Mamson, is a french house and hip/hop dancer. As an artist, you should approach and display your talents with such finesse, and complex style. Music frees your mind and speaks through your body. Let us not forget what dance music is all about. Dancing, truly an art. Let’s see America’s Best Dance Crew top this….. and play house.
There’s more videos of Mamson, here’s a good battle video worth checking out.
Stephan Doitschinoff’s is Calma, a Brazilian painter. Growing up as a son of a minister, he paints faith and the profane in a quest to paint a city with visual vocabulary of religious art. The work speaks for itself, his process and journey speaks from a part of the world that doesn’t have the voice me and you are used to.
His works comprise of spiritual paintings and murals emblazoned on houses, churches, tombstones and walls in rural villages in his South America. His metaphoric imagery feeds off Afro-Brazilian folklore, pagan and alchemic symbolism and contemporary pop culture. His imagery in one particular chapel doesn’t exploit or hurt the sensibility of faith in the community.
The artist says, “I personally see the church as an archaic institution that always aimed to control the masses. I think it is an appropriate symbol for corrupt modern institutions like big corporations, media channels, and governments.”
We found a young duo from Macerata, Italy, called Autistic. The Italians have a good sound, similar in taste, punchy and defined we would like to share their sound with you. To name a few: Italo Business, 303Lovers, Stereo Seven Records, Dandi & Ugo, Marshall, Libex, Jova, Piatto, Alex Kenji, Tractor Records, Hot Fingers and more.
Autistic is Stefano Valentini & Marco Massucci.
VM: How did you come up with the name “Autistic”?
A: The name was created in a strange situation, (better not to dicuss) then it seemed to be catchy name, so it stuck.
VM: You are young producers in electronic music. What got you interested in it?
A: We started djing first about 10 years old. Like most kids out here, our music is dance music, old techno, groovy & hard kicks, definitely makes us all happy.
VM: Describe what you like to hear in sound.
A: We really like vocals, in the last few months, strange melodies, various grooves with lots of rhythm.
VM: What software do you use?
A: We use logic 8.
VM: How do you approach each track you produce?
A: We approach and search for something new with each track, when we have found it, we start to think of the rest of the track. Cigarettes, bubble gum, and sandwiches helps. 
4) Explain the Italian sound? 303Lovers, Stereo Seven, Italo Business, etc…
A: Each of these labels has a different side to them, they are all open to new artists, in fact in the last couple of months their style has varied. In Italy, there are only a few people that keep a high standard of the Italian sound, many artists use the same sound which becomes boring, like anything overused. We really respect Alex Kenji, Sara Galli, Marshall from 303lovers, Bertolini, Spartaque from Stereo Seven, there are so many talented artists, so many.
VM: Which of you tracks gets the best reaction from crowds at a party?
A: The one that gets best reaction is always Muse Ottuse” people like the powerful melody of the song.
VM: Do you have any hobbies outside of music?
A: Yes, we do but sometimes we spend too much time on music and we forget that there is a life outside the studio.
VM: What particular styles gets people moving in the clubs you play?
A: Marco really likes “kanio”, which is what people want, it’s easy to dance to and very rhythmic. Stefano likes “butch” which means less easy to dance to, we respect Stefano because his music is really difficult to make….good melodies…and a groove perfect for those melodies.
VM: Macerata, Italy is your hometown, a medieval historic country, if you guys were living back in old times what would be your profession?
A: We would like to be 2 solitary musicians along the road in the countryside, playing only with a guitar and a percussion.
Look out for their upcoming tracks: Indian Snake, Minimal Polizei with Kanio, Remixes with Steve Nocerino on Airbus.
Autistic 2009 Mix
[audio:http://www.visaomedia.com/audio/autistic_marzo2009_live.mp3]
Instructing at design and art schools, like most courses we include the ever so crafty process manual, that explains your thoughts and process of projects throughout the course. Time to time we get a chance to see creative talents unfold or skill sets practiced. One of our students, Jon Trujillo, created numerous works. Trujillo showcased nice typographic choices, simplistic ideas and great craft. Jon would discuss his conceptual ideas with us before he attempted any objective. See images: Process Manual, printed on book cover and hand bound. Constructivism poster and letterform studies to come as soon as he sends me the PDFs.
