Incoming on the FITT radar are fresh local duo from the streets of Adelaide known as Riffie!

The pair consisting of Matt Klose and Mike Wills have put together a promising start to their producing journey. Already dipping their toes in the wonders of bass, house and deep house these two have a bright future ahead.  Their first release a remix of Pleasurekraft’s ‘Tarantula’ boasted a respectable collaboration with one half of the legendary party-starters Loot & Plunder’s Xavier Roberts! And to keep the ball rolling Riffie have recently put together a sweet edit of Rudimental‘s ‘Spoons‘ that will be sure to get a good rinse. Play, download and dance!

[Free Download]

Be sure to keep an eye peeled for Riffie; we heard on the grape-vine that these dudes have some serious heat planned for the near future. Word.

We have always been diggin’ anything that the dudes behind Yale produce and I won’t be surprised if this single really pops their bubble and puts them right into the spotlight, it’s that good.

Deemed to be the new sound of disco of the modern era, Yale have hit that punchy, up-lifting funk with a chorus that will just simply piss you off, these vocals won’t leave your head. ‘No One Else Knows’ instantly puts a swaying head-bop in motion that once you listen you’ll probably forget what you were about to do.

If you like the sound of types such as Miami Horror, Pheonix, Holy Ghost etc. then you probably already know what Yale are about, but in case you haven’t, climb aboard this bandwagon, I insist.

Have we got an absolute treat for you today? All the way from Australia’s equivalent to a home for coke whores and mindless gambling (BrisVegas that is, what is with this nation and ridiculous city puns?), Flex Cop has spun together an hour long mix of the dreamiest nu-disco and lucid deep house we’ve heard in a long time. Making his Adelaide debut tomorrow night for Wild Things, this is one dood we advise you don’t miss. Forget the weather; we’re dancing.

FITT: We first heard of you from pals Yale (who kickstart your exclusive mix below incidentally), tell us who is Flex Cop and what scene are you emerging from?

FC: I’m mates with Mark from Yale yeah, funny story actually. I was on YouTube looking up tutorials on how to make bass traps for my studio and came across Mark’s video. I heard his aussie accent and and checked his profile to find out he was in Brisbane. I got in touch with him and we’ve been mates since, that reminds me actually, i owe him money for pizza.

Flex Cop is definitely a product of my affinity for nu-disco and deep house. I’ve always loved 60′s funk as well as dance music so it seemed like a perfect blend. I remember when Miami Horror brought out their ‘Bravado‘ EP, thats when I was like ‘yeah, I want to write that shit‘. Of course since then my direction has changed somewhat, definitely taking in all the sounds from the Diynamic crew (Solomun, David August, Stimming etc). Releasing on Diynamic is one of the things I need to achieve one day.

FITT: Your latest tune ‘My Honeys’ is a real treat; how did that all come together and why did you choose that sample?

FC: Thanks man, it was really fun writing that track. I basically started with the acapella and worked backwards from there. Once I layered the chord progression underneath the vocal I knew I was on to something and was super excited, the rest of the track came together pretty quickly after that. I had been listening to a lot of Karmon at the time so I’m sure you can hear that a bit, at least in the drum production. As for the sample it’s super catchy and somehow stuck with me over the years. It was always on my ‘to sample‘ list so now seemed like the right time with R&B samples being the thing of the moment.

FITT: Do you think living in Brisbane, especially in the summer, influences that relaxed nu-disco vibe in your tracks?

FC: I think it does a bit, yeah. Especially when I’m in the studio during the day, you’ve got this gorgeous sunlight coming through the windows, it’s hard to write dark techno. My ideal gig which would be a sunset beach party type thing at Ibiza or BPM Festival, I like to write music with that image in mind.

FITT: You have three different aliases, most notably Flex Cop and Protokol, what’s the reason behind that?

FC: I’ve squandered an unconscionable amount time debating the decision to split aliases. In the end it’s great to have a sound that is broad and encompasses some variety, but you have to draw the line somewhere. My Protokol SoundCloud account was getting a bit crazy at one point, there was no consistency in the sound and no direction. It was like future beat – nu disco – deep house – hiphop – experimental, purely from a pragmatic perspective it needed order. If a listener would land on my page looking for future beat (Flume‘ish) stuff you don’t want the first song for them to hear to be deep house, so yeah Flex Cop was born. And no there is no story to the name, its completely random.

