As such, AUTOBRENNT are very happy to present to you the group’s first ever podcast.  Say the band of the mix…

We are very excited to officially release our first PillowTalk podcast. The continuous mix contains all PillowTalk productions and re-mixes.  Sit back and enjoy an intimate hour with us and a loved one.  The mix takes inspiration from our love of life and those around us. We dedicate this to all lovers trying to find a way in this cold harsh world!!

As they say, it’s a heartfelt mix designed to be listened to when snuggled up next to someone at home. It references 80s pop, jazz, modern house, deconstructed disco and plenty more styles in between, all of which get brushed with the all important PillowTalk touch…

Soul Clap is Elyte and Cynce who bring to us their sonic adventures around the universe. Before their debut gig this Friday 20 Jan at Zouk‘s Velvet Underground in Singapore, the Berlin duo blesses us with a mini interview and this mix live from Miami’s The Electric Pickle. Listen during odd hours, after hours, sometime out of time and cling onto the vibe for a spaceship ride with a grin.

Click here more for more info about Soul Clap @ Velvet underground | 20 Jan 2012

Interview

WHEN, WHERE AND HOW WAS THIS MIX RECORDED?

This set was recorded in July 2011 at our residency at the Electric Pickle in Miami. We always use 2 turntables and 2 cdjs when we perform. Lots of vinyl, no computers!

WAS THERE ANY PARTICULAR IDEA IN MIND WHEN RECORDING IT?

We’ve basically been resident DJs at the Pickle for over a year so it really feels like home when we play there. This set was in the middle of the summer so we played a bunch of sweaty, sticky jams and of course tried to go on a journey…

WHAT COMES TO MIND WHEN YOU THINK OF SINGAPORE?

Islands, rain forests and durians. Oh and we heard its really clean!

WHAT CAN WE LOOK FORWARD TO FOR YOUR SET IN SINGAPORE?

WILL IT BE 6 HOURS?

We play as long they let us play

HAS THIS YEAR BEEN OFF TO A GOOD START? WHAT’S HAPPENING?

2012 has been great so far. From beach parties at BPM festival in Mexico to friends’ weddings we’ve had some fun, but mostly been chilling at home in Miami. Singapore is where we really kick off our musical year!

In the run up to Saturday, we caught up with Leonard Perret aka Le Loup to chat in depth about his first release on Wolf + Lamb, the burgeoning music scene in his native Paris and his close relationship with Seuil who he shares his Hold Youth project with. All of this, plus we get the down low on Le Loup’s next solo EP out on Eklo, his new slow mo/hip hop album with a Latin vibe and why Carl Craig’s ‘69’ live show has well and truly blown him away. Displaying his perfect marriage of deep house and techno, Le Loup has also been good enough to lay out a mix which we can’t get enough of.

Interview

What was the music scene like in Paris whilst growing up? How was it you got into DJing and producing?
It has always been difficult to promote parties outside of the official nightclubs in Paris. I remember going out when I was 15 or 16 to Rex Club or Pulp whilst my friends were going out to clubs to listen to commercial house and meet girls. When my uncle bought me two mk2 turntables, I started to collect vinyl straight away! After 2/3 years mixing in my room or at small bars, I understood I had to go through production to break through.

Actually let’s admit it; the scene is getting better and better. The new generation understands that it is time to do new things, especially outside of the clubs, and that’s a really good thing… The Twisted and Sundae crews are doing great job in Paris…even if we’re still far from London or Berlin.

You were a sound engineer student at the Institut Supérieur des Techniciens du Son in Paris. Tell us about this time in your life and how it has shaped you as an artist?
This time in my life was really important because I didn’t really know what I wanted to do with my life but the school gave me the opportunity to understand this environment, not only in the music business, but in cinema or radio as well! They gave me the tools I needed to do what I wanted to do.

You’ll be streaming your set live alongside BBF and Shaun Reeves. How are you looking forward to the night and what are your thoughts on live streaming in the digital age?
I’m super happy and impatient. It’s a big achievement for me to play fabric! I’m really interested in streaming live sets and I think that it is still underdeveloped… But on other hand it will never portray the atmosphere of the room, you have to be there!

What was the moment that first made you realise you had made it as a DJ/Producer… your first release was on Wolf + Lamb after all?
I think the first moment was my trip in New York to meet Zev & Gadi. I was alone and I knew nobody but I had the chance to meet so many good people in the business at the time and they helped me a lot to make the right decision. I started to realise that people could pay you not just to play some records but to pursue your passion, what can be more beautiful than this?

