Posts by Electric Kingdom

    A true Jedi of the wheels of steel! © N. Lemu

    1 Listener is Better than None: DJ Natural Nate Up Close and Personal

    DJ Natural Nate is a true underground force to be reckoned with! Having decades of experience under his belt in the Electronic Music scene, whether it be as an enthusiastic partygoer, or a well seasoned DJ, to being a marvel of a producer with titles on labels such as prestigious Underground Music Xperience out of Netherlands, and of course, as one of the main founders of one of the most influential online entities of the past 10 years, The Lost Art, Natural Nate crosses many boundaries and pushes many limits as he seeks to grow and help grow through the power of music.

    In this interview, DJ Natural Nate gets up close and personal as he talks about his past, his trials and tribulations, and ultimately, why this is a mission that transcends cliches, egos and financial gain. It is about one thing and one thing only: Keeping the real vibe alive! Let's get on with it shall we?

    Santino Fernandez: Welcome Nate! We finally get to do this interview, it's been a long time in the making. Let's start at the very beginning of things. How did your path in music start? When did you get your first pair of turntables?

    DJ Natural Nate: Let me first start off by saying it's more than an honor for you to take interest in my life. There are so many great producers and DJ's out there, that I cannot say how humbled I truly am to be someone you would want to interview. But this might not be the interview anyone expects. This will be a very up close and personal view on every question asked. I have never really looked at myself as a great DJ or producer to be honest, I still find myself learning every day, and feel like I will never master any of this.

    I was extremely lucky to have had the chance to get into the underground scene back in 1991. My first show was not what anyone would have thought! I had a friend that asked me to go to a roller skating rink party. I had no clue what this meant or even what I was in for. I ended up going to this show in Denver, Colorado and I hated it! It was so new and so confusing; I just did not get it to be honest. The music was something I had never heard, and I was clueless to understanding what this all was about. I grew up loving the art of breakdancing, and this was far from that type of music.

    It took me a few shows to finally get comfortable with this all new idea of music. The big thing for me was just being with good friends, and really that was all that mattered at the time. What really drew me into this music was remixes. In a world of music I had never heard before, I went to a show where someone was using the song “Take On Me” by A-ha (Remix), and it totally flipped my mind! I could not believe that music I knew was being used in something completely different, and that is where I started falling in love with underground Electronic Music. Colorado (my home state) had a serious, serious underground culture! I was extremely lucky to have had the experience of seeing what the true underground meant. I miss that scene and especially the map points to even finding these shows. That was an adventure all in itself.

    I was so far away from what a DJ was, and to be honest, I had no clue what the DJ was really doing. I frankly really did not care! By hearing these remixes, I thought that DJ's were taking these bits and pieces of these songs directly from the records and somehow making this new music I never heard before. So I basically thought the DJ's were working so hard to create these incredible songs by mixing things together (possibly with hardware of some sort or as a sampler). I was so clueless to know that this music was factually pressed to the records by the producers and production. For the longest time, I never even cared or wanted to know. I was happy just being a dancer and a supporter of the scene. I was happy to just be accepted as a person and nothing else.

    I went off to the United States Marines and ended up being stationed in Jacksonville, North Carolina from 1993-1997. As far as the music I was always looking for, this was an incredible place influenced by my real direction of knowing what I really liked and wanted to hear! The East Coast was huge into the Breakbeat scene at the time. I was a breakdancer and was in complete heaven. I had met so many amazing friends and best friends there that were a major contributor to me in this genre. From the Hardkiss Brothers, Rabbit in the Moon, DJ Scott Henry, DJ Misty Kiss (4 Turntables) and more (too many to name), this was out of this world music, and especially the DJ skills. I was a huge supporter of the dancing, the DJ’s and the music. I never intended on being a DJ at all!

    Later in the years of being in the NC scene, the music was shifting. Gabber house was slowly taking over as House music was becoming the main-stage. It was getting harder and harder to find Breakbeat shows. I was getting tired of paying $40.00, and end up hearing music I didn't really like. I was buying CD's and finding maybe 1-2 tracks from it I liked. This was getting expensive this way, and I just wanted to hear good music. I had decided I could make my own mixes just for myself and put my money into records I would cherish. All of my friends knew that I wanted to get some turntables. I was warned that if I got into DJ’ing that I would put dancing aside. Unfortunately, they were right.