FITT: Do you think having three different aliases allows for more creativity within each personalities genre?

FC: Ever since creating Flex Cop I’ve had much more direction for both projects. Protokol gets to fully tap into my hip-hop roots now and really explores this ‘no holds barred’ future beat/LA bass movement. It’s been so much fun getting really experimental with sounds and production techniques. Flex Cop can now focus on nu-disco/deep house whilst my 3rd project isn’t really a proper project at all, its just where I throw all my soundtrack’s sounding experimental stuff… one day I’ll score a movie, that is certain.

FITT: Which moniker do you prefer producing under? Carn, there must be one?

FC: As far as faves go, you’re really asking me to pick my favourite child. I guess it’s in phases, sometimes I’ll be loving writing fucked up Protokol beats with nearly no discernible BPM, other times I just can’t get enough of my deep rolling grooves and funk with Flex Cop. It also depends on what I’m listening to at the time.

FITT: You’re a pretty prolific guy, posting online a flurry of tunes; where do you draw your inspiration from and what tips would you give to stay focused and get these ideas finished?

FC: I’ve actually had to tame down what I post on my SoundCloud, I used to upload song ideas to see what people were vibin’ but I think that can come across unprofessional and watered down the final product. Now I’m sticking to just uploading concrete releases.

As far as keeping inspired goes, I try to listen to a wide range of music from classical to jazz to dub techno. If you’re running dry creatively listening to something different often gets you to think outside the box. Other times I just need to power through a creative block, mindlessly twiddling with knobs and experimenting til’ something sticks.

FITT: Do you think Daft Punk releasing a disco/funk record will help push Flex Cop and other dudes in the same field into the spotlight?

FC: I think it certainly could yeah. I think some people look at nu-disco as just another fad so at the very least their album could bolster the genre a bit and give it some longevity. I guess it’s too early to tell what the album will do to the scene, but it certainly is a fantastic album. I keep telling people it really could pass for a new AIR album, maybe with a touch of Royksopp (highest of compliments in my book).

FITT: Any cool stuff coming up you wanna’ tell us about, I see a new EP in the pipeline?

FC: Definitely, there’s a couple of releases that are just about wrapped up that I’m itching to get out. First up is an EP on Cream Couture Records titled ‘Headed Home‘. It’s a real ‘hands in the air‘ summer release with all round good vibes so we’re hoping to release in time for Ibiza summer. It features Stee Downes on 3 tracks who completely captures the vibe I was going for, I’m still stoked he agreed to feature on the whole EP. He’s probably best known for this feature on the stunning track Lovebirds – ‘Want You In My Soul‘.

After that I’ve got another EP this time featuring the one and only Cari Golden (Fur Coat – ‘You & I‘). She is an absolute lyrical genius and has a such a great voice. I just got the vocals back from her last week and I’ve never heard her open her voice up this much on a track, totally blown away. That release is actually a full 180 and is much darker, should hopefully take some people by surprise after ‘Headed Home‘.

I’ve also got a remix coming out on Lucid Dreaming Records for Kakes‘ track ‘Surrender‘ (last track on the exclusive mix below).

FITT: This is your first time playing in Adelaide correct? Do you have anything planned in terms of your set?

FC: First time in RADelaide yes, very pumped. Ive got a bunch of tracks I’m vibing at the moment which will definitely come out at some point, as well as heap of Flex Cop releases and some unreleased tracks that I’m working on.

FITT: Ta’ for the chat my friend, we’ll see you for Wild Things.

FC: Looking forward to dropping some good vibes tomorrow night guys.
Cheers,
P.

Menagerie is a young man with truly the world at his feet. Finding inspiration in the deepest and darkest spaces Adelaide has to offer cometh a collection of bass-heavy, warbled-folk electronica jams wobbly enough to knock David Duchovny from sci-fi mentalist to middle-aged playboy.

Since taking the plunge and signing with equally reputable Adelaide-based label Pilot Records, his debut EP ‘Shapes Have Passed‘ has reared it’s head again, thankfully and not a second too soon. Flirting with experimental sounds usually confined to bedrooms rather than night clubs, we collectively embrace the many forward-thinking beat-makers surfacing from the rubble of past EDM fads and outdated lyricists, much like this triple j hyped producer has.

