Circoloco Pulls Ten Walls from DC-10 Ibiza Lineup Following Protests from Fellow DJs and Fans

Ten Walls

Following yesterday’s controversial announcement by Circoloco to book Ten Walls for this coming Monday’s residency party at DC-10 Ibiza, party organizers were hit by a series of complaints from both internationally-renowned DJs in the industry, as well as electronic music fans at large.

Understandably, many felt insulted that the Lithuanian producer, guilty of having made public homophobic remarks last summer through his social media channels, was once again given such a platform to play music. While some electronic music listeners did feel he should be given another chance, the majority of those weighing in were surprised, shocked or even angry at the decision.

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Some of the most vocal tweets came from the likes of Midland, Eats Everything and Seth Troxler. The latter is scheduled to play the party still, and we suspect, due to his history as a vocal champion for equality that he had a word or two to say in private about the booking.

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A mere 24 hours after the lineup announcement, Circoloco has come out with an official statement pulling Ten Walls from the roster set to play the club on July 4th:

Papa Sven Väth Is Caught Watching the 2016 Euro Cup While DJing at Awakenings

It is said that the love for football (soccer) knows no limits. In fact growing up in Italy, there was a saying I learned while just a kid and still hold true to this day, “In life, there’s only two things that never ever change: your mamma and your football team!”

But what about techno, or one’s passion for DJing and electronic music?

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Circoloco Gives Ten Walls “Another Chance” and Books Him For DC-10 Ibiza

Circoloco Ten Walls

Perhaps surprisingly to some, one of the world’s most respected and popular underground parties is giving Ten Walls “another chance.”

Of course you will remember the public homophobic comments made by Marijus Adomaitis, better known by his stage names Ten Walls and Mario Basanov, in the summer of last year, and the criticism he received as a result of them. He was dropped by several major festivals, let go of by Coda Music Agency and was on the receiving end of several public remarks by other artists in the underground scene who made a point of both canceling gigs with him and distancing themselves from his remarks.

He went on to publish a public apology in September 2015 via DJ Mag, denouncing his highly-criticized comments and declaring his new-found stance against homophobia. At the time, the apology drew further criticism from many who perceived it to be insincere and insufficient to redeem the damage done. In April of this year, the producer announced a 10-stop “Equalized” tour throughout Europe and the UAE, leaving many to wonder how he would be received back on the road by the thousands of electronic music fans who took offense to his original comments.

It appears, that other promoters are now giving the Lithuanian producer another chance to redeem himself and his career. It was announced today that Ten Walls has been booked to play the esteemed Circoloco party at DC-10 taking place this coming Monday 4th of July. He is accompanied on the roster by the likes of Seth Troxler, Solomun, Matthias Tanzmann and Nicole Moudaber for what represents the latest edition of the party’s Coming Of Age summer 2016 residency.

The comments on Circoloco’s Facebook announcement (see below) have shown divided opinions. Some are surprised to see Ten Walls featured in the lineup, while others believe that everyone deserves a second chance.


Is Apple Going To Block iPhones from Recording Live Concerts?

LEAD Technologies Inc. V1.01

Is it ok to spend time at a club, festival or concert with your phone in the air, taking constant pictures and videos of what’s happening on stage or behind the decks? People are divided on the subject, with some thinking that such use of cellphones disrupts the atmosphere (and views) at a show, while others think it’s their prerogative to do what they want for a show they paid money to attend.

But what if that prerogative didn’t exist? That may be the case soon with the latest patent awarded to Apple! The technology would allow Apple to activate specific data transmission protocols in conjunction with partnering venues to ensure that your iPhone camera is blocked from taking pictures and videos when held up to the stage. In order to do this, it will tap into infrared technology to ensure that the camera is not functioning solely when pointed to designated areas.

Although the patent was last re-filed in 2014, it was originally first awarded in 2011 despite no specific plans to introduce the technology into upcoming generations of iPhones.

Apple Patent

According to FACT, the technology could have other uses too. Immediately it becomes obvious that it could be used to prevent the illegal filming of films in movie theaters, as well as photography in sensitive locations.

The technology could also be used for augmented reality purposes. As an example, the phone could be held in front of exhibits at a museum or art galleries, immediately becoming the recipient of applicable information via infrared on the item being featured.

