Morgan Page has always been able to combine his knack for party-starting sonic antics with his drive for artistic expression – and that’s something very admirable. One often has to give one up for the other, but Page is a different kind of book. That’s why he’s able to hit #1 on Billboard’s Dance charts with enviable regularity, earn a Grammy nomination and covet praise from critics for his original productions. His new album In The Air even has an indie slant to it, all wrapped around his typically irrepressible brand of progressive house, cleverly showcasing his versatility and maturity. Here’s an illuminating chat with the in-demand American DJ/producer after his killer set at Mink.

Hi Morgan! Is this your first time in Singapore? What are your impressions?
Yes, I love it here.. very lush. Feels like a greenhouse!

How did you get from a log cabin in rural Vermont into the dizzying world of DJing?
I started in college radio in my home state of Vermont, as a high school student. The local station at UVM didn’t require DJs to be students, so I took advantage of that opportunity. I later continued in radio at Emerson College in Boston, and started to play out in clubs because I wanted an audience I could see.

How do you think you have grown as an artist since your early days?
The sound has changed and evolved a lot of the early days. It’s more aggressive, and I’ve gotten better at arrangement and melodies that stick in your head.

Did you ever wanna do anything else outside of music?
My early interests were graphic design and technology. I still really like good design and photography.

Your impressively extensive list of remixes makes us drool glitter. Do you have a favourite amongst them all?
Some of my favorites are my mixes for Madonna, Meiko, and my remix for Nadia Ali that was nominated for a Grammy.

Tell us about your latest album In the Air.
The new album is a mix of vocal heavy progressive house music. Some tracks are more indie focused and other are built specifically for the club. Everyone from Tegan & Sara, to Nadia Ali, to Greg Laswell contribute vocals.

How did you get Tegan & Sara onboard for “Body Work”?
It all started with a bootleg remix I did for Tegan & Sara. They later hired me to remix two of their songs and then eventually we thought – “why don’t we write an original together?”

Your music is now being played from fashion events to movie soundtracks. What’s next?
One of the songs was the official landing track for Virgin America for a while – that was pretty cool. Next up – maybe the soundtrack for private space travel? (Laughs)

Interview courtesy of Mink.

www.morgan-page.com

Syndicate’s back in the Substation’s theatre for another audio-visual go-around and this time their ramping things up by teaming up with Musicity! The ongoing initiative by British Council Singapore looks to weave together sound, architecture and experience, and they’ve brought down the Mercury Prize nominated producer of Diamond Mine, Jon Hopkins, to represent at this Subsessions shindig. Meanwhile Syndicate will also be showcasing one of their own in the ever experimental Max Lane who’ll be doing a special one-off collab with the pipes of Pushin’On, MC Masterpiece! We got the chance to chat with the pair of old friends just before their musical team-up to gather a little insight into their cauldron of livewire minimalism and live vocals.

What can we expect from your musical partnership at Subsessions?
Hafez Masterpiece: I am excited about being able to explore the limits of my voice. His music needs me to use my voice in a radically different way that I would never expect to do on my own material. That’s something I’m really looking forward to.
Max Lane: In terms of the performance it will be less technical for me as I will just be laying out the backbones and let Masterpiece’s voice drive most of the songs.

Max, your sound varies from the glitch stuttering synths of “Gema Takbir”, to the hauntingly clean bass-line hums and hiding-in-your-closet guitar whispers of “Bury Me”. How will this performance with Masterpiece be different?
ML: Sound-wise, I think I have always been a schizophrenic creature, always over-ambitious to try everything out. With that said, the wide palette of sounds will still be there I guess but will be gelled up with the haunting and dark tones which I can’t seem to run away from. One thing for sure is that it will be totally different from any of my club sets. I’ve been experimenting with song arrangement and structure to get out of my typical bouncy head-nodding routines since the start of Syndicate. The recipe for disaster is still being put together as we speak. (Laughs)

What emotions are stirring through your heads, with the knowledge that you both are sharing the stage with Mercury Prize nominee Jon Hopkins?
HM: A bit surreal now isn’t it? I think the audience will enjoy it because hopefully, our set will complement Jon Hopkins’ music. Max Lane knows what to do cause he’s been a big fan of Jon for the longest time!
ML: I just want to come out of it and say I shared a stage with someone who has worked with Brian Eno. Bowie will be perfect but Jon Hopkins will be as great.