Slam & Mauro Picotto
With all the new media popping up, we would like to recognize the original king of dance club media, DanceTrippn TV. Our good friend and owner, Will Johnston has been running this operation for nearly 10 years now. Their site has some of the best recorded sets from Ibiza’s Privilege, Amnesia, Bora Bora and many more. Their site has interviews, a new blog, youtube channel and you can also get their channel on your TV, the party(really) is at your house. Enjoy these featured videos and interview with DanceTrippn TV.
Richie Hawtin
VM: Can you tell us about how DanceTrippin started?
WJ: I used to go out all the time, and would always be up really late, sleepless afterwards…missing the music and party and wanting it to just continue forever, mind racing with crazy ideas. This one kept coming back to me over and over again, and eventually I thought “Lets try it”.
VM: Where are you from and how did you come to Ibiza?
WJ: I grew up near Washington D.C. and went to school in Miami, before starting my travels around Europe and getting (mostly) stuck in Amsterdam, which used to have an amazing club scene. I had heard of Ibiza from a friend in Miami (back then almost nobody knew of it back in the states) and it all sounded like some kind of fairy tale… like a mecca for party people. I had to go check it out.
VM: DTv has awesome videos, whats the approach(philosophy) for creating quality visual/audio entertainment?
WJ: Its really great to hear when people appreciate and understand what we’re doing. To be honest it took a long time to really start to get that reaction on a broader scale. For years, most people in the dance music industry were pretty dismissive of what we were doing. Now, I think people (and the industry) are really starting to get it.
Anyways, to answer your question, whatever we make has to be totally legitimate content that true music die hards would appreciate, but also enjoyable for the casual viewers who just like the music and vibe of the party. Our focus is really about the music, vibe of the parties, and performance of the artists… not talking heads or presenters trying to come up with something interesting to say.
VM: What has been the biggest obstacles?
WJ: Lack of a business model!, but times have changed, the market has really developed, and I think things are going to get a lot easier and more enjoyable quite soon.
VM: Crazy Ibiza story?
WJ: Yeah I know, it’s a typical cop out, but its not really repeatable here.
VM: Advice for all the new dance media sites popping up?
WJ: IF I could go back 9 years ago, and see the state of myself (and DanceTrippin) 5 years into the future (so 4 years ago) i would be scared shitless to go down that route again. Its been a difficult trip, so I guess my advice is don’t start your own media business unless you really enjoy it, and can deal with the very good chance that you wont succeed. Aside from that, PERSEVERENCE is really important, Its very unlikely to be easy. and maybe most importantly, make sure your product is very good, and unique. finally i would say, if you really enjoy the dance music scene, you’re probably better off experiencing it as a clubber.
VM: What’s you next step for DanceTrippnTV?
WJ: Well, in terms of the content, we’re just going to keep doing what we do, but bring a lot more of it. Look out for DanceTrippin on cable and satellite. I think it wont be too much longer.
VM: What’s Ibiza like these days?
WJ: To be honest, somewhat less exciting than it was 10 years ago, but more exciting than almost anywhere else on earth if you are a real electronic dance music lover. Unfortunately, the powers that be are doing their best job to suck the life out of the place, but thats pretty much the same story everywhere isn’t it? I say, enjoy it while you still can… and if we’re lucky that will be quite some time to come.
VM: Recording live sets with video, must have its hurdles. Some DJs may not want to be recorded, how do you approach or decide who’s or where’s the next episode on DanceTrippin TV?
WJ: We speak directly to the artist or management. A lot of them don’t like this in general, but we’ve been doing it awhile and people know our reputation and this makes it easier nowadays. We wont use it if the artist isn’t happy with it.
Up next is Laidback Luke!
Will Johnston
Here’s a recent work by our very own Alex R. Trujillo. Alex says he used a calligraphy pen with a fat nip tip, india ink and painted laying the canvas down to prevent drips. Alex strives to do something new and refreshing each time. Alex should stop going out so much and do more ART!!
Alex works as our designer here in Sacramento, raised in Vacaville, California.
VJs Artists: Jesse Lucas and Erwan Raguenes
Location: Rennes, Bretagne – France
We asked SATI do an exclusive V-ROC for us and they came up with The Right Track, a post Christmas concept of material items……read on.
VM: We are fascinated by your ongoing works and experiments in audiovisual. Your musical concepts and animation performance is entertaining visitors and guests at various exhibits. You have explained before that you like to create a very interesting feeling from blurring the boundaries between sound and image, and love to do just that (especially on stage). As musical artists and visual designers we can appreciate the use of type, composition, panning, camera views and analog synths used to create such pieces.