    I finally got a pair of Turntables in 1996. My first record I ever bought was “Delusions of Grandeur”. Still one of my all time favorite records. What people don't know about me is, I factually learned how to mix off of Drum and Bass, believe it or not. I was a huge fan of Jungle Liquid Sky at the time also. I loved Acid Jazz, downtempo stuff and more. Breaks was not my only love for I loved so much other music and genres.

    At the time, I had a really good friend that was an amazing DJ from NY. He gave me the best advice possible - counting beats! As soon as he showed me how to count the measures of mixing, it was all over! That fast! Side Note: Once I finally realized that a DJ was not working as hard as I thought they were, with the records already being made that way (remixes), I longed to hear 2 records play and started creating my own remixes so to speak. I fell in love with super fast mixing and long holds to create a new sound from both of the tracks.

    After my first month of spinning, the word got around! I was invited to do my first show and did not even ask for it. I never wanted to be a DJ or even compete with the incredible local talent. That was never intended! After that show, as horrible as I think it was, I was completely hooked. It seemed like everyone enjoyed it. There were not enough good Breakbeat DJ's playing this genre, so I decided to become a soldier in this music. I felt a responsibility to help the producers of this music out by supporting Breakbeats and Electro. I just wanted to let these producers know that someone did care about them and their incredible productions. I mainly did this to help the breakdancers have a place in the scene and especially to make them dance!

    Going a little deeper into your influences, and just by judging from your style; whether it be as a DJ or a producer, it seems that perhaps you are also as influenced by the early days of Hip Hop, as you are the new school Electro and Breaks sound.

    How old were you for example, when Herbie Hancock played "RockIt" live on TV with Grandmixer D.ST, and what kind of impact did that have on you as a future scratch DJ? Also, who are some of the key new school artists that played a role in your development?

    Not to be cheesy as this was the same for most other breakdance lovers, but I was influenced the most by Michael Jackson. I was just in pure awe as a kid. Not only was the music influential, but mainly the dancing! Rockwell's “Somebody’s Watching Me” was a huge influence also! You also hit it on the head with Herbie Hancock’s "RockIt". I was 8 years old. When it really came down to serious breakdance battles, Egyptian Lover was always on the main playlist along with Afrika Bambaataa. There are too many others to name!

    I would go to skating rinks not to roller skate, but to watch all of the breakdance battles in the corner. I just could not get enough of this! These dancers were so incredible. I really had looked up to the craft and art of breakdancing, I just could not believe that this was possible. It was an amazing way to express yourself and to challenge yourself to be better with new moves. It was amazing times again, being with close friends! I really miss those days a lot!

    I did not take a serious road into staying with the Hip-Hop world after breakdancing was not a fad anymore. If that's really what you want to call breakdancing music in the 80’s. I love all kinds of music as stated earlier. I love Classic Rock, Heavy Metal and more. My biggest passion though was BASS! I loved the cars that went boom, so to speak! DJ Magic Mike was another huge influence into what made me love this type of music. I love to feel the bass hitting in a car. I love everything about it! From the bass taking your breath away, to the factual feeling your whole body gets from it. It was something that I never lost along the way. This was a huge influence to me looking for Breaks and Electro-Breaks in the future years. There is no other music that hits as hard as these genres!

    A few labels I still look up to would be Dominance Electricity (biggest Influence), Frajile Recordings (James Wolfe, Brice Kelly and all of the producers on this label), Carl Finlow and too many others to name. I'm a huge fan of all of the producers of all levels. I would not be DJ Natural Nate without everyone that contributes to the industry! I have always been a huge fan of yours, also.

    As far as scratching goes...I do not even consider myself a real scratch artist at all! I never wanted to be a DMC. Ever. I have the most respect for this style of turntablism, but never was into creating perfect mixes or trying to do a preplanned set over and over and over. It drives me nuts to do the same mix over, and to put a routine together was never in my play book. It's boring for me. The name "DJ Natural Nate" means that I play from a record box or a playlist that is never pre-planned. I naturally just let the records sing together. I never set up a single show or even in some cases, even know the music before playing it. I want to be just as surprised as the audience. There would be times that I would order records and not even play them until the night of the show. This was mainly because I did not want to scratch the records and to have a set with no pops or skips, crazy as that sounds! Priceless actually. I would hear these records and the mix for the first time as the crowd would. I think that was what made it so magical. I didn't even know what was going to happen!