Max, as a Syndicate resident, what is the significance of Syndicate Subsessions to both you and as a rising brand in the scene?
ML: After celebrating our first anniversary, it has always been my personal vision to try out a separate Syndicate series out of a club and in a performance space. With that we can cover a wider spectrum of sound and invite artists who share the same aesthetics but won’t be suitable in a club environment. Muon and Jon Hopkins are two perfect examples. As a resident artist together with the rest, I hope it will push us further as content creators and performers. Playing to a dancefloor and performing to an audience with their full attention on you are two different things. The latter is definitely more pressurizing. So the intention is for everyone to bring it up another level. Collectively with Syndicate as a brand I feel it’s just a natural progression for us to curate such a series. We definitely want to do things beyond parties and thanks to the Substation now we have this new platform for us to experiment.

This is Part 1 of a long juicy chat with Max Lane and MC Masterpiece. Read Part 2 of the interview in the upcoming June 2012 issue of JUICE!

Syndicate Subsessions x Musicity happens on Saturday, 2 June at The Substation Theatre from 8-10pm. Admission is $20 and available from the box office. Contact  6337 7800 or boxoffice@substation.org for enquiries.

Hot off the reels of the motion picture realm is a compact and emotionally-stirring movie about a Singaporean death-row guard who goes to great lengths to aid a young woman convicted of drug trafficking to accept her ill-fated tribulation. The twist? He is the executioner of her looming end. Inspired by a real-life executioner from our very own country named Darshan Singh, this grueling flick is directed by Singapore-born-and-bred Daniel Grove, a highly promising up-and-coming film director who has managed to grab the semi-finalist position for the Student Academy Awards 2011.

As we know, nothing good comes cheap, so we’re letting you know that you can be a part of this project by contributing to the fund-bag of the production. The movie is currently in the stages of tying up loose strings – music recording, colour correction, the works – so this could be your chance to invest your spares (wisely!) and give that final touch to what we think could be the next sensational short film of our island.

www.facebook.com/betterplacethanthis

After two decades of magical, memorable parties (and over a decade of sunrise to sunset seaside festivals), we’ve come to love Zouk with all our hearts. They’re more than just a club, they’re an institution - one that’s respected all around the world. The key to Zouk’s success isn’t simply their knack for throwing fun parties though, most of it stems from their dedication to pushing quality to music and their commitment to cultivating a healthy club culture in Singapore.  Zouk isn’t just a top club in Asia, it’s one of the top clubs in the world as proclaimed by punters, DJs and yes even the industry-leading DJ Mag. They’ve always placed highly (#13 in 2009, #10 in 2010, #9 in 2011) in it’s Top 100 Clubs Poll and that upward swing continues because 2012′s poll saw them climb to #5 in the world!

We must say that it’s well-deserved recognition for all that they’ve done and the all the hard work that goes on behind the scenes because contrary to popular belief, running a nightclub this size isn’t a party folks. But as much as we’d like to thank them, the ever modest Zouk would like to thank you too! So head on to Zouk on the eve of Good Friday (Thursday, 5 April) to celebrate with the Zouk team and international guest DJ – Arno Cost! Cost will be making his highly-anticipated Singapore debut and best of all – it’ll cost you nothing! That’s right, the shindig is free entry for all, because that’s how much Zouk loves you. And since its also their big 21st Anniversary in April, they’re also offering free entry to Mambo Jambo every Wednesday in April!

Remember, 5 Is The Magic Number so party with Arno Cost at Zouk on Thursday, 5 April for free! Plus every Mambo Jambo in April is free too, so double bonus!