If the first thing you did since pressing play wasn’t downloading the record then I suggest re-evaluating your decision making. It’s free. It’s beautiful. Get it.

FITT: Hey man, thanks for talking with us today. We’ll start things off with an interesting one. A quick Google search reveals that Menagerie’s dictionary meaning is ‘a collection of wild or unusual animals, especially for exhibition’. So we’re curious, how did this name come about? And does the meaning reflect on the type of music you?re making?

MNG: That’s correct. I always liked animal band names, so I thought, “why not have them all?”
There is a lot of contrasting stuff going on in some of my music, so it feels pretty applicable descriptor.

FITT: We heard along the grapevine that you’re a self-taught producer/multi-instrumentalist. What instruments can you play and when did you start producing?

MNG: I started playing bass as a kid, perhaps around 12 years. Having always wanted to get my hands on something new and interesting, I’ve drifted between instruments, but generally sticking to the quintessential bass, guitar, drums and keyboards. Beginning spending more time producing, I came to appreciate less well known instruments, and how they could radically expand my musical approach. From there, I ventured towards less traditional instruments such as flugelhorn, flute, button-accordion and double bass, using these instruments to create more unique soundscapes.

FITT: It’s good to see things happening in Adelaide! How have you found being signed to Pilot Records? Are you expecting a decent response to the re-issue of your EP ‘Shapes Have Passed’?

MNG: I love having people like Pilot Records around, working hard at showing what Adelaide has to offer. They do an excellent job of pushing me out into the musical world. In regards to the re-issue; If more people get to hear my music, then that is great. If they enjoy it, even better!

FITT: We’re pretty pumped for the release party @ Wild Things. What can we expect from your set? Do you do any live shows?

MNG: Who knows.. a lazer light show and super fast X-Files dance mixes. In the future I want the music to be played live, but that is proving super tricky.

FITT: You were selected by Triple J Unearthed and Gotye to attend song writing courses in Sydney. What was that experience like? Did you get to meet Gotye himself?

MNG: It was fun meeting Gotye and getting to talk music. He really likes Sufjan Stevens, apparently. The rest of the festival was pretty blasé. Too much “industry” talk. I could never imagine being someone who paid $300 to go. That much money is far better spent on synthesisers.

FITT: And finally, what lays ahead for the future of Menagerie? Big plans?

MNG: I’m recording a lot of music, and reading many good books. So, within six months, I aim to have finished all the books and have another album out and be touring Australia and Europe. I wonder if they have clubs in Prague?

I know what you’re thinking, and Wild Things is the answer. May 16th (tomorrow night for those in real time) at Rocket Bar is all you need to know. Not convinced? Check this rad mix from the Pilot Records DJs (who’ll be in attendance tomorrow night too)!

We bludged and dodged and procrastinated on this label for FAR too long. We don’t like missing the jump on homegrown products, but we watched that ship sail long away. Without wasting any more time we present the fabulous third release from Mr. Kim’s Records, ‘Wie Gehts‘!

Boasting remixes from top-dogs James Curd and Earl Grey too, LA-based girl group Thrillionaire have their slimmed down, fat-free original blended into a tropical delight of high-pitched steel drums and swirling synth melodies, by (not that really) young guns Caseno. Blawged about recently for their first release since signing to Sweat It Out, it’s another dope/10 production effort from the Melbourne lads.

I implore you to support this.

Touch Sensitive is on a ridiculous hot streak. No really, you think backing up to DJ’s favourite ‘Real Talk‘ would be easy? The dude’s made it look a piece of piss.

The (not so now) newest release through uber-label Future Classic arrives at just the right time, as ‘Pizza Guy‘ rallies the forlorn employees of various fast-food chains and ushers in those cold, dark nights with a touching (didn’t have to think too hard about that one) balearic disco-daydream of happier times.

Out for a little bit through all the usual vendors. This wouldn’t sounds too bad in a heavyweight format.