What top three records are sitting at the top of your crate?
Andrés – KDJ 20
Norm Talley – The Nu Tronik EP on Chisel
K-Hand – Project #1 on Acacia

Tell us about your relationship with Seuil. How did you guys meet and come to be such close friends?
We met at a party in Paris, it was in a school car park, really underground, Pier Bucci & Jan Krueger shared the bill too. After that we started to talk a lot and share some stuff, I realised quickly that we had a really close vision of music. Today he’s the guy I feel the closest to within the scene. We support each other for real.

What gave you the idea to start up a vinyl only label together, called Hold Youth. Does the label represent your similar music tastes of what you like to play and hear out?
We have two different backgrounds in music, he comes from minimal wave, he’s a big fan of Ricardo Villalobos and me it was more soul and hip hop. But we have really similar tastes in every kind of music, so we decided to mix it and see what happened. We started Hold Youth to release our music, but all kinds of music… from hip hop to house to techno. Music we can play in clubs or listen to at home…

If you could name one label that is truly authentic who’s would it be?
KDJ or Perlon.

What about your other projects as Childhood 87 and collaboration with Clement Meyer on Get The Curse Music. Can you tell us more about where we can catch them next, their musical vision and do you always like to keep so busy?
Unfortunately we have all been really busy the last few months and right now I’ll be focusing on my solo projects, but I’m sure we’ll have some new collaborations in the future! There is already some new childhood87 on the way…

What other projects have you got in store for this year and next?
I’ve done a remix for Joakim’s new album and my next solo EP is coming out on Eklo at the beginning of next year. I have a project to finish, a kind of slow mo/hip hop album with a Latin vibe, and of course the Hold Youth project – we have some new material to come, plus some remixes.

Finally, what has been exciting you most musically this year from the scene? What have you experienced that has truly blown you away?
I listen to old stuff most of the time but I would say the 69 live by Mr. Carl Craig! I’ve seen it in Detroit & Paris and he has blown me away twice. In house music I’m still into guys like Delano Smith, Norm Talley or Rick Wade…they’ve been killing it for years and it’s still fresh you know! They also have a really good hip hop scene with Blackmilk, Elzhi, Phatkat or Dj Dez aka Andrés for example.

I also support my scene from Paris, we have a lot of talented people like Seuil, Dop, Djebali, Varoslav, Vadim Svoboda, Dscrd, Douze, S3A, Yakine, Jef K to name a few. To finish I’m really into San Proper & Och music these days, watch out on Hold Youth….

The following mix was recorded on vinyl for the sake of authenticity. Léo’s selection sets the principles of a delightful groovy house, where he genuinely melts gloomy techno and funky loops. One good lesson.

Now, the whole story comes full circle with a Tanner Ross & Soul Clap EP due out on Wolf + Lamb this month. It’s called the Shady Shores EP because we wrote or finished the music together during our retreat last winter in Miami Shores, which became known as Shady Shores for reasons that will go unmentioned  While Tanner didn’t make this mix there, it’s a mix inspired by our time together in different places. From years in Boston, to sessions in Miami, to the last month of mayhem at the Michelberger Hotel in Berlin, this is music that we listen to when we’re just hanging out, playing ping-pong or J’n-Oh. It’s the soundtrack to life, love and family being together worked together by a DJ at the top of his game. Welcome to Tanner’s world…

So if you haven’t noticed, we just finished up a massive tour in support of the DJ Kicks mix we put out with Wolf+Lamb on !K7 at the end of March. After an amazing April spent criss-crossing Europe, we took the show back home to North America in May, ending with the Grand Finagle during Movement, Detroit. It was probably the best 2 months of our lives and luckily we recorded one of our favorite sets right at the end, at our gig at Footwork, Toronto for The Modern Love Affair party. The concept for the tour was the 4 of us (WLSC) playing from start to finish at each club, so we figured it was right to give you all 6 hours of this one across 2 podcasts. On The Adventures Of Soul Clap we bring you part 2, with the party already going full steam and the sexy disco vibes flowing freely. If you want to start at the beginning or get into the opening styles later, make sure to head over to the Wolf+Lamb Podcast and grab part 1.