    Going back to scratching...I always loved the sound of a backspin! Thought it was the neatest thing ever back in the 90’s. I think this was my own influence to have some type of showmanship. It was not about being perfect, it was about putting on a show and making the people see it was real mixing and real tricks. I will always, always think mixing 2 records together is the neatest thing in the world! To be able to make 2 records talk, sing and make remixes is something I will forever cherish.

    I had a friend let me borrow a 1997 DMC Championship VHS tape, there was a guy named DJ Static from Denmark. I could not believe my eyes! I have seen a ton of other DMC’s before, but this was my biggest influence to what a DMC should be! This guy is making sentences out of records. His all around skills to me are unmatchable! I think deep down inside, this was a reason why I never wanted to be a DMC. These guys are so perfect in their craft, that I did not want to even go there.

    What I did take from these guys was just not being afraid to try something new and different. Scratching to me is a tool for showmanship, not the whole show. Sometimes it can be too much and my whole purpose is to keep people dancing. So I just wanted to make a mark at showmanship without being too overboard! I have created a few scratches of my own, one being a 3 part scratch. There is a bend scratch that turns into a taco scratch (half of the record bent like a taco), and from there it will turn into a break scratch. From the broken pieces, I can still scratch on one of the pieces of record. The thought and idea of this scratch was the idea that you could bend sound. This was kinda like playing a factual saw blade like a violin. I have worked on the Laser Scratch with a company called Vision Laser (Mark Scurra). This was a custom scratch with a disco ball that reflected the company's lasers at the time. It was super cool and there was once a thought of marketing the balls for other scratch artists!

    I know this might also sound super crazy but, I am extremely shy about being a DJ. There are so many great DMC’s, mixologists and turntablists, that it would be extremely hard to ever say you are the best or even can compete. Not even close! There is so much undiscovered talent. I don't ever want to be a master of any of this. If I was, there would be nothing for me to look forward to. I want to always learn. I want to find new ways of mixing records together, I want to learn new scratches and tricks. Mixing records has taught me about life, it's given me a reason to look forward to the next day. It gave me direction. It's made me work for every skill. It makes me think, everyday. It makes me want to be a better DJ at all times. It makes me just want to be a better person!

    I totally agree with you there, especially the part of not ever being a master. That is the beauty of life isn't it? The never-ending growing process! Seems to me if you master something, you stop learning, and thus you stop growing.

    Anyway, let's talk about the 90's Rave scene for a moment. Sounds like you were a strong part of it, and at one point perhaps did not even know what you had gotten yourself into. What would be some of the standout things that made a particular impact on you from that scene?

    I started back in 1991 as stated earlier. It took awhile for it to grow on me, but I'm super thankful that I stayed with it. This music has been my best friend, and it's been my worst enemy. The impact this music and scene has given me has been life changing. It has taught me to be more adventurous. It has taught me how to be a better friend. It has taught me to be very honest. It has taught me to learn from my failures. It has taught me to have an open mind. It has taught me to not be judgmental, because you never know what someone else is really going through. It has taught me how to be a better person. It has taught me how to push myself. It has taught me how to live a better life. It’s taught me how to be more compassionate. It’s taught me how to love. Our lives do come with our own background music, we just have to listen to what it is playing!

    The music has literally been a huge guide to my emotions. I have been able to lean on the producers and their amazing productions in good times and bad times. I have been able to find comfort in meeting so many others that felt the same way as I did. I have met so many incredible people through a scene that did not look down on you. It has always been an escape from the real world and the unforgiving standards of society. It's ok to be different. It's ok to have different views and thoughts, as long as it's never hurtful to others. It's ok to dare to try something new. It's ok to be you.

    Words of the wise right there, especially in these times of such intolerance and downright hypocrisy!

    Moving forward a little, let's talk about The Lost Art, the project you are perhaps best known for. For those who may not know, it is an online radio station dedicated to preserving the true art of DJ'ing, an artform unfortunately plagued by some of the very inherent dangers of so-called technological advancements. Talk about the inspiration behind The Lost Art a bit, what inspired you guys to take on this project and what mission does it all stand for at its very core?

    This is sometimes a question I avoid due to the fact of how in depth it really is. This comes with a huge emotion from where I have been, and where I am at to this day. This question goes back to all of the hard work and dedication I have had not only for myself, but everyone around me. This will be an answer nobody is expecting.

