Melbourne’s Novel crew has been bringing the world’s biggest electronic artists and cutting-edge newcomers to the city for six years. So, when they decided to throw their first multi-day camping festival (on the fringe of the state of Victoria’s picturesque Grampians mountain range, no less), about three hours’ drive west of the capital, there was no shortage of A-grade connections and artists to call on.
The beginning was modest. Kerri’s first release (on his first label) initially had a run of 500 copies. Jabbing strings lead into a thudding kick-drum and a bumping analogue bassline, while Chevelle provides the not-always-entirely-in-tune, gospel-inspired vocals. Tony Humphries, then one of NY house’s biggest DJs, picked up on it, and it was signed to Atlantic, which released it as Three Generations, establishing Kerri Chandler as a force in the house scene.
“I get so many supportive emails and messages, I just wish I had the time to reply to them all!” says Mehdi Djebali. The 32-year-old Parisian producer has picked up a large and loyal following over the course of his career, particularly over the last couple of years thanks to the steady flow of high quality house productions he’s been behind, largely on his own label. “The new generation from Paris are all so talented and the level of production is so high that I’m honoured to be seen as one of the city’s new ‘stars’,” he says.
It was recently announced that Behringer was trying to make a budget clone of the legendary ARP 2600. And why not? The notoriously expensive instrument has been described as the holy grail of analog instruments and it's influence on music and sound ranges from The Chemical Brothers' 'Dig Your Own Hole' album to R2-D2's voice. It's an incredible instrument that has fascinated music gear heads for 46 years.
Ask any old-skool raver who was ‘there’ for the Summer Of Love, or the earlier years in general, and there’s a good chance you’ll hear that ‘things just aren’t as good as they used to be’. The music, the quality of the drugs, attitudes, the sense of solidarity – apparently it was all better back in the day. Every generation does tend to think it did a better job of having fun than the next, and I’m guilty of having moaned at times that my entry-point scene, UK dubstep, had its heyday many moons ago and is now lacking in lustre. It’s partly a classic case of old-fart syndrome – but there’s some truth lurking in there too.