Before we go we also want to say a huge thank you to all our friends, fans and freaks. We also can’t forget all the promoters who made the parties, everyone at !K7 who pushed the album, all the journalists who wrote about it and of course our agents who put in the work to make it all possible. We love you all and let’s keep making magic, one dancefloor at a time!

We just finished up a massive tour in support of the new DJ Kicks mix we put out with Soul Clap on !K7. After an amazing April spent criss-crossing Europe, we took the show back home to North America in May, ending with the Grand Finagle during Movement, Detroit. Luckily we recorded one of our favorite sets right at the end, at our gig at Footwork, Toronto for The Modern Love Affair party. Part II can be found on the Soul Clap podcast: http://bit.ly/11JB6n

Concerning his mix for our 46th episode, it is just as his productions, sexy, groovy and madly catchy. It’s clearly 80’s mooded, but almost everything in there was released in 2011. There are two Drop Out Orchestra remixes, including one of Newcleus’ Automan with a complete dozy vocal that goes along with the bassline, and brings that very one perfect touch to the track. We won’t detail every single track of this mix but each one of them is more surprising than the other, all you need to know is that this is a perfect blend of house, techno and even some balearic disco. In short, we’ll let you make up your mind on this, but ours are already set. One thing is for sure, this will go straight into your summer tracklist, because it’s the perfect stuff to please your buddies during your sunday afternoon barbecues. Come on, get up, go by the pool, I’ll turn the music up and bring you a mojito.

Last night, seth took over the bbc radio 1 airwaves and turned in his first ever essential mix. apparently recorded in one take, the two hour selection – according to the man himself during an amusingly manipulated intro – includes his usual styles of “contemporary dance and underground pop as well as experimental electronic music.”

as you should expect, the mix arcs nicely from the charming, colourful stuff to start, through more dance-y grooves in the middle and on to deeper stuff towards the end (including the penultimate track which is one of  my favourites ever, tiga’s ‘gentle giant’). so, stick it on, turn it up and wig out…

for a full insight into the man behind it, check this recent interview i did with ryan, or read on for a brief word about the mix.

happy easter comrades…

when and where was the mix recorded, and on what?

at my studio in the the sticks of vermont. done in abelton. unfortunately, there was a delay on my reference monitors which led to my botching every mix when i tried doing it live (excuses, excuses, i know ;)

what was your aim with it?

it is actually an excerpt from a longer set i played in chicago a few months back. . . found myself playing a lot of these tracks on the road over the last couple months.

what you currently working on?

just finished a track a forthcoming permanent vacation release (literally uploading the files for mastering right now!), doing a worst friends remix of pink skull, and actually just started sketching out an album today! other than that, making mixes and djing a lot :)

If her chosen name means anything—which it surely does—it’s not that Ms. Nidam is some sort of misfit. It might be more accurate to say that Maayan shapes sound to fit her own singular sensibilities—a strategy that has resulted in a significant and growing body of recorded work and a reputation as a talented, versatile DJ who unerringly takes listeners to special, unexpected places.

Since she began DJing and producing in 1999, Mayaan has racked up an impressive discography. As Miss Fitz, she has released EPs on Archipel, Sushitech, Raum…musik, Eklo, Kalimari, Freak n’ Chic and Contexterrior; she also travels in disguise as Laverne Radix, with one single so far for Oslo’s Love Letters from Oslo. March 2009 also marks the release of Maayan’s debut release under her own name: “Night Long” (on Japanese label PowerShovel), an intimate album woven together out of recordings of Cuba’s best contemporary instrumentalists. It’s not the first thing that might come to mind when recalling an artist best known for machine grooves and moody funk—but that’s what makes the move so quintessentially Maayan.

As if that weren’t enough, Maayan is no stranger to collaborative efforts. Working with Lee Curtiss and Shaun Reeves as Uli Künkel, she’s put out EPs for Kalimari and Phonocult. And Mara Trax, Maayan’s DJ/production duo with Frankfurt’s Vera, is a force to be reckoned with in its own right. The pair has recorded for Oslo and Cyclical Tracks, and their Resident Advisor podcast introduced their lean, loose-limbed style to listeners the world over. The most fortunate fans, of course, have caught Mara Trax in their native terrain: the club, where their long, evolving tag-team sessions generate a rare kind of energy—the essense and spirit of house music, of dance music itself.