    I moved back to Colorado back in 1997. There was a huge lack of breaks in the scene and I wanted to be someone that was still representing the art and craft of this music. I will start out with a short intro to my first company that I started.

    Bruise Your Body Breaks has been around since 1998. The name Bruise Your Body Breaks came about when Natural Nate was spinning at a party. After his set, a guy came up to him and showed him a bruise that was on the left side of his back. He expressed that "The bass was hitting so hard that it bruised his body". So as stated, “If the dancing does not bruise your body, the music will!”. Other BYBB Members are: Jiggabot (Jenna) & DJ Mike Devious.

    Brand Banana Peels was a childhood gang we created not to be the bad guys, but to be the good guys to help others in need. We stood up for those that had no voice and could not defend themselves. It was our version of the Guardian Angels, silly as that might sound. I had lost a few great, great friends and always wanted them to be a part of my life, even when they were not here. I can always hear them saying: "keep going". Big loving shoutout to Mike Reynolds, Joe Chavez, Eric Chavez and Mike Underwood. You will never be forgotten!

    I never really knew how much of an impact that Breaks and Electro Breaks were giving to the scene and especially to me. I knew music was extremely important to my life, but really never looked to see how it was impacting the people around me. I had lost one of my best friends in a tragic death. This was shortly after I opened Bruise Your Body Breaks. He was one of my biggest supporters and I had never felt such a loss as I did at this time. I was completely heartbroken and lost.

    I had a manager at the time and he had sent out some really crappy mixes I did to a few major labels. I did not know he even did this and one night he brought over some promotional folders and contracts. He said these mixes caught some major attention and I was told to pick one. I was speechless and as nervous as could be. I did pick one of the companies and went through a rigorous signing of a contract. This went on for a few months, and one day I got some really bad news. The label I had picked came to my manager and told him they thought I was a fraud. They stated that nobody could mix records that fast and accurately without it being a computer mix or edited.

    Honestly, these mixes he sent were very flawed (worst critic) and I was very shy about what he had done because of this. Some of the other managers insisted I was a fake DJ. A computer DJ. I didn't even know what that meant! I did not even own a computer, let alone knew that DJ's were even making mixes like that back in the early 2000’s. I had no clue what they were talking about, and I lost a major contract because I had no other proof.

    After losing one of my best friends, other personal problems, and this contract in a short span, my soul was completely shattered. I began a very destructive life of feeling sorry for myself and wishing I could have done more. I basically gave up for the most part. I still did a few shows here and there and I would play my records on the weekends saying to myself, I almost made it. A very deep and dark void made a hole in my heart that I could not fill. The producer, the production and the music was the most important thing I leaned on to express my real emotions without saying a word. The producers and music saved my life.

    A few years later (2003-2004) I had another good friend at the time tell me we were offered a radio show. He stated I had all of these records and I was basically doing nothing with them. “You need to do something with this”, he said. I told him I needed some time. I stared at my record collection for a few months and my first idea about this radio show was to archive all of these records in a more professional manner. I could just make these mixes for myself and if one person was listening, it was better than none.

    DJ Natural Nate Live with Some Unreleased test Bruise Your body Breaks tracks and more

    Going back to the contract I had lost, I did own a computer finally. I was sitting there one night and this hit me in the face like a ton of bricks. A COMPUTER DJ! I was called a computer DJ and was absolutely furious once I grasped the real meaning of what they were saying. Something deeply changed in my spirit that day. I vowed there had to be a better way to mix and to prove that I was really doing these mixes. I decided if I was going to do this radio show, that I was going to video tape EVERY show we did. Good or bad, we would have this archived on a video cassette recorder. I had a new direction in my life.

    We absolutely had no clue what we were doing. We had no direct sound into the home recordings, and I was extremely shy about wanting to talk on the mic during a show. I just wanted to spin records. These home recordings were awful but they were so valuable. Even though we did not know what we were doing, these video tapes showed us our mistakes. It showed us what we were doing right. I would watch these on the weekends, over and over as a teaching tool. Nobody really even knew we were doing this, this was just a personal idea and approach to our lives and our accomplishments at the time.