SO tell us, how did you come up with the name Sati? What have the last two years been like for you two?
SATI: The name SATI is borrowed from the French classical composer Erik Satie. We love his music and although it may surprise many we share a lot with it. He had a sense of simplicity and his works are often oneiric. We like to keep it simple, less is often more ! That is why we settled for a short and musical name.
SATI will be celebrating its two years birthday in march so you can imagine these last 2 years have been great. We’ve written nearly 30 songs, many have been left along the way as we were looking for our style. We’ve create several videos and played in various venues and festivals. We met many interesting people along the way and learned a lot on the creative process. Erwan quit is day job to focus on music and I’ve started to work on interactive installations such as “The machine”.
The VJing scene in France is really about discovering new talents. Many visual artists are choosing this medium as a way to showcase there work. As time goes by I’m realizing that VJing isn’t really an art form itself. Film making, graphic design, photography are art forms, theses art forms can be past on to the audience through VJing. This medium might not change the entertainment industry. But people are loosing track of the preciousness of creation through the overload of choice offered by the digital revolution. VJing and live performance are unique, and happen in one place, on one date. I’m sure the audience is going to get bored by their 5 inch Iphone screen and prefer the real thing.
VM: Tell us about the video The Right Target, what is the message? Mental process and approach?
SATI: This is the typical post Christmas video. Its about our dreams in this material world. What do we really want? Which goals have we set ourselves for this year to come? Are theses goals the right ones?
The mental process was very straight forward. The track started as a drum loop composed on the Elektron Machinedrum in bed with a flu! This loop was then transformed into an audiovisual sequence through the use of custom software written in Quartz composer. The graphical design of the sequence resembled a target and that triggered the idea for the video. I’m sure the idea was latent and resurfaced naturally.
VM: How long does a video like The Right Target and Pic Vert Attack take?
SATI: If we’re inspired the music will take a day. Unfortunately, not all days are struck by inspiration. And it is often necessary to look back at a track to take it further. The video style will take another day to find. Its like pulling string from a ball of wool, once you’ve found the right string keep following it ! Once the spirit of the video is decided it takes 2 days to a week to create. All together we work at least a week on every audiovisual track.
VM: You have done several installation exhibits, one called The Machine, tell us whats going on in this installation? What reactions did you get from the audience?
SATI: “The Machine” is a black box containing a magic mirror. People enter the box and use their bodies to paint on the screen followed by an ambient soundtrack. But the machine is capricious and takes the audience by surprise. Changing the way it reacts to their bodies. The audiovisual experience ends up in club style, with the flashing of the stroboscope on every back beat. Finally, the machine ends up dying in an sonic mess.
People love the machine. Its a timed installation, the audience often queue to get in. And that is all part of the experience, not knowing exactly what happens inside. Its also a place to liberate yourself and play with your body. Its very funny to see how people react depending on their social status our age group. Some go completely wild, few stay motionless and just don’t get it I suppose!
VM: For your live performance, what type of visual clips are you triggering?
SATI: We use modul8 loaded with quicktime movies at near HD resolution. A lot of audiovisual precise syncing goes on in the studio. But on stage we keep the audio on Ableton Live and the final loops in modul8 are re- trigged every other bar by midi information sent by Ableton Live to modul8. This technique enables us to play live the sound and image and also keep it tight and synced.
VM: You commented in your interview with Accentfeed, as do motion graphics, new artists are bringing the pixels out of the screens, what do you mean by bringing the pixels out?
SATI: I mean creating real physical spaces using graphic design concepts and video. I’m thinking of the work of the “United Visual Artists” with led screens or the mapping techniques used by our friends “AntiVJ”. Architecture is joining motion graphics and so the pixels are brought out of the screen. To a certain extent the “Machine” is also part of this movement. We are able to physically walk our way trough an audiovisual experience.
VM: Random movement of many particles, how do you trigger the animation for so many elements at once? (duplicated loops+programming?) What are you using to pan around in a 3D environment?
SATI: A use a variety of techniques to create the videos. And I love random and natural movements. So I use code very often to create simple elements that I bring back into After effect for further tweaking. I’m not a good coder but I have ideas and the environments are simpler now for visual artists to start coding. I use Quartz composer and processing for most of my work. The 3D work is either done directly in quartz composer, or using cinema 4D. The particles are created with the excellent Trapcode plugins.