The diversity of Mayaan’s sound is no doubt a result of an unusually global upbringing. Born in Tel Aviv, she lived in the Mediterranean city for most of her life, studying multimedia and, following a six-month stay in New York, beginning to DJ bars and small parties. Tel Aviv isn’t a big place, though, and so when Mayaan came to feel that she had hit a wall in her home town, she packed her bags and set off to travel the world. Argentina was her ultimate destination. But after a six-month stint in Amsterdam, she found her way to Berlin, which turned out to be exactly she was looking for. Inspiration was everywhere, from the avant-garde Club Transmediale festival to Jamie Lidell’s experiments in live sampling to, of course, the city’s legendary underground party scene. She soaked up everything, building up her studio and experimenting with different sounds and processes, gradually inching towards the dance floor. Five years later, she remains in Berlin, making music and molding the contours of the city’s clubs to fit her own inimitable vision.

It’s impossible to reduce Mayaan’s productions and DJ sets to a single sound, but certain qualities prevail: a loping, swinging, hips-and-ass-friendly sense of the groove; a bubbling sense of funk; a keen sense of timbre and tone color, with a wooly low end and crystalline highs. It’s also possible to discern a certain sense of humor, as well—nothing over the top, simply the occasional wink or sly grin as a riff steps out and takes its star turn. Like the best musicians, Maayan’s work is all about communication. No wonder she understand the dance floor so well, making her a regular fixture at clubs and events like Tokyo’s Colors Studio, Frankfurt’s Robert Johnson, New York’s Wolf + Lamb, Belgium’s Decadance, Amsterdam’s Mono-Club, Jerusalem’s Pacotek, Switzerland’s Hive Club and Cityfox @ Alta Börse, and many more—as well as her “space monkeys unite!” nights at Watergate and Arena Club in Berlin.

Smirk’s sets are riddled with exuberance and multifarious tastes. Brandon Wolcott grew up in California and later Hong Kong, where he attended his first rave in 1997 (during the historic handover of the city back to China), before settling in Brooklyn. With a background in theatrical sound design, he’s able to traverse techno, house, cheeky edits, vocals, and jazz/classical inflections with impish ease. Smirk has performed in Belgrade, Berlin, Boulder and many places in between. Following releases on Wolf + Lamb, his debut full-length “Even Beauty Gets Old” came out on Pheek’s Archipel imprint.

The breakthrough London producer presents an hour’s worth of exclusive remixes and edits.

Even without the gigs at fabric and the EP for Wolf + Lamb, you get the sense that jozif should somehow be famous. He’s an infectious character (unless it’s a Monday), and it’s a trait that projects itself upon his music. We know this because jozif works at RA. But that’s really the least interesting point to note here. His new vinyl-only imprint—the classily titled Fist or Finger—alongside longtime friend Craig Richards, will see the pair take a side of a 12-inch each for its initial three releases, with jozif appeasing the dance floor and Richards soundtracking the comedown. The project represents a continued forward momentum for jozif in 2010: he’s appeared alongside The Mole on the Coca Grande EP for Vitalik, put out the sparkling Chicago EP through Wolf + Lamb and became one of London’s most in-demand DJs. Both of these facets are displayed in their full pomp on his mix for us. RA.235 is comprised almost entirely of edits and remixes jozif produced exclusively for the podcast, showcasing his love for compelling melodic lines and vibey acoustic drums. We caught up with him ahead of his appearance at RA’s London Xmas party.

What have you been up to recently ?

Doing this podcast! I’ve had a really great summer actually, getting to play all over the place and doing stuff like fabric and We Love at Space as well remixing and writing. I’ve launched a new little vinyl-only thing called Fist or Finger. It’s been a pretty exciting year.

How and where was the mix recorded?

The final version was recorded in my little Dalston studio in London. But there are about 34-and-a-half versions on various laptops at home.

Can you tell us a little bit more about the mix?

I wanted to do something special (to me at least) rather than just do a straight DJ mix. Sometimes I think it’s tricky to translate a DJ set from a dirty dance floor at 8 AM on a Sunday to something that is both palatable and cohesive enough to listen to on your iPod on the way to work at 8 AM on a Monday. Lots of things happen “on the night” that simply don’t make sense or translate across in the cold light of day.

The majority of it is re-workings of some of my favourite tracks with a few original pieces and one remix of myself (which was quite weird). Things like Eleanor Rigby, Bat for Lashes and the Britney track took the longest as they were totally re-written, whereas the Chromatics and Jamie Jones things were more edits than anything else where I just fiddled with the arrangement and added some drums, strings and in Jamie’s case, a full vox (sorry mate). I tried to use similar elements on each of the tracks throughout the mix to give a bit more of a cohesive feel.