    Around 2007, I was up late in the morning on another radio station we had joined. A guy named Tokeyman entered the chatroom. Nobody was around as I should have been in bed, but he started saying something that really caught my attention! He was asking why nobody on internet radio was doing live streaming. With all of the newer technology that had been released such as ustream, why was nobody showing the mixing? I fell out of my chair and pulled him aside and asked him what he was talking about.

    He showed me a few sites that were doing live video, and this changed everything. We were already doing home recordings on a video camera but did not know we could factually show this live! We decided to try out ustream, and this changed the way someone was listening to the music live on internet radio because you could see it. You could see the real skills a DJ had vs wondering if it was a pre recorded mix. This was the new bread and butter of the industry, and nobody was using it or knew about it!

    Doing live video was not easy at all. We thought the whole world was going to flip over this, and we were wrong! We were pulled aside one day and were told the industry hated us. We were calling out all of the fake DJ'S on radio sites and we were honestly confused. We were told that 60% of the internet radio DJ's were pre-mix and computer DJ's. I was completely blown away. My heart was shattered again. I thought everyone on the internet was a real DJ or was putting in as much hard work as we were. We were enemies of the industry and did not even know it. I had lost a major contract being called a computer DJ, and now the industry was being accepted for being a fake DJ. Funny how the world works!

    On the flip side, it was life changing for everyone involved. Good or bad for the industry, live video changed the way Internet radio was heard and now looked at. We were pushing the whole industry to step up. We were pushing DJ's to prove they were real DJ's, we were pushing the boundary of technology. We were able to get major producers to do live shows. We were able to broadcast from around the world and events that we would never be able to attend without the power of live video. We were able to book DJ's for club events in other countries. We were able to hold personal ceremonies.

    I was able to set a world record as the fastest mixing DJ with proof of live video and streaming on April 29, 2010. My biggest hope for this was to show that you can do different things with turntables. It was in hopes of keeping the turntables as an inspiration vs technology. It was to help other producers be recognized, especially Breaks and Electro Breaks producers. It was to make my wife, family, friends and the Breaks and Electro community proud. I was able to use this tool to prove that there were real DJ's working hard. This was pushing us to be better and better, every show, every mix.

    During the time of doing internet radio, I was able to capture many awards and titles. I am still officially ranked in the top 2159 of all genres. Doing a weekly show really paid off. I was always engaged with social media, and this just grew and grew. Just when you think the numbers are low. Just when you think nobody is listening and watching, you can walk away with world titles. You can change someone's day. You can change someone's life with mixing and music. You can use these tools and really make a difference, even when you don't think anything is working. I had always said, one listener is better than none, and this was the biggest quote and drive for me to do this over 2 decades. Just one person watching or listening can change your life and theirs.

    It was rough getting live video DJ's out there. There were not enough real DJ's on live internet radio willing to be seen. We even thought about cross promoting to other stations to fill a full live video schedule, but again, we could not find enough real DJ's using live video on a regular internet radio site, or even willing. I knew in my heart that there would not be any radio station capable of making this new idea and technology work. I finally decided if these internet radio stations could work with little effort, then there was no reason why I could not make a new station. was born in 2009-2010. With the help of some really good friends, a splash page and a Ustream account, we opened up the very first real DJ video site in the world: What a crazy ride this has been! I had already made a name for myself. I had already taken many awards, world titles, recognition, and a World Record. To be very honest, I was bored. My main theory with the-lost-art was to help others achieve the same thing. I knew how to make top world DJ's. I knew how this industry worked. I knew how to get people's names out there with social media and the internet. This was my biggest challenge yet: How to teach others to be a top DJ with the power of live video.

    We searched high and low for DJ's of all levels. You did not have to be a world class DJ to join us. As long as you were proving you could mix, I knew they could and would get better. We even had 2 controller DJ’s on our site, just to be clear. We are a turntable/CDJ site, but if a DJ can prove they are mixing, and have real skills, we have always given them a chance. I think this statement is important due to the fact we are about talent and real skills. With technology that can make anyone a DJ, we have been ultra careful to not book controller DJ's. The Sync button has ruined the whole industry, and seeing a controller automatically puts the term fake DJ into everyone’s minds. Put 2 turntables and a mixer up, and let's see who calls themselves a real DJ. ¾ of this industry would not be standing!

