Without question, plenty of minimal, progressive music can be found in so-called ‘underground’ scenes around the world, but often overlooked are producers who touch on all the right elements, composing and producing music that is undeniably for dancing but reaches far past the usual confines of typical EDM crowds, appealing to lovers of music in general. Music that provides familiarity for fans of more typical dance music styles while achieving uniqueness in its explorative nature and composition, lifting it above similar styles that would otherwise be considered its peers and widening the breadth of our collective expectations when we consider what ‘good’ music should sounds like.

In any conversation about beautiful, explorative electronic music, Bonobo is a name that must be mentioned.

Simon Green, aka Bonobo is an English-born multi-instrumentalist, producer and performer. He has released 5 full-length studio albums on the well known UK label Ninja Tune (with a 6th album just announced to be released in 2016), and continues to develop his truly unique, lush sound with each new offering. While many producers find a specific niche or scene to create within, Bonobo is an artist that is constantly pushing boundaries and finding new and creative ways to keep evolving his unmistakeable sound. At his core, Bonobo is a talented composer with a great ear for unique tone and arrangement who utilizes digital production technology to take his music to the next level. While some producers rely on digital production to create any sound at all, Bonobo uses it to further push and develop music that often finds its beginning in the natural world.

Because the energy created on his five official releases ranges from chill, slow and sombre to upbeat and bass-weighty, there is surely something here that any music lover will enjoy; And this is not to mention his countless EP’s, remix albums (featuring a litany of talented producers from all corners of the dance music world, many of which are his Ninja Tune brethren) and live performance DVD’s, featuring his (extremely talented) live-band reproducing, and in some cases reinterpreting many of his compositions.

Music like this is a shining example of the possibilities created by electronic music production, and can serve as a welcomed reminder that ‘dance’ music isn’t all womp’s and wub’s and endless 4-to-the-floor beats. In all music, creating, building and controlling intensity and energy is the key to captivating an audience. Bonobo’s music serves as proof that there is no single way to accomplish this, and that much of the beauty created is found in the pursuit itself.

Check out a few of Bonobo’s legendary Boiler Room Sets HERE and HERE.

The post Bass Boost v.6 – Bonobo appeared first on FUXWITHIT.

“The key to longevity is good relationships.”
This is according to Chris McKean, co-founder, and in recent times the sole torchbearer of, Toronto’s party-producing HouseAddict. The obviously house-focused outfit celebrated a dozen years of throwing events with a well-attended bash at The Den last Saturday. After all this time, Chris’ drive comes from more than the music: “The whole thing’s become an addiction now – hosting these events, having performers in from all over the world. It’d be really tough to give it up.”

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“It starts with the artist…”
HouseAddict has a reputation of authenticity, and Chris says that starts with the talent they book: “It just so happens a lot of the performers that play that style of music are really genuine people – they really are artists. When you bring them to the jam and people come, it’s reflected in the music and their personalities.”

Then, it’s up to HouseAddict to add the local vibe; “We try to provide that blend, that duct to translate it to the Toronto underground.”

“…then you bring it to the right venue…” 
Once you pass the usual siren-and-ambulance-laden ruckus outside Sneaky Dees at the corner of College and Bathurst, you reach The Den, ground floor of Nest. Coloured uplighting and eclectic decor beckon you in to further explore the 50’s era jukebox, ornate chairs, faux-Persian rugs, and the stray (or is it hip?) ladder leaning against the exposed brick intersecting the dance floor.

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“…and the right people.”
A quick scan of the crowd at any moment is a picture of diversity: Early-twenties hip kids, pushing-forty weekend warriors, and all manner of hipster, artist, entrepreneur and social butterfly in between. This kind of gumbo soup is a tribute to the broad appeal of house music and its many sub-genres. “It makes for an interesting party, that’s for sure.”

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The equation works, and HouseAddict doesn’t show any signs of kicking the habit anytime soon.

And now, the story of the night from a house beginner’s perspective.

City Kid Soul & the Initiation of the Dance Floor

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The in-crowd was still mingling over cask beer and meat skewers when City Kid Soul began preheating the dance floor around 10pm. While it’s nice that sometimes the dance floor’s not the center of the universe, a party’s not really a party till the dancing starts (in my opinion, at least). Gradually the music got deeper and harder, until the pure power of dance rose up and drove a handful of people to catalyze the use of hardwood real estate.

Being the first person on the dance floor “feels amazing,” said a tall chocolate man named Christian (of Salacious Sound) during a water break from his dexterous dancing. “You get to be the soul of it, and you just get out there and have people feel it.” He was all smiles, all night as people percolated to the floor alongside him to communicate joy with their legs.

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Simon Jain & The Rock Star

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Simon Jain slid onto the decks not long after 11. He kept up the smooth, rolling vibes for a minute and then steered things downwards in altitude towards the deepest of deep. I mean submarine deep. The persistent thump-thump-thump-ing swelled and surrounded the floor in a self-consciousness-disabling muck, resembling big deep footsteps through giant wet puddles.

Directionally the music again went up, up, and barrel-rolled downwards into a synth-and-bleep-laden land I’ll call Adventure House – it’s what you hear on a dance adventure, a march into the Magic Music Forest of the Future, where huge shadow creatures chop lumber and time lasers ahead in a jetstream.

Or maybe it’s just called Tech-House. I don’t know.

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Tube and/or Berger

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At 1 am a guy got on the decks and people cheered. This subtle entry is typical of house events, I’m learning – and very much the opposite of bass shows where brash emcees holler “WHAT THE FUCK IS UP, TORONTO?!” into the microphone as a zany neon name flashes on a projection screen behind them. A quick poll of the crowd sussed out that this was, indeed, the currently-touring half of Tube & Berger. But which one was it: Tube, or Berger? Nobody knew. But on we danced.

Days of dogged research later turned up the fact that the person on stage was ‘Tube’ (AKA Arndt Rörig), though by that point it didn’t matter: Whoever was playing on Saturday, the place was packed. At full volume, the man in the booth had people on lock, tapped into the music and cheering often. He was conversing with the waving masses through the music, and catered to the diverse crowd with what I’m told is ‘old-school’ house. All of it was cool, groovy, and uplifting.

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A Long Night, A Burger

I was pooped from being early to the dance floor, so I hung around till this song then took my tired ass out of there at 2am.

All that talk of ‘Berger’ had made me hungry.

The post Music, People, Dance: Celebrating HouseAddict’s 12th Birthday appeared first on FUXWITHIT.