Once all the tracks were written I just simply got them in tempo and key order and worked out a flow. Most of them ended up getting nipped and tucked along the way anyway. Over the years I have collected loads of little recordings that I’d made of pieces of speech, TV news, old documentaries so just popped them over the top.

You have an interesting way of programming your drums. Can you tell us a bit about how your current style came to be?

Do I? Thanks. (I think.) Well, I suppose it’s because I’m always trying to get that live kind of sound in my drums—I’m not really one of those people that loves the 909/707 and will put everything on the “one.” My drums tend to be a bit looser than that which sometimes can get me into trouble. I’m probably more of a Lars Ulrich/Christian Prommer/Kenny Clare fan than a Jeff Mills one for example. I think I might be a bit obsessed with drums and percussion—programming rhythm sections is by far my favourite part of writing music. That’s probably why I spend so much time doing it! To me, if you can get those elements right, you don’t need to do too much more over the top.

What are you up to next?

Remixes for My Favorite Robot, Mobilee, Compost and Island Records. Fist or Finger volume 2/3/4 and EPs for InFine and Leftroom. I’m also just in the middle of reworking some of Ben Westbeech’s new material for his new live show/tour, which is very exciting!

Michigan born but Berlin/Detroit native, Seth Troxler shares his Halloween set with Bodytonic recorded live at Just Jack InMotion.

Flashback to summer. Living in Berlin and losing many days at the legendary and now sadly, closed Bar25. The thing about Bar25 was that no one really knew when the party started or ended. Wednesday til Tuesday? Probably, and lucky for us we got to be a part of the closing summer of one of the most magical places we’ve ever seen. Sure, we could wax poetic about this special place for days, but you’re better off checking out the trailer for their upcoming film about the bar. We played in various area on the grounds 3 times over the summer (including the closing, which has to be one of the craziest parties the world has ever seen), but the most magical for us was opening for Nico at the beginning of September on a rainy Monday evening.

As they say, “Monday is Sunday” and it couldn’t be more true. The bar room was almost empty when we began our 4 hour journey at 6pm. It was raining and the pounding techno all day had scared many people away, but some of us had been there for days already and there was magic in the air. What you get here is the first couple hours as we set the mood and the room fills up. We went through a selection of our favorite (mostly vinyl) tracks of the summer and then turned to each other and said “wait all this music is about love”, which really is what the summer is about. Summer Camp 2010 4EVA! We love you <3

Released by: Wolf + Lamb Black
Release/catalogue number: WLB05

The Boston-bred duo provide a soundtrack of mellow grooves for the end of summer.

Get the ladies on the dance floor, and the rest will follow. It’s a simple rule. But Soul Clap’s Charles Levine and Eli Goldstein understand it better than most. Although funk and jazz where the pair’s first respective musical loves, they found a common passion in searching out disco, house and techno records at Boston’s Vinyl Connection store, where they were schooled by resident disco connoisseur Caril Mitro.

Itzamna and Airdrop were early supporters, but it’s their ongoing hook-up with the Wolf + Lamb crew that was the duo’s real tipping point, culminating in a series of edits that housed up the likes of Fleetwood Mac, R. Kelly and Stevie Wonder, which have become staples in their DJ sets. Recently, the duo have released their Action/Satisfaction EP on Crosstown Rebels following a tequila-fuelled session at Damian Lazarus’ Los Angeles abode, and when they’re not in the studio, they’re busy either touring the globe, or in Berlin where they’ve recently taken up residence. Don’t go expecting much techno on their mix for this week’s RA podcast, however, as Eli and Charles have crafted a soundtrack to the end of summer—a special sun-kissed selection of tracks and exclusive edits.

Biography

If her chosen name means anything—which it surely does—it’s not that Ms. Nidam is some sort of misfit. It might be more accurate to say that Maayan shapes sound to fit her own singular sensibilities—a strategy that has resulted in a significant and growing body of recorded work and a reputation as a talented, versatile DJ who unerringly takes listeners to special, unexpected places.