Needless to say, as the patent belongs to Apple, this technology shouldn’t prevent Android users from taking advantage of their smart phone cameras when out at their favorite show.

Global Vibe Radio: Joel Mull

Joel Mull Press Shot

“Techno keeps us young”

These are words often spoken by esteemed Swedish DJ and producer, Joel Mull, and the sentiment transpires through his sets. Joel Mull has been at the forefront of techno culture since it’s inception, and can draw on years of creative and professional experience to create a unique and memorable atmosphere with the audience.

His discography extends through the years with numerous releases on labels such as Truesoul, Drumcode, Intec, and MOOD, all showcasing his diverse range as an artist. Recently, Joel has expanded his artistic output with the introduction of his label, Parabel. While the label is young with a handful of releases, each has shown great versatility and has been well received by fans and DJs alike.

In light of his forthcoming return to Los Angeles on July 9th, we are pleased to present the next edition of Global Vibe Radio with an exclusive two-hour recording from one of our favorite techno ambassadors. Weaving through raw hypnotism and peak main room vibes, this exclusive recording from his set in Offenbach, Germany is a great example of the techno craftsmanship soon to be heard on Joel Mull’s Summer Tour.

Information and RSVP: Incognito & WORK Present: Joel Mull

Connect with Joel Mull: Facebook | Twitter | Resident Advisor | Soundcloud

Read: The DEA Defines Rave Culture

Rave Culture

The explosion of rave culture into the mainstream has naturally seen officials and government agencies interested in “understanding” and explaining the movement to one another as well as the general public.

The truth is, that rave culture is much more complex than any simplistic understanding coming from an outsider. Yet, it remains interesting to see just how such outsiders view rave scene and rave culture, especially at a time when campaigns are actively seeking to bring awareness to the benefits of our scene.

A recent FOIA request has unearthed a very interesting Drug Enforcement Agency document, a summary of “The Rave and Club Culture/Designer Drugs” available for public reading. Written in 2001, before the true advent of EDM as we know it, and its surge of popularity in the United States, the report is based off of inside intel from a retired detective who actively attended raves for nearly a decade between 1992 and 2001.

The full document, which you can read HERE, includes attempted definitions of a few genres of electronic music:

Rave Defined

It also dives into several aspects of rave culture including clothing, kandi bracelets and more:

Rave costumes

Overall, there is no mistaking that whoever contributed to the writing of this information was fairly knowledgeable of rave culture, as this other excerpt proves:



Source: Gawker

Nightlife Matters: A Call for Governments To Respect Our Scene As Part Of Local Culture


Electronic music is an indelible part of the world’s nightlife scene. Our music represents the soundtrack and backbone of an industry that is alive in all four corners of the globe, and almost every country in between.

Yet, it is only in a select amount of countries that nightlife is truly respected as part of culture, as an expression of art and freedom. In the Netherlands and Germany, in particular, legislators, politicians and officials recognize nightlife and electronic music as a valuable piece of both the local and national economy. The appreciation for our industry goes a step further in cities like Amsterdam or Berlin, where those participating in nightlife are not only respected but celebrated as part of a movement that promotes tolerance, art and freedom.

Unfortunately, this isn’t the case in other countries. Australia, and in particular Sydney’s New South Wales state , has been facing uphill battles with local officials who have gone so far as to impose strict lockout laws effectively curbing the existence of nightlife in some of the country’s most populous cities. England is facing similar problems, in no small part due to gentrification and the significant change with which venues, nightclubs and bars interact with local neighborhoods and communities.

In the United Kingdom, the NTIA (Night Time Industries Association) has now launched a #NightlifeMatters campaign to increase awareness on the importance of our scene as part of local art and culture. The aim is to educate and change the viewpoints of the many on the other side of an irrational “us-versus-them” argument which constantly pits nightlife as unethical, quasi-criminal, uncultured and even dangerous.

Naturally, the campaign is backed by a great selection of high-profile artists the likes of Carl Cox, Eats Everything, Jackmaster, and Sasha, as well as venues and promotion companies. The always outspoken and active Seth Troxler has personally weighed in via Clash Music, underscoring just how important this message is for the longevity and prosperity of nightlife as we’ve all come to love it. The movement encourages everyone to sign their petition, and to tweet using the hashtag #nightlifematters to join and support this vital campaign.