It’s my pleasure to announce that Melbourne duo Willow Beats join us for our latest exclusive mix! Yes, yes, we’re just as excited as you are! The duo have been riding on some serious hype with their outta-this-world singles and remixes. You may’ve already lost your mind to their recent tune ‘Alchemy‘. If you thought it couldn’t get any better then you’re wrong… These guys have much more planned for the future (as revealed in the interview below) and right now we have a brand new shiny mix just for you! As always be sure to give this one a good rinse ‘n’ download.

FITT: Firstly we’d like to thank you for the exclusive mix and talking with us today. Can you tell us a bit about Willow Beats and the kind of sounds you’re experimenting with?

WB: My pleasure man. We always strive to create mystical/magical vibes for you to lose yourself in. I’m trying to mix the beauty of nature and fantasy into glitchy electronic beats.

I’ve been experimenting with more organic sounds lately. Our first EP was quite synth based. Our newer stuff has a lot more recorded sounds and samples. For example I recorded myself splashing around in the bath and used them to make a snare in our latest single Elemental.

FITT: What were your early influences before Willow Beats came to life? Are there any stand-out artists you’re diggin’ at the moment?

WB: I’m originally a guitarist. It’s funny when I was in school I was a complete music snob and would put my nose up at anything that didn’t use real instruments!! I got into a lot of funk and jazz guitarists. John Scofield, Roben Ford…

My first major electronic influence was The Knife. They were the first group I saw making Electronic music artistic. They kind of made me see that electronic music could be more than just dance beats.

At the moment? I love Bonobo’s new album the North Borders. Jai Paul’s leaked album is pretty special! We love Purity Ring. I just discovered this dude called Sorrow (today actually). He’s blowing my brains atm.

FITT: You’ve got a collection of brilliant singles and remixes. What can we expect on your upcoming EP?

WB: Expect the unexpected! Haha nah just playin. Hmmm it varies a lot. Maybe not as much as the first one. I think this one is a little more themed. It all has an epic, sorcery, mystical, kinda vibe. There’s some upbeat stuff, some down tempo stuff where I’m actually singing! The whole EP is a huge step up for us in production and song writing.

FITT: So you’re coming down for our Wild Things launch party! How did your previous show in Adelaide go? Should we expect to see shows popping up around the place more often?

WB: Yeah man. I really dig Adelaide. I’ve played 2 Adelaide shows and both have had a great response. Good vibes, good people, I think you’ll be seeing me often!

FITT: We understand you prefer performing live shows over DJ sets. Why is this and how do you go about preparing for a live show?

WB: Hahahaha. Nah I like playing DJ sets. I’m just not very good at it yet (I’ve only played one)!

The live set is different in that all my songs are separated by instrument groups. For example all my basses, vocals, synths, drums, and effects are all separated. It gives me mad control over everything. I can mash songs together like vox from one track over the drums of another etc.

FITT: Finally, what’s in store for Willow Beats in the future? Shows, albums, any upcoming releases we haven’t heard about?

WB: Were dropping a new single “Elemental” tomorrow. A music video for it will be coming out around the 15th! I can’t wait. It’s pretty special. EP comes out at the end of the month. Then it’s touring!

I’ve just finished a remix of Twisted by Fractures. That’ll be coming out pretty soon.

After that I’m not sure! Probably start working towards an album or 3rd EP.

FITT: Looking forward to the new single and remix man! Thanks again and good luck for the future!

Don’t forget to catch Willow Beats doin’ their thing at the launch of Wild Things May 9th @ Rocket Rooftop details here.

When we started blogging many years ago, in a place that wasn’t fitt and a time where Discodust and Too Many Sebastians lead the way, one production name was never far from the top. That name was Grum, and if blog hype equaled fame then Grum would be rubbing shoulders with ya’ Pitt’s and Clooney’s, sipping dom in a swimming pool filled with cash.

Luckily for us Grum never believed his own hype, and after a debut record that delivered the wonderful ‘Heartbeats‘ and ‘Can’t Shake This Feeling‘, the Scottish producer is back, and with a fucking powerful vengeance. I should warn you though, ‘Everytime‘ isn’t classic Grum. In the few years he’s been away the sound of his production has definitely matured, drifting from the day-glo, 80′s, disco mania to a seamless transition of deep down house and well, let’s just say this wouldn’t feel too out of place in Duke Dumont‘s back catalogue.

‘Human Touch‘ is the name of the record and this is out sometime next week on Beatport. Rejoice.