Since she began DJing and producing in 1999, Mayaan has racked up an impressive discography. As Miss Fitz, she has released EPs on Archipel, Sushitech, Raum…musik, Eklo, Kalimari, Freak n’ Chic and Contexterrior; she also travels in disguise as Laverne Radix, with one single so far for Oslo’s Love Letters from Oslo. March 2009 also marks the release of Maayan’s debut release under her own name: “Night Long” (on Japanese label PowerShovel), an intimate album woven together out of recordings of Cuba’s best contemporary instrumentalists. It’s not the first thing that might come to mind when recalling an artist best known for machine grooves and moody funk—but that’s what makes the move so quintessentially Maayan.

As if that weren’t enough, Maayan is no stranger to collaborative efforts. Working with Lee Curtiss and Shaun Reeves as Uli Künkel, she’s put out EPs for Kalimari and Phonocult. And Mara Trax, Maayan’s DJ/production duo with Frankfurt’s Vera, is a force to be reckoned with in its own right. The pair has recorded for Oslo and Cyclical Tracks, and their Resident Advisor podcast introduced their lean, loose-limbed style to listeners the world over. The most fortunate fans, of course, have caught Mara Trax in their native terrain: the club, where their long, evolving tag-team sessions generate a rare kind of energy—the essense and spirit of house music, of dance music itself.

The diversity of Mayaan’s sound is no doubt a result of an unusually global upbringing. Born in Tel Aviv, she lived in the Mediterranean city for most of her life, studying multimedia and, following a six-month stay in New York, beginning to DJ bars and small parties. Tel Aviv isn’t a big place, though, and so when Mayaan came to feel that she had hit a wall in her home town, she packed her bags and set off to travel the world. Argentina was her ultimate destination. But after a six-month stint in Amsterdam, she found her way to Berlin, which turned out to be exactly she was looking for. Inspiration was everywhere, from the avant-garde Club Transmediale festival to Jamie Lidell’s experiments in live sampling to, of course, the city’s legendary underground party scene. She soaked up everything, building up her studio and experimenting with different sounds and processes, gradually inching towards the dance floor. Five years later, she remains in Berlin, making music and molding the contours of the city’s clubs to fit her own inimitable vision.

It’s impossible to reduce Mayaan’s productions and DJ sets to a single sound, but certain qualities prevail: a loping, swinging, hips-and-ass-friendly sense of the groove; a bubbling sense of funk; a keen sense of timbre and tone color, with a wooly low end and crystalline highs. It’s also possible to discern a certain sense of humor, as well—nothing over the top, simply the occasional wink or sly grin as a riff steps out and takes its star turn. Like the best musicians, Maayan’s work is all about communication. No wonder she understand the dance floor so well, making her a regular fixture at clubs and events like Tokyo’s Colors Studio, Frankfurt’s Robert Johnson, New York’s Wolf + Lamb, Belgium’s Decadance, Amsterdam’s Mono-Club, Jerusalem’s Pacotek, Switzerland’s Hive Club and Cityfox @ Alta Börse, and many more—as well as her “space monkeys unite!” nights at Watergate and Arena Club in Berlin.

Maayan is currently on tour in Japan, when she surfaces we’ll try to get the track listing for this podcast over to you. If we don’t get it in time don’t fret, she’ll be in London on 7th August to play at Fabric alongside Seth Troxler and Nicolas Jaar, so you’ll be able to ask her yourself.

The Wolf + Lamb prodigy whips up a diverse hour-long mix for this week’s RA podcast.

He may only be just entering his twenties, but Nicolas Jaar has already positioned himself as a one of the most promising new artists to come out of the USA’s electronic music scene in recent times. New York-born and raised in Chile up to the age of 11, Jaar moved back to NYC and soon became interested in composing piano-based tracks in Reason. Not much longer after, Nicolas was introduced to artists like Luomo, Tiga and Ricardo Villalobos—in particular his Thé Au Harem D’Archimède album from 2004—which opened his mind to the potential of electronic music.

After coming across a radio interview with Wolf + Lamb’s Gadi Mizrahi, he sent the label “The Student”: a metronomic modern-classical piece which impressed Mizrahi so much that he brought Jaar into the collective, getting his first EP out to digital retailers when Nicolas was still just seventeen. After appearances on CD compilations for both Airdrop and Circus Company in 2009, he scored big at the start of the year, with the seductively crawling “A Time For Us” which is still kicking around in the top ten of RA’s aggregated chart for the year so far. That particular track has been championed for its adventurous change of direction and tempo, and Jaar carries that same attitude and sentiment into his RA podcast. We caught up with the man ahead of his appearance at RA by night in Barcelona on Saturday, to ask him about the mix, sneaking into clubs, and his Clown And Sunset imprint.