    There has been a huge lack of education to this industry. I think there was a really bad crossover of confusion to what a DJ was doing vs what a Live P.A. (Performance Act) producer was doing. I had a good friend that worked for Native Instruments that had coded software programs and more for them. He ended up losing some of the functions of his hands, and designed one of the first prototype controllers. These controllers were to help those with handicaps, such as hearing problems, missing limbs and other problems. The industry soon found out that they could make anyone a DJ with this technology, and thus the controller was born. This has been more about how the industry can make money, than keeping talent in the light. With the craft of what a real DJ is and does being lost with time, it was most important to preserve what was left. As we say, preserving the pitch…

    People can argue all day long about this topic. DJ means Disc Jockey. No Disc, No DJ. That is a fact by way of definition and decades of DJ's using records or discs. Nobody thought a site like this would work. Nobody thought anyone cared about the real craft or a real DJ. We proved everyone wrong. At some of our peaks, we had 16 million people hitting our site a month. This was extremely expensive with server costs and site maintenance. We were the very first site to make a custom video with no commercials or spam. We left Ustreams and Youtubes to become the first independent company to use their own ideas and technologies. This was a huge reason why you have never seen too many other sites like The-Lost-Art with custom live video. It's incredibly expensive and is a full time job handling 50 plus shows a week. TLA was incredibly big for its time. Too big to be honest. We knew we had something really unique and special. Our biggest nemesis was monetizing the site. We were bigger than what we could handle to be very honest. This became a huge downfall.

     DJ Natural Nate with some underground sounds.

    Some of the inspiration to The-Lost-Art was to be the first all genre station. Instead of saying my genre was better, we said come and prove it. We were told this would never work because genres cannot and will not get along. We proved everyone wrong again. The biggest inspiration for the site was to help Breaks and Electro Breaks stay alive. By pushing an all genre site, many others could get to know other genres that they would have never been exposed to. It was a win win for all of the music of this industry! We wanted to be the first DJ site in the world to be able to pay our team for their efforts. We were after big contracts, and this meant a very strict routine. It takes extreme dedication to do a weekly show for 2 hours. It takes a very special person and DJ to have that type of commitment. It takes a very strong team to engage in a huge contract. Everything has to be perfect. From the camera angles to just being a professional, you have to be on top of your game at all times, inside and outside of the website and team. You never know who is watching. There is never time for a mistake with so much riding on a project like

    I felt like I had won the world over at times, and other times I thought I had lost the world. I made so many mistakes trying to learn all of this. My biggest regret of was not being able to afford a real patent for our ideas and technology. This was brutal because a real patent at the time was over $50,000. This alone would have kept this industry from allowing others to use the function of live video streaming for DJ's on competing sites. You only have 2 years before a patent is not valid if this technology has been public. It might have been better to wait, but at the same time, maybe this project never would have been made. I have again, made a ton of mistakes. I'm ok to say this out loud. I hope that someone can learn from this.

    The-Lost-Art pushed this industry to its core. It pushed the DJ’s to be better. It pushed the other radio stations to compete. It pushed the industry to be more honest. It pushed voting contests to be real. It pushed our team to be the best. It pushed our admins to hold this together the best they could. It pushed me to limits I never knew I had. It changed the history of internet radio. The biggest impact on my life through was The DJ's. You just never know how important a song or a project can be. You never know the real power of the turntables until it's in your face. We had DJs that had nothing in their lives. We had DJs that we didn't know were living on the streets. These DJ's lived for The-lost-Art, and would go to a friend's home to do their weekly show. I had no idea the importance this project was on so many. This absolutely broke my heart, but also touched my soul into knowing how important this was. This project was to help DJ’s/people change the paths they were on. Good or bad. It was to help give some type of direction, and that you did not have to fit a bad mold (drugs) to be a DJ. I will be very upfront on this. It was to show the industry that we had the power to make worldwide names without kissing anyone's ass. Most of all, no matter what the money was, no matter how bad things could get, it was changing others lives. There is not a price on having that type of impact on someone or even the world.

    We have had some great losses with this project. We lost one of our biggest friends and admins to the TLA project Demetrius Dialect Austin. He passed away in 2013, and this changed the whole entire company. He was not only a great admin, but a true friend to the whole team. He was a huge inspiration to everyone he knew. This was another huge loss for not only me, but the whole world. We will never forget him as long as our site is still standing! He pushed me greatly to be a better owner.