“There are always multiple factors to consider when it comes to club closures. It’s hard to keep a business like that going for 10 years, just look at places like Plastic People or Dance Tunnel, even when a club is successful it’s hard work to keep it alive. But who’s responsible for these closures? Is it developers? Local councils? Licensing boards? Has club culture changed fundamentally, are kids today too boring? Or is it the government?


Of course it’s a combination of all those things but there’s one obvious way for us to change it. Vote.

We’re living in a time where the government likes to create media sensations around one topic or another. It’s not about them trying to save lives or change culture, it’s about who can keep themselves in the spotlight for the longest. Decisions are being made by people who are too old or too out of touch with what’s happening in the modern world. And it’s not just in the UK, it’s part of a global problem.

In places like Germany and Holland, local officials accept electronic music and nightlife as culturally valuable. They look at nightlife in the same way they do ballet. It’s not seen as something violent or criminal, it’s celebrated. They recognise that many of the people taking part in night culture are tolerant of different races, different genders and different sexualities. They recognise that nightlife has significant economic benefits, that it has the same capacity as high-art, fiction, food or film to inspire and influence a generation. In the UK and US, by contrast, there’s a total disconnect between night culture and ‘culture proper’. Legislators don’t understand who we are or what our value is, so there’s no desire to protect it.

If we’re to change these attitudes, we can’t just talk about them, we need to have more young people start participating. If we want to change perceptions about club culture we need to act. Part of the reason I launched Acid Future, part of the reason I’ve spent my life playing underground music, is to try and keep the dream alive, to try and fight the fight by educating people about electronic music.

Seth Troxler Music Matters

#NIGHTLIFEMATTERS is addressing the same issues, albeit from a different angle. They’re going direct to policy makers, showing them who we are, showing them that we’re valuable, showing them that we aren’t the stereotype that they think we are or that we might have been in the 90s. Their giving young people a platform to make their voice heard, in just a few clicks on you can email local councillors and MPs to let them know why nightlife is important to you.

It’s a first step but it’s only the beginning. We’re at a point where the old structures of society are losing their grip, there’s a huge opportunity for young people to change both the government and its policies for the better. Take for example this guy Will Thompson, he used to work for our management company, he was incredibly brilliant, very cool. He quit so he could go back to school and start working in politics because he wanted to change the situation he found himself in. He realised that the only way to really change things is to get involved.

The only reason these conservative councillors get in is because the only people who vote in local elections are 65 year old tea ladies, if you had everyone in Shoreditch get involved in the political process you’d be able to protect bars and clubs in the area.

It’s not hard, all we need to do is participate. That’s how we’re going to protect our night life. That’s how we’re going to save club culture.”

Source: Clash Music

Humble Beginnings with Yoshitoshi’s Sharam

sharam 2
Sharam is a citizen of the world, both by upbringing and by profession. One-half of the iconic duo Deep Dish, and equally as successful as a solo producer and founder/owner of his label Yoshitoshi, Sharam was born in Iran, later emigrating with his family to Washington D.C.. It was in the nation’s capital that Sharam’s love for music had the chance to grow and expand, allowing his prowess as a producer and skills as a DJ to become a full time job as a musician.


Over the years, Sharam has continued to make D.C. his home, while simultaneously touring the world alongside Ali (Dubfire) as part of Deep Dish, and as a solo artist and head of his own imprint. Although he took a hiatus with Deep Deep for a few years, in 2015 he reunited with Ali for a  number of dates that saw the duo play at Ultra Miami, in Ibiza, at ADE, three separate Creamfields festivals in South America and more.


This month, Sharam announced and released his latest album called “Retroactive”, a sophomore LP that comes seven years after his debut solo work “Get Wild”. The album, originally announced with the title “A Warehouse” debuted with a spot on the Top 10 iTunes Chart on the release day, a true testament to Sharam’s undeniably strong popularity and quality as a producer. Despite the name change, “Retroactive” remains true to the same message communicated with the album’s prior title: the LP revisits Sharam’s roots with thirteen diverse yet cohesive tracks. Spanning influences that touch upon “early 80’s Giorgio Moroder inspired disco to futuristic, dark and hypnotic clubby affairs with menacing drum and bass inspired sounds”, “Retroactive” is an homage to Sharam’s past and present, as well as the future of house he undeniably continues to shape.