VM: SATIs online videos look awesome, what compression and formats do you upload to keep graphics and audio high quality for screen?
SATI: We like to keep the best quality in our works. This is done through out all the creation process. The final export is done using the H.264 codec (video) and AAC codec (sound). We’ve decided to only use Vimeo also because of the excellent encoding quality of the site.
VM: From your education and self-taught experiences what holds to be the most important underlying influence in what you are doing now?
SATI: I’d say its the environment we’re living in. The people around us, the sea, nature and the urban lifestyle.
VM: Is this your day jobs for both of you? What happens to be your pet peeves in the working environments?
SATI: Yes, its our day job. I used to enjoy having a day job. But I just couldn’t accept to share my time between the day job and the artistic process. I love to have a flexible timetable. Even its hard do deal with most of the time!
VM: How do you both disconnect from your busy electronic atmosphere?
SATI: Nature, nature, nature. Most of the time its the beautiful wild coastline of Brittany (on the west part of France). It as inspired many songs and it is featured in our live set. We’ll soon post a video dedicated to it.
VM: What minimal artists do you admire for their approach and representation in music and art?
SATI: Alva Noto and Ryuichi Sakamoto, the AntiVJ crew, The United Visual Artists, Yro Yto, Robert Hodgin, Erik Natzke, Stanley Kubrick.
SATI: This is a photo of Rick the Cube sitting on my monitor speaker in the studio. Its the rough version of the main character in an audiovisual road-trip we’re creating. Its called “The odyssey of Rick the Cube”, and the show will be aimed at kids but adults will have fun too! More on that soon.
Over years of searching, discovering and listening to music, I recently took it upon myself to find some serious dance tracks for a small little gig I have right now. I first heard about this guy with my interview with Danny Tenaglia who gave me the dance music history lesson, one on one. One of those people, he discussed was Lawrence Philpot, aka Larry Levan, legendary disc jockey of the Paradise Garage, record producer and remixer. So, I thought I would share to you who he is with some Tribute Tracks:
Overcome – Flora Cruz (Phil Hootons, Mel Cheren – Larry Levan Tribute Vocal)
[audio:http://www.visaomedia.com/audio/Overcome (Phil Hootons Mel Cheren Larry Levan Tribute Vocal).mp3]
We Got The Funk – Positive Force (Remastered 12 U S Re-edit Version)
[audio:05 – We Got The Funk (Remastered 12 U S Re-edit Version).mp3]
Work That Body – Taana Gardner (Club Version)
[audio:07 – Work That Body (Club Version).mp3]
Pablo Alfieri, is an Argentinian graphic artist who’s Playful interpretation for his love of design has grown into a personal gallery for his poster and printed works. This 3D typographer uses geometric shapes suspended in space with lush color, bursts of energy and soft to edgy color gradient fades and solid fills. Alfieri has been featured in ComputerArts UK Magazine.
You can check out his Flickr photostream here.
Today, being high tech means delivering the newest and freshest gear ALL the time. One person, we can definitely say is all high tech, is the American Producer, DJ, Sound Engineer, Adam Freemer(AF). Freemer has been producing/remixing/DJing for nearly 15 years, with billboard hits on Twisted Records(U.S.) and TKC Music. He has continued support from underground DJs such as Danny Tenaglia, Victor Calderone, DJ Vibe, John Digweed, Danny Howells and Tom “Superchumbo” Stephan to name just a few. Adam has worked on and engineered some of the world’s best sounding nightclub systems. Freemer’s involvement in club audio goes further than just a system. His philosophy on sound is defined like an art form. As technology expands, his ability to make any venue an enjoyable and memorable experience for any club-goer remains untouchable. Adam shares his philosophy on sound, his involvement with “G” Philadelphia and his new label, MECHA RECORDINGS in this exclusive interview.
VM: Adam, like most of us growing up in the golden era of the 80’s tell us a little about growing up. How do you define your best childhood memories?