What have you been working on recently?

I just finished my sophomore year in college so I finally have some time to make new music. Lately i’ve been busy preparing an instrumental hip-hop LP for Double Standard (Gadi’s vinyl-only label) and my new Clown & Sunset release.

Where and how was the podcast recorded?

I started the mix in Providence (where I study) with a couple of turntables, an MPC-500 and a microphone, then came back home to NY and fixed things up in Logic. Some of the edits (like Villalobos + Brubek) were made in Logic beforehand.

Can you tell us a little about the idea behind the mix?

I have recently been making weird mashups (Biggie + Aphex Twin + Tinariwen, for example) that I’m happy with. It’s the type of thing that I do when I can’t really make music (in airports, hotels..) so I put a couple of those in there. I also just wanted to play what I’m listening to right now. I almost never DJ professionally so this is something bizarre for me.

Does being under the legal drinking age pose problems when promoters try and book you in the US?

Ha! Let’s just say I’ve been snuck into a lot of places, and I don’t have a good relationship with bouncers.

How did you first hook up with Clown And Sunset partners Soul Keita and Nikita Quasim?

I was at the border between the US and Mexico when I was 14 or 15, and we were all getting into electronic music. Then Soul went back to Ethiopia and Nikita to Russia and we all started sending music to each other. Now Soul Clap is playing Soul Keita’s music! I’m very excited about their new EPs, but sadly it’s not summer music so you’ll have to wait until the fall.

Have the live sets been going well of late?

I hope so. I tend to be disapponted after playing so I’m not the best judge.

What are you up to next?

Coming up next is a new Wolf + Lamb Black release, a solo EP for Circus Company called Marks & Angles, my first album, and touring Europe!

Indulge in a ‘Beautiful Thang’, a free download to mark the launch of Double Standard records is a new collaboration from Gadi Mizrahi & Soul Clap.

“Beautiful Thang was written at the same time as the rest of the Joint Custody EP at Gadi Mizrahi’s Beach Club studios just north of Miami.  The track was fueled by an afternoon of soaking in hot tubs, drinking Arizona Iced Tea’s, listening to slap bass and feeling extraordinarily fly.  This is also the first track that features Cnyce [one half of Soul Clap] on vocals!” Soul Clap, April 2010

“Wolf + Lamb is a religion, Double Standard is a cult” Gadi Mizrahi, 2010.

Double Standard Records, the next chapter for Gadi Mizrahi (founder and one half of the visionary Wolf + Lamb project), is a vinyl only odyssey into revolutionary body-moving music.

Wolf + Lamb is the label, production & DJ partnership and series of events that has lately become the eye of the storm of the underground dance music scene. This year the W+L duo will release their debut artist album and then be taking a break to focus on new adventures. While Zev (wolf) takes some time in far corners of the world, Gadi Mizrahi (lamb) has been concocting some captivating solo material – check his Spectral Sound and Simple releases out now – and is proud to announce his own Double Standard Records, a vinyl only imprint exploring new horizons of dancefloor music, pushing forward in quality and pursuing greater attention to detail.

Each release will appear on vinyl only, seeking a more exclusive and attentive audience. “Double Standard Records is my reaction to digital distribution cheapening the feeling of special music,” explains Gadi, “Running a digital label keeps expenses low, but vinyl gives music more value and a longer life. I like to think of Double Standard as twice the standard.” Future releases are already scheduled from Greg Paulus (No Regular Play) and Deniz Kurtel plus Soul Clap and Gadi Mizrahi will feature heavily.

Buy the Joint Custody EP at Phonica

All ball busting aside, William is more than just a writer/blogger, he is also a very talented producer. His project Night Plane sounds like a stunning combination of new disco, house, jazz, rock and psychedelia that couldn’t be more timely as the lines of dance music continue to blur. Samples, synths and tons of reverb, William’s music is really impressive and when we received his mix of ALL ORIGINAL material, we knew we had podcast gold.

For more info on Night Plane check out the Myspace or the blog, but we think really the music speaks for itself. So without further ado, tracks by William, mixed by harry, here is Night Plane:

Court mais intense, je vous laisse savourer son podcast unique et décalé, au groove sensuel et jubilatoire.