Sharam Retroactive
I had the chance to talk to Sharam while in the middle of an extremely busy tour promoting the album. His twenty-three stops in North America alone will keep on the road for the entire months of June and July, all before he jets off to Europe for some dates across the Atlantic. As we talked, he was about to travel to Chicago to play the 8th stop of the tour at the Mid.
In our conversations we took the time to dive a little deeper into his past, and the influences that shaped the production and recording of “Retroactive” – the humble beginnings that led to the Sharam we know today.


“Retroactive” is out now and available on iTunes, Beatport and Spotify.


With “Retroactive” we are seeing your return to your roots and major musical influences. Can you tell us a little bit about Sharam as a person, before music took over your life as a passion and career? Did you have any other hobbies or interests?
Music has always been a cornerstone as far back as I remember. Listening to music was a hobby for me. In post-revolutionary Iran you didn’t have access to a lot of music so I would find it through underground channels. It was TRULY underground because music, especially the western kind, was illegal. I was always fascinated with being able to transfer music between or mix them together through primitive devices that I had access to at the time. I also ruined many cassette players because I would open them up take them apart and could never fully put them back together! (laughs) When I moved to the US I continued with that curiosity, and then found out there is a thing called a mixer that made the mixing much easier and turntables that allowed you to change the speed of music that, together, enabled you to mix music together in a seamless fashion. WOW! That was magical. I was hooked, and that’s how I became a DJ. Soon after, I felt like I could make records and do it a bit differently than what was out there. That led to setting up a production team with Ali Dubfire as Deep Dish. Once we did that, we started to make some noise and were soon able to quit our day jobs and do music and DJ full time. We never looked back.

You’ve been extremely successful both as a musician and entrepreneur in the world of music. If music hadn’t crossed your path as a career however, what would Sharam probably be doing right now?

Hard to say. Probably some bob job in a tech firm or something like that? Or something that had to do with cars. i would have been a typical Persian used car salesman. Watch out!
In the past, you have talked about your early days in Iran and the lack of access to Western music. You mentioned how you would rent music video tapes on Betamax from underground rental places and record them on tapes to then play or sell to others. In that sense, your roots are truly underground. Did these experiences influence your direction in electronic music once you moved to the States?
Indirectly perhaps it did. You see, finding music – from underground sources in Iran, was extremely dangerous and rebellious. Kids in the western world latch on to punk or rock, or nowadays techno seems like the rebellious thing to do. We did that too as kids, but it applied to all western music, mostly pop. I mean, we actually risked getting caught and being punished. Imagine that. So when I came to the US I really appreciated the freedom and open access to find your own thing and explore it as much as your heart desired. The only thing between you and music was money. There was no piracy back then. I recall saving to buy a double cassette Walkman so I could go to a record store that had all their music on tapes in listening stations and record the tapes. I wanted to go listen to a tape that the in-store DJ’s had made and record it simultaneously on the double deck Walkman! Haha. I did buy that double cassette but never used it in that fashion. I just bought records. I basically worked to buy records. We would throw school parties with my friends so that I could DJ and make money to pay for new records, and eventually build up a collection worthy of club sets.