Adam: Yes!, the 80’s was a great time!! I was a huge video game and computer geek growing up. Atari was my tech of choice and hmm, let me see, I started with an Atari 2600 game console, and went on to have an Atari 800, 800XL and finally a 520ST with a whole 2 megs of RAM (upgraded of course)! It’s amazing thinking back how far computers have come along. Interestingly enough, my 520ST was the first computer to have built in MIDI ports/support (circa 1985) and the 520ST was what peaked my curiosity about electronic music, synthesis, music production, etc. I got my first MIDI editor on my 520ST and started playing around with the primitive synthesizer software they had back then, and picked up my first keyboard, a Casio CZ-230S and that kept me occupied for hours on end.
One of my best memories of that era was my best friend, who was also named Adam, whom was also an Atari computer nerd like me. We spent a lot of time together growing up and playing around with computer stuff, video games, etc. The memories became especially important when a few years ago I found out, after losing touch with Adam for several years, he passed away.
Besides playing on the computer, I really remember a lot of classic 80’s movies with which I identify with. Ferris Bueller, War Games, Back To The Future, etc. It definitely was simpler times back then, if I dare say, a much more “fun” time to live in.
VM: You have an Engineering and Pro Sound background, which has certainly helped in your career. An example of your sound system and video engineering capabilities is the system at “G” in Philadelphia. What do you have going on over there?
Adam: “G“ was a project that literally fell into my lap after a manufacturer rep friend of mine in the industry, got this job passed to him, and felt I (and my company) would be the best to take on the project. After spending a great deal of time with the owner of the club, I helped guide him and educate him on the sound and video for this new venue. The owner had his vision, and I just kind of ran with it and came up with the design for the audio and visual systems in the club. It was very challenging and unlike anything I’ve ever done before, as G is a real hodge podge of analog, digital, hi-fi and multi-zone audio technology, all wrapped up in one project.
The owner wanted to be able to take his venue, split it into different sections and have multiple dj booths and sources that could be reconfigured on the fly in a simple manner. Also, the main dance area was required to have very high fidelity sound, which is typically a contradiction with digital matrix audio routing designs. Without getting into the nitty gritty (here’s a link to the actual details of the design: HIGHTECH HOTSPOT ARTICLE), in the end, I pulled from what I knew, which was combining traditional analog nightclub technology that us “big nyc system” club types like to see in a club, with modern digital technology to take care of the technological challenges. It worked out well, and G is the hottest lounge in Philadelphia right now. I’m especially proud of the fidelity there, which to me, is so important. You can listen to a dance record, or even something like a jazz or 80’s record, and it sounds great and doesn’t hurt your ears, even over an extended listening period. To me, that’s at the core of my philosophy based on my years as a clubber, if it doesn’t hurt your ears, its good sound.
VM: What philosophies do you believe in when it comes to sound?
Adam: Well I should read ahead a bit I guess?! However, to continue where I left off from the last question, the core of my philosophy is being able to listen to a system for hours on end and not be fatigued. It was always a simple concept to me. If the sound is hurting your ears, your ears get fatigued. If your ears get fatigued, you physically feel fatigued. When you feel fatigued, you leave the club. It never made sense to have a system so obnoxiously loud where the patron would want to leave.
I also believe in a statement drilled into my head during college “KISS”, or KEEP IT SIMPLE, STUPID! If you don’t have to make something complicated, don’t. Sometimes the simplest solution is the best. As much as I love analog technology, sometimes digital makes sense as well, when you can reduce devices in a signal chain. Less devices means lower signal loss and less chances of a component failing.
Shorty (Craig Barnabeu) my friends from China, Dave K and Eddie Nesh, and myself. It was during the end of a month long installation of the sound system at G-Spot in Shanghai, an amazing experience.
I could not talk about my pro-sound background without mentioning Shorty (Systems By Shorty, Craig Barnabeu) as I learned a great deal from him and admire his work ethics and amazing knowledge of nightclub audio. Shorty has a lot of admiration for the famed sound engineer Richard Long, whom I admire as well. Being that club sound goes so hand-in-hand with the music that plays through the speakers, I’ve always felt that it all connects and knowing my way around the studio as well as the systems in a club, can only be helpful.
VM: Mecha Recordings, is your new record label. We notice you are starting with a talented and diversified group.
1) Toby Dreher – “Sommertag im Neissetal EP” ……brilliant artist.
2) Exit 59 – “Disco” Remixes by: D-Formation, Toby Dreher, Roman S and Costanzo & Vukas….getting A LOT of play time on the PULSE in NYC.
3) Syntec & Quick – “Small Room EP” ……an amazing minimal tech duo.