Best known for his  signature full-on white ensemble, German DJ and producer Roger Shah is impossible to miss. He’s brought his brand of Balearic trance all across the world to renowned clubs in Australia, Eastern Europe and the UK – and now, the the Magic Island man heads to our magic island to make his club debut at Zouk on 23 March. And lucky for us, we got to chill out with Roger just ahead of his Friday night showcase to get to know the Sunlounger a little better.

When did you realize that you had a talent for making music and how long before you made it your career?
I started to play the keyboard at the age of 12, and then later I was a keyboardist in a rock music cover band before I discovered my love for electronic dance music in the late ’80s and early-’90s. I started to DJ in 1993 and became a full-time producer in 1996.

How has traipsing around the globe been so far for you?
It’s like a dream come true. I’ve always wanted to do something like this. Playing my music to fans internationally is just amazing. All the traveling can be tiring sometimes but the moment I’m always excited about everything.

How would you describe your music to someone who’d never heard of you play?
On one hand, my music if kind of unique and on the other, it’s a fusion of styles and a wide range of sounds. My current album is the perfect example of my music, which goes from house to trance to classical orchestra and to rock-influenced songs.

What are you inspired by when producing/remixing a track?
A lot of things inspire me, like a nice natural surrounding, having a great time hanging out with people, a DJ set from one of my mates. Ideas just fly into my head especially when I work on my own music.

After getting praise from countless mags, legions of club-goers and van Buuren himself, what is your proudest achievement to date?
Getting to work with all my favourite singers! For example I’m such a huge fan of Moya Brennan who’s doing  so many big movie scores in Hollywood. I never thought that I would even receive an answer from her. To have the chance to work with all these amazing, well-known artists is the best achievement I can get as a producer, composer and artist.

How do you feel about your upcoming set at Zouk?
I feel very excited. I’m just happy to be there, because I know that I have a lot of followers in Singapore.

Tell us what we can expect from your show on March 23rd? Any surprises in store?
I did a lot of new remixes and some collaborations. So be open-minded and expect a wide range of sounds and a real journey through EDM. It’s all about dance music, so let’s dance and don’t think about all the sub-genres. They don’t exist anymore in 2012.

Roger Shah plays at Zouk on Friday, 23 March. We’ll see you there, yeah?

www.rogershah.net

Text: Ain Aziz
Interview courtesy of Zouk Management

Who could forget the amazing indie-dance sweat-fest that was Friendly Fires’ Fort Canning gig here last year? Good times! So we’re more than glad to welcome the boys back for round two. This time the St Albans standouts return with more material up their sleeves, fresh from their well-received sophomore album Pala, so expect twice the fun at their Avalon gig! We caught up with the fiery (not really) and friendly (yes, really) Jack Savidge just to give you a little primer for the awesomeness in store.

Welcome back to Singapore! What are your memories of your gig here last year?
I remember being blown away by the surrounding park. Some of the biggest, most Jurassic Park-esque foliage and trees I’ve ever seen in real life. The gig was good but fairly humid for us English flakes, and the gaps between the songs were beautifully punctuated by exotic birdsong.

What can we expect this time around?
Perhaps longer gaps between the songs to allow the birdsong to take a more prominent role. We’ll be doing the full headline show we’ve been playing around the UK, so expect bigger, brasher and more intense.

Did you guys hear SBTRKT’s cover of “Blue Cassette”? What did you think of it?
We loved it. Such an honour to have your song covered by your favourite band.

The band is inspired by both classic pop sensibilities and electronic dance music. Could you name some of you influences from both worlds?
I guess Superpitcher, Carl Craig, Talking Heads and the Bee Gees.

Since you have songs called “Hawaiian Air” and “Paris”, we do have ask, which one do you prefer?
Ed got to go to film the video there in Maui, and he’s saying “Hawaii by a long way”. Of the two I’ve only been to Paris, and Edd, ever the diplomat, is abstaining. I guess its 1-1.