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Some of your biggest influences early on include the italo-disco sounds of Giorgio Moroder, but also drum ‘n bass and innovative and progressive late 70’s/early 80’s bands the likes of Pink Floyd, Depeche Mode, New Order, Erasure, The Cars, etc. We can hear just how profound the sound of all these artists has been in your past work both as one half of Deep Dish and as a solo producer. Do you feel any of these artist played a more influencing role with “Retroactive” than others?
My original name for the album was Disco Tech. Disco because of those early italo-disco and Giorgio Moroder sounds I was emulating, and Tech because that’s what I seem to make more often than not. There is a lot of influence from early 80s from all those artists on this album. Stuff like New Order, Depeche Mode, Pink Flyod, Erasure, Cars, it never leaves you. It’s always lurking in the back of your mind and on this album I went full monty with it you could say. A track like Blind sits squarely in that era but it has today’s tech and drum n bass influence in it.
Washington D.C. has been your home for years now, so it’s natural for you to have established your Yoshitoshi label here too. How has D.C. as a city influenced you as an artist throughout the years?
DC is a cosmopolitan city, with many people from all walks of life coming to study, live permanently, or live temporarily through embassies and other international government-related work. So there’s a lot of international influence. Some of the clubs I used to go to, the music was a mish-mash of everything, but mostly European influences. You’d hear Gloria Gaynor next to Bony M next to Ace of Bass and some house records thrown in for good measure, with some Euro dance records added in too. What you would hear in DC clubs was basically what you would hear in San Tropez where music is a mix of big records from all around the world. Of course, I didn’t know that at the time. Only when I visited St. Tropez it clicked. The ‘trendy’ clubs in DC and NY were trying to mimic that vibe. Its interesting, because that vibe of playing a lot of big popular records is what influenced Morrillo when he was doing his Ibiza residency at Pacha which influenced a lot of the big EDM DJ’s like the Swedes and Guetta. And they took that concept to the next level. But at its core its St. Tropez style of playing popular music at a club catered to the jetsetters.
That was the baseline for DC back then. But we found our ‘underground’ scene through house and techno, and through that we discovered warehouse style parties and later on raves, which sort of went against what DC had to offer. So I was influenced by all of that in some shape or form. Even though I was deep in the underground I never underestimated the value of a good hook or sing along song, and was always looking for cool records with great vocals. At the time it was rare for records to cross over from the house or techno scenes (other than some disco-influenced stuff which had become taboo). We changed that.


Is there any specific reason why, as you’ve grown bigger as a producer, DJ and label-head, you decided to remain based in D.C. rather than seek to move to other destinations such as LA, NYC, Chicago, London – cities that other artists seem to flock to at a certain point of their career?
DC is home and home is where the heart is. I love DC. Plus I never wanted to go ‘out there’ and make it. I wanted to make it where I was. But truth be told I am now tinkering with the idea of setting up shop in LA, simply because the talent pool for growing an organization is better suited for our kind of business and because I’m tired of losing great people to big cities. Over the years some of the people that started working for me have gone on to have amazing careers in the industry in LA and NY. I’d like to keep some of those talents in house.
In the last couple of years, you’ve begun doing shows again with Ali as Deep Dish. In the past, when you were producing together, Ali and yourself fed off of each other in what you have described as the “ying-yang” of a duo project. Do you feel that Deep Dish’s productions and releases had and still have different influences than those of Sharam as a solo producer?
Sure. Because you have two people with two distinct set of influences and desires. That holds true to date. That tug of war can create something interesting.


As you’ve documented and discussed, “Retroactive” was initially named and announced as “A Warehouse”. Do you feel you are more of a warehouse artist than a club DJ?
I do feel more at home when the lights are dim the place is dark and you have hypnotic minimal visuals. That could be in a warehouse or in a club. I don’t want people to look at me when I’m DJing. I want them to dance. A Warehouse does create that vibe, and that was the reason for the initial name. Music through vantage point of my influences and those early warehouse parties and raves played a great role.
I had the pleasure of interviewing Rony Seikaly ahead of his “Sword” EP release on Yoshitoshi. When discussing the role of your label, he mentioned that you – and the label by default – “actually understand music from a broader perspective and are open to different sounds”. To me, it seems very clear: your early influences are both broad yet specific, allowing you to keep an open-mind when it comes to the music Yoshitoshi puts out. Do you feel your approach, as a label-head is different than the one you adopt when producing your own music?
No, actually very similar. I don’t discriminate against genres or people. Our industry has turned into a bigot society of self absorbed individuals that fancy themselves as elites. I never subscribed to that mentality and I think its bad for music – as its bad for society. Granted the gap between different kinds of dance music is widening and as such you will have clans dedicated to different scenes, and that’s totally fine and healthy. But when you bring hate and disgust into it, that becomes counter-productive. At Yoshitoshi, we are fans of good music that stays true to our heritage of releasing music from different offshoots and having them played harmoniously together. Our motto is, “It’s a Soul Thing”. Soul shows itself in every style of music.
We have talked a lot about your early influences and beginnings. Music has evolved tremendously since the late 80s and is in constant evolution now. Are there any current artists, new or old, that you consider influences both as the chief of Yoshitoshi and a producer?
I’ve always found inspiration from the records I play. So if you look at my Beatport charts for example, you will see the records that I’m playing that are having an influence on me. Beyond that, I love Drum N Bass. Spor. Calyx, TeeBee, Wilkinson. I love listening to their records. Maceo Plex releases interesting records on a consistent basis. I love artists like that who are not one trick ponies. My favorite album of last year was Galantis’s Pharmacy. You want to talk about a great dance pop album, that is it – so well produced.