Tell us a little about Mecha Recordings, the direction and who can we expect on the fourth release……
Adam: “Mecha” was a name I had just floating around for a long time as a possible label name. Originally the idea popped into my head after watching the Steven Spielberg movie: A.I. which moved me quite a bit (I’m a sci-fi junkie). Mecha was a term thrown around in the movie meaning mechanical, not of the Earth, but based on living things. To me it was an interesting term, and I’ve always produced music which I felt was partly organic in nature, having drums, traditional instrument sounds, etc, but combined with synthetic sounds, from synthesizers, etc. So the phrase “Mecha, not of this Earth” came together as the statement for the label. The Mecha symbol is Japanese for Earth or soil. So Mecha below, Earth above, not of this Earth. A little too far off on a tangent here, but I just thought I’d explain my thoughts.
The label was born when one of my best friends, Sergio Caetano and I sat down and really brainstormed the whole label concept and what we envisioned. While in the brainstorming phase, my long time friend, Mike Constantini came into the picture because of his amazing knack to find great artists and music. All 3 of us are very close in style musically, so with Mike on board as A&R, the stage seemed set to move forward. The three of us were “molded” musically by our long nights listening to Danny Tenaglia in the 90’s/early 00’s era, and one thing we all agreed on was to not limit the label to any one style. All of us acknowledged that there are so many labels these days and the last thing we wanted was another label just releasing random material of one genre. Our concept was to release music that covered all the genres that we liked. Whether it be minimal, progressive, techy or even more commercial, we wanted to create a label that could release music with no boundaries. And to take it further, have releases that reflected many different genres, all in one package. Our first few release we feel really reflect that, especially with Disco, a commercial track by any measure, but with remixes covering a whole gamut of sounds and styles.
As far as our fourth release, that’s still under wraps at this point. We have about 6-8 releases scheduled, but we’re just trying to determine the best release order. One thing we want to do is keep people anticipating the next release by mixing it up. Our first release, Toby Dreher’s EP is a definite minimal techno styled sound. Our second a more commercial / mixed sound, etc, etc. Upcoming after release 3 is an amazing deep house original vocal track that will be featuring soon to be determined remixes as well as a single I’m working on with Alan T that will be co-released with Sessions recordings out of Japan, the in-house label/promotion company that works with Womb, Tokyo.
VM: You have been based in Philadelphia, will this be the base for Mecha with international artists?
Adam: We consider Mecha an American based label with Sergio and I currently residing in Philadelphia. However, with Mike located in South Korea, it definitely gives Mecha an International flavor. Overall the 3 of us consider Mecha an American label with what we would consider to be a global sound.
VM: You seem to be 50/50 with production and DJing at the moment, do you see this changing soon? If so why?
Adam: Well, that has definitely changed! Now it’s 33% DJ’ing, 33% production and 33% label business! haa! When we started talking about the label, I knew part of my duties would be working the artists and remixers on developing tracks to what we were looking for, mastering, helping with production, etc. Also I’ve taken on quite a bit of the technical aspects from developing the website, myspace page, etc, as well. It’s definitely very time consuming.
However, from the standpoint of what I do best or like to do, I really like dj’ing and making music / production equally. And in this day and age of your music being your promotional vehicle, I feel it’s important to keep your production release schedule as consistent as possible.
VM: You have been playing around the world, met a lot of talented producers and djs. How do you see America ‘s role in dance music. Past to present.
Adam: I’ve always believed that America, specifically New York, was the center of dance, or more specifically, house music. The point is, New York / America is the roots from which dance music has sprung, but at this point, with the internet and instant access to anything and anyone, the scene has truly globalized. One downfall of the U.S. is its quest for commercialism and greed. MTV and the push of a type of brandable and marketable music (Hip Hop, Pop, whatever you want to call it) has destroyed a great deal of dance culture in the U.S.. We never had a culture quite as strong as the European dance scene, but the little we did have, seems to have withered into a poor state.
Over the last 10 years I’ve watched an amazing underground scene in New York give birth to the current commercial scene where it seems most clubbers go out to do their naughty little things and just be out. It’s so much less about the music it seems these days, unfortunately. I think the core is still there and there are great clubs such as Cielo, Love, etc, and many say it all works in cycles. I hope in a few years it all comes around again, who knows!
Visao Media would like to thank Sergio Caetano, Mike Constantini and especially Adam Freemer. We can’t wait to hear what comes from Mecha Recordings!!