Read the the full interview in our our April issue for Jack’s thoughts on making Pala and their forthcoming third album.

Friendly Fires perform at Avalon on March 16. Tickets are $58 (advance) and $70 (standard) and can be purchase via www.ticketbooth.com.sg

www.wearefriendlyfires.com

Text: Hidzir Junaini
Image and interview courtesy of: Untitled Entertainment

UK collective Will And The People have been touted as our generation’s answer to The Specials but the boys themselves wouldn’t go that far. They’re simply happy to keep you sweaty and smiling with their invigorating blend of reggae, pop, grunge, ska and house and four-to-the-floor. The cheery lads just recently released their new album Morning Sun and the band have taken to the road to spread the word. And since Singapore’s their next stop, we got in a quick chat with Will himself!

For those who don’t know, what does Will And The People sound like?
A train! (Laughs)

What can fans expect at your live show?
Crowd oneness, smiles, sweat, grooves, dancing and no trouble.

What’s been the most memorable gig that you’ve ever played?
We did a big one in a bathtub. In a house in Reading.

Could you tell us a bit about your new album Morning Sun?
We think it is a vibe, it is a start for us and we have lots more to deliver. The record is filled with quality songs, no gibberish.

What’s your mantra in life and music?
If you get into the flow, and are feeling it then you are definitely doing the right thing, so follow your passion I guess. Also, keep it light, even if you are in the dark.

What’s your favourite CD of all-time and why?
That’s an impossible question so I will say Morning Sun by Will and the People…because we made it! (Laughs)

You can catch Will And The People live  on 15th February at Timbre @ The Substation (8pm), 16th February on a Live Stream Show from (www.liveomusic.com) and 17th February at Beer Market, Clarke Quay (10pm).

www.willandthepeople.com
www.facebook.com/events/157555334355927

Text: Hidzir Junaini
Interview and image courtesy of: Figure8 Agency

Berlin can change your life, or at least that’s what happened to the boys behind Turmspringer. While Tim Brüggemann was brought up in the minimal underground, his production partner Robert Galic was initially a London boy with a renowned discography of jazzanova. And when Robert headed to Germany to finish his latest nu-jazz work, it would turn out to be his last endevaour within that genre. The Berlin scene enveloped him after chance encounter with Tim and a new soulfully funky techno duo was conceived. We spoke to Robert prior to their Berlin Meets Singapore set at Azzura about the influence of the city on their music.

How did you meet Tim and what made you decide to make music together?
I was still living in London and was invited to play in Berlin for a typical ‘90s backyard party. There I met Tim behind the turntables – hyper and totally hot to play. Instead of fighting about the next slot, we decided to play together back-to-back. This was the first touch… with more to follow.

To someone who hasn’t heard Turmspringer before, how would you describe your music?
Ass shakin’ mind blowin’ sh*t. (Laughs)

How much of an impact did the Berlin scene have on you both?
A lot. When I decided to move from London to Berlin, my idea was to finish there my album on Sonar Kollektiv. During this time I was regularly going out. Berlin’s best parties happened in the underground scene and the music that was typically played was techno and minimal. I was so electrified by this music; it was not easy finishing a nu jazz album at the same time… that’s for sure. Berlin changed everything for me!

Looking forward to it! And where do you see yourselves in five years?
Surrounded by nice people at a nice place with great music on a different planet.

Read the rest of this interview in the January issue of JUICE!

Rapture of the Deep and 28Black are the organisers of the Berlin Meets Singapore parties. And that only makes sense, since 28Black stands for high quality and lifestyle – the same ideals and visions that Rapture of the Deep is bringing to the table. Together, they aim to bring good music to Singapore and wahey, everyone wins!

www.myspace.com/turmspringer

Text: Hidzir Junanini
Image & interview courtesy of: Calidris

If you were to make a dubstep Mount Rushmore, Benga’s face would certainly be carved right there into a huge grimy mountain. As one of the first producers to nurture the genre, the Croydon producer (born Adegbenga Adejumo) has been at the forefront of the UK bass culture for some time now with his bruising basslines and low end tunes. Benga’s heading to Singapore soon (together with fellow pioneer Skream) so we took the chance to catch up with the Magnetic Man member prior to his Zirca sojourn.