Connect with Sharam: Online | Facebook | Twitter | Soundcloud | Beatport
Connect with Yoshitoshi Recordings: Online | Facebook | Twitter | Soundcloud | Beatport

What This Week’s Brexit Vote Means to the Electronic Music Industry


Last night, while Britain was still sleeping, results on the recent Brexit referendum started to pour in, with major British news outlets such as BBC, ITV and SkyNews announcing that Britain had voted for the political movement championing for a separation from the EU.

Now that the Leave campaign has been crowned as victors, we can begin to look at how this vote will change the spectrum of the electronic music industry. Although the focus of leaving Europe was on immigration, a Europe without Britain will also result in massive changes when it comes to manufacturing and trade. Britain’s exit from the EU will not be immediate, with most experts predicting the leave to occur in 2019 following years of new agreements and changes between the British and European governments.

Regardless of how long it will take for the move to finally and fully take place, it is inevitable that these changes will indeed happen, impacting the lives of many in the music industry. As Pitchfork reported, a spokesperson for the British Phonographic Industry (BPI) emphasized the importance of the EU and Europe “to UK recorded music and to the music sector generally, particularly when you consider the importance of live music and touring.”

The biggest concern is for touring DJs. With Britain leaving Europe, it is entirely possible that British artists will be restricted from openly touring Europe, while European artists may find similar changes when attempting to tour Britain. This could result in expensive and time-consuming complications, such as individual visas to enter the EU, as well as the need of a carnet, a document which delineates each piece of equipment on deck,]preventing the import or export of products without paying Value Added Tax. This will cost £1000—£2000 (approximately $1400—$2900), and will need to be renewed every 12 months.

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New “Berghain” Label Stole and Released Copyrighted Material Using the Berlin’s Club Identity

Berggain 1

Intellectual property, and music copyrights, are a serious thing. For an artist to spend a considerable amount of money, time and effort to produce music and then see it stolen or misappropriated is nothing short of a huge slap in the face. With the advent of the internet, it has proven incredibly hard to curtail violations of IP and copyright, especially by those who take advantage of the no-confine aspect of the world wide web to steal and misappropriate others’ work.

In the latest such episode, it appears that a new label entitled “Berghain” has released a compilation record called “Berghain Secrets” containing techno releases by the likes of Oktave’s Jeff Derringer, Derek Marin, Samuly Kemppi and Alexi Delano. At first glance, one would think that this release is courtesy of the homonymous Berlin club and Ostgut Ton, the label behind the esteemed techno institution. This however, is not the case, as Derringer has himself pointed out with a Facebook post on his artist and personal page, specifically stating, “I found that this label has nothing to do with Ostgut Ton, nothing to do with the actual Berghain, and nothing to do with any of the artists they included on this so-called record. None of us were consulted about the inclusion of our tracks (or the use of the Berghain name/identity).”

As can be seen from the screen grab below, the compilation release and individual tracks were posted for sale on Juno (although it has now been taken down), as well as Amazon and even Spotify. As of time of writing, it is still available on these last two platforms as well as some lesser-known foreign music websites. We are specifically not linking to these websites in order to curtail traffic and prevent further copyright violation.

Berghain Secrets Juno

Please be aware that whoever is behind this is not only in blatant violation of IP and copyright law with regards to the music in question, but is also illegally using Berghain’s name for monetary purposes. Do not purchase any of these tracks – we have contributed to having these taken down by reporting the situation to the websites currently hosting this release.

Connect with the REAL Ostgut Ton: Online | Facebook | Resident Advisor | Juno