushed to a  2014 release to tie in with a world tour or at least a stop in Australia considering the fan base here. Aside from the stats Simian are a great live act and wouldn’t be out of place in front of a giant wall of visuals on any of the three nights!

música/TUMBALONG Bon Chat, Bon Rat (AUS), Electric Wire Hustle (NZ), Ghostpoet (UK), LUNICE (CAN), Mitzi (AUS), SBTRKT (UK), Simon Caldwell (AUS), Tiger & Woods (ITA)

SBTRKTs label Young Turks always seem to have something going on in Australia be it the XX headline shows, Jamie xx playing club dates or any number of the acts on the roster playing a Laneway festival here or there. With a recent stash of activity from SBTRKT and the definite pull of the memorising live act there’s a strong chance of catching the hypnotising producer donning a stage during Splendours three days and nights. It’s probably time for a 10,000 person audience for this guy!

Booka Shade Approved

Booka Shade
Walter and Arno are consistent Australian tourers and haven’t yet visited Australia to celebrate their last record ‘Eve’ – local touring company Brown Bear Entertainment have confirmed an act on the Splendour lineup and have brought the pair to Australia a few times over the years so the chances of it being BS are pretty high in our eyes.

zhu producer

Tipped to be touring in July sometime in Australia this is an outside chance but a wholly welcomed one following an EP announce and some ridiculously cool singles inc. “Faded” and “Superfriends” you can actually stream the full EP if you look carefully through Soundcloud. Even without a face to put a name to it’d be all kinds of special to catch ZHU’s rhythmic and RnB fused sounds with the cool air.


It just makes sense to spy Tensnake on the Splendour in the Grass lineup after the release of his feature packed album ‘Glow’ this year that saw among others Nile Rodgers, Jacques Lu Cont, Fiora and Jamie Liddel all add their skill set to the mix. Although playing Global Gathering on the 25th, the first day of Splendour in the Grass there’s a possible window to make it down to Australia for a boogie.

Joining them will be a host of locals that we wouldn’t be surprised seeing on the Splendour in the Grass 2014 lineup and probably forcing a number of local clashes grrr;

- Kilter
- Cosmo’s Midnight
- Lancelot
- Indian Summer
- Kite String Tangle

Once again this year we’ll be joining forces with Sweat It Out, Purple Sneakers and Studios 301 for a pre-pre Splendour in the Grass party at Studios 301′s HQ in Byron Bay. Expect a strong local contingent and even a special guest or two following last years debauchery that saw Yolanda Be Cool knock it out with What So Not and plenty plenty more.

Jimmy Edgar’s Future Roots Sound Like Techno Evolution


As a hot commodity at this year’s Miami Music, we simply had to chat with American producer Jimmy Edgar. Appearing all across the board, Edgar’s originals and remixes are positioned for a takeover. With what sounds like a perfect recipe, Jimmy’s influences while growing up in Detroit and getting comfy in Berlin, produce a unique style of electronic infused art.

Taking the fashionista approach, Edgar and Ultramajic are paving the way by setting trends with self-described ‘forbidden’ releases. Including a healthy chunk of techno, their vibe is for the refined dance enthusiast. Right up our alley for well-rounded club tunes, we are looking for more from this producer who seems to be in all the right places. With originals on Hotflush, !K7, and Warp as well as remixes on Bromance, Boysnoize, and Visionquest, he has proven to be running in the right circles. Support on all sides leads to interesting gigs including this years synth-inspired Moogfest.

In anticipation of an ongoing rise to the top, we were lucky to ask a few questions about Jimmy, Ultramajic, and his roots.

Ultramajic. Seems to be more than just a label. How would you describe WHAT IS ULTRAMAJIC? Ultramajic is, at its foundation, a record label.  We have a very specific integrity that we put into all of what we do, its been a sort of joke but its stuck with it; everything has to have a bit of fun, magic, fashion and mystique. We like the art to feel like you are looking at something lost, forbidden or secret… but we never loose the fun aspect of it, and we all have different disciplines from fashion.  Currently, Pilar Zeta (our graphic designer), does all the visuals for Holographic Universe FW14/15, a new fashion label.

So you started releasing under Ultramajic last summer, now here we are with a dope Miami showcase under your belt. What are the steps that led to this rise? It really just happened from nowhere, the label has been successful and it just made sense to get a bunch of friends together while we were all in Miami.  When you combined focus and integrity with passion for art, I think amazing things can happen.  If you try and fake it then it doesn’t ever work, so with these ideas we all have to agree that its something we would be impressed with ourselves.  We now have upcoming nights at Fabric in London, Social Club in Paris and several more.  We plan on doing something very special for Art Basel in Miami.

You just made the jump from Berlin to LA. What prompted the move to head back stateside for a home base? We have opened an office/studio in LA, but its so very fresh that its not fair to comment on it, we just decided to make a drastic change and see how it functions with the people we work with.  We still have heavy ties in Berlin and I have kept a studio there, with all the traveling it doesn’t feel like we have moved because we are always moving.  The move to LA is more about lifestyle changes around the music, different selection of food, options to exercise, weather… we still work so much from home that we need a great environment, for me having a garden and place to meditate means we can create more brilliant/bright work.

“We like the art to feel like you are looking at something lost, forbidden or secret… but we never loose the fun aspect of it..”





 The trending sound right now seems to be influenced by a perfect blend of techno and disco. Where are you influences and what artist contributed to make dance music what it is today? The influences are the same as they have always been for my music.  RnB, Chicago House, Detroit Techno, Boogie/Funk, and more recently I discovered what Berlin Techno was all about.  Before I lived in europe I didn’t know much about Berlin techno, I think you really have to spend time in the clubs to understand it.  So, we have managed to combined the patience and sound of Berlin techno, with the arrangement of american/Chi/detroit electronic music to find some mid ground that works at big parties.  We all come from underground music background, but both Travis (Machinedrum) and I have played massive stages all over the world so we create music for this, were inspired by mass amounts of people and there is nothing worse than dropping a track that is too weak for the amount of people there to see you.

Give us some insight into the future. What off-the-wall trend will we hear in dance music songs ten years from now? Polka Gabbers? I love the rehash of 90s pop music in new electronic music.  Its suddenly feeling cool to work with major chords.  One of our artists, SOPHIE, is doing some amazing stuff.  We really have some cool stuff planned, we are expanding our palette.  We always planned on establishing ourselves as a dope dance single label and then moving on to expand the sound.  So, with that, this year will reveal several new artists we are developing!


A unique blend of techno roots and European innovation, Jimmy has a style like no other. Holding an ear for mystical dance, his label Ultramajic has a bright future ahead. His tunes reflect a misinterpreted style crafted like no other. Jimmy’s club prowess integrates industrial groove with funky drive. We can’t wait to hear what direction he heads next.

As a Detroit local and frequenter of the Chicago area, the late Frankie Knuckles had a huge influence on the house theory the led to Jimmy’s style today. Surrounding Frankie’s late passing, Jimmy reminisced of the early dates dropping in Chi-town’s iconic spots. Giving an rinse to the man himself, Jimmy recently dropped a rework of ‘Baby Wants A Ride’. Get the tune while it’s up for grabs below.