Will this be your first trip here and how’d you guys get hooked up with the clubs?
I guess we’ve always wanted to do a run in this part of Asia, then the bookings came in we couldn’t say no! We’ve played Japan a few times and its gone down well, its been a long time coming!

Give us an idea of the mayhem to come. What’s the weirdest thing you’ve seen your fans do during a show?
I’m pretty weird myself so I’m unsure how to answer this question. One time the crowd in Amsterdam just decided to start running around in circles which was crazy!

What’s the craziest thing you’ve ever done at a show?
I got really excited at a recent show in New York and jumped on Sgt. Pokes’ back. It was a bit nuts as he had previously hurt his back. (Laughs)

What do you think it is about the dubstep sound and feel that’s made it so successful outside of the UK and, now, broaching into the mainstream?
I think there are many reasons, one of them is the rise of the Internet and all the social networking sites. Another is because of how ambitious and driven people are in the scene.

JUICE is proud to be the official magazine for Skream & Benga at Zirca.

Absolut & The Glenlivet present Skream & Benga at Zirca on Friday, 13 January. Admission is $20 (before 11pm) and $32 (after 11pm), inclusive of 2 drinks. Kiat & Brandon Tay (Syndicate) opens with a special audiovisual set.

www.benga.co.uk

Deerhoof has been around for nearly two decades but for some reason, the San Franciscan quartet always seem younger its vintage. The band isn’t in the habit of Madonna-style reinvention, but it is true that every single album over the 11-LP discography sounds radically different and displays stunning invention, culminating in the highly regarded Deerhoof vs. Evil. The band began with a noisier no wave aesthetic but over time, quirkier and sweeter elements have crept into their vibe. It isn’t so much a conscious process as much as it a by-product of personal growth, personnel changes and naturally improvisatory tendencies that’s made them so beloved. We got drummer and founder Greg Saunier to track Deerhoof’s tracks prior to their gig at UpToTheSky Festival.

Hi Deerhoof! How’s do you find Singapore so far?
By taxi! (Laughs) No, really it’s been fun; we’ve spent most of it catching bands at UpToTheSky here. We’ve caught almost all of it actually and it’s been amazing! Most of the bands today have been from Southeast Asia and one thing that struck us was how totally different they were from one another. Like that band, White Shoes and the Couples Company, that’s one cool concept band right there. I immediately wished that we could take the band on tour with us in America. You get a sense of how incredibly assured they are, like they knew what they wanted to be from the beginning.

High praise indeed! Was Deerhoof as assured in beginning, 17 years ago?
Well, we began with a totally different line-up; it was just me and some other guy. It was a duo. We were in another band, a grunge quartet that sounded like The Melvins. But the other two quit totally suddenly, without warning. They just called up and said, “We’re done.” Apparently they were going out for years and they broke up so they couldn’t be in the same room together. So Deerhoof was a happy accident, we formed it as a replacement. The way we started, it was all wild, extreme noise and the singing was all just screaming and stuff. But it’s obviously different now.

And being together for so long, does it make it easier or harder to make new music together?
Honestly, it doesn’t feel like an old band. I think it feels a little bit like a new band. I haven’t been in another band, so I have no point of comparison but what I can say is that for this band at least, it never gets easy. It’s never just smooth and we never settle into one style or groove. I guess we’ve never figured out how to really play together, but it may be good thing because it keeps us sounding different and going in different directions when writing.

Read the rest of the interview in the January 2012 issue of JUICE!

deerhoof.killrockstars.com

Text: Hidzir Junaini
Photography: Hong Wei Loong
Interview and photo-op courtesy of: Figure8 Agency