    It was not too long after Demetrius’s passing that we were offered to sell the company. We had a massive offer and I was not even close to this idea, no matter what the number was. I felt like I would be selling people's souls and all of the hard work everyone did. This project was bigger than all of us. This project was never for sale. This project was to give people voices that might not have been heard. This project was to give back and help the less fortunate through charities and donations. This project was never meant to make money for myself. This was all non profit. I have been a non profit DJ from day one. I have had so many great producers give me music for my show, that I could never have the intentions of making money, especially off of the music.

    Any booking I have taken out of state, I have made them set up a charity to help people. If I'm using others' music and they are not getting paid, then why should I? So again, I have tried to find a way we all can give back. That's all this project was about...just giving back. Helping others to be a better DJ. Helping others be a better person. There is no price tag you can put on that. Yes, we needed major funding to grow and pay for the unforgiving servers. This project was my creation, and I would have to find a way to always make it work. No matter how hard the times got. The-Lost-Art would have to find a way to stay open not only for the music, but life in general and the true meaning behind it. There was so much sweat and blood that went into this in all directions. No matter what has ever happened, I will always be proud of TLA and especially the people that made this into what it is.

    The same company that had offered to buy TLA came back with another offer. They knew we would not sell, so they wanted to do a contract as a part owner of the site. This was what we were working for the whole time. It finally was about to pay off. Unfortunately, when money is offered, people change. In 2014, I was sued for Through greed and wants, and a huge long story, I will make this part short. I was sued by some individuals stating they were the owners and idea of this website. I ended up having to hire a lawyer out of my state and put a countersuit back to them. I locked them into their own game. This basically destroyed TLA from moving forward. It destroyed the DJ’s, friendships, and a project that was only trying to help people. These individuals wanted the contract for themselves and did not want to share. I did keep the website up and somewhat going for legal reasons. Nobody could move forward until there was a real resolve. It took 6 long years to finally win a case that was already won from the start. These chances only come once in a lifetime, and it seemed like TLA was completely over. Or was it?

    The one thing about TLA is it stands for the best. It stands for real talent and real music. It stands by itself with nobody next to it. TLA has been bigger than I can ever say, without my help. It changed the world. We will never get a trophy for this or maybe the real acknowledgement it deserves, but then again, we don't even want it! This project is truly a one of a kind. It has pushed everyone to be the best they can be and it still does to this day! I will never be able to express how much this project has meant to me. It's been a name and website that just keeps on giving with zero expectations, except to be your best and to always be honest. TLA never went away. It's still going strong. We have been staying in our own lane and just enjoying it. We have made it to the top a few times, and we are not done yet. We have not been stat hunting. We have not been looking for big contracts. We are DJ's that just want to play music and records. If one person is listening or watching, that is better than none.

    A special shout out to God, Damian Doyal (Part owner), Jenna Lemieux (Part Owner), Dave Virale (Part owner) Dodman House, Gene Hiltbrunner, Rob Hagen, Ronnie Beatty III, Morgan Jones, Chuck Bailey, Mikhael Vargas, Gino Cordova, Paul van Leeuwen, Noah Garza, Michael McElyea, Dallas Fowler, James Wolfe, Demetrius Dialect Austin, L-Roc, Jb Thomas, Kyle Austin Taggart, Tyler Brian, Bruce Davis, Wicked, Ian (Ghost), Daniel Varela, friends, family and many more.

    DJ Natural Nate vs. Jiggabot/Mike Devious - Activate The Underground EP © Underground Music Xperience (2018)

    Aside from being one of the most dedicated and skilled DJ's I know, you are also a fantastic producer. You have a modest discography under your belt, and most of it on popular Netherlands label Underground Music Xperience. How did you wind up hooking up with such a unique overseas label?

    What a lot of people do not know is that Paul Van Leeuwen's was one of our best shows on We had become really good friends through the TLA project. One big thing about The-Lost-Art was finding not only good DJ's, but just good people in general. Paul is one of the nicest guys I have ever met. He truly has a heart of gold and his soul shines extremely bright. I had already had a few releases with labels like Supreme.Ja Music, which is another incredibly amazing label all the way around! I never thought in a million years that anyone was noticing my production.

    I never really looked for sales for myself. I had so many amazing producers that had helped me along the way with internet radio, that I just wanted to give back in my own small way. I feel like I owe so many people for their help and support to many of my crazy ideas. If it was not for the producers and their music, I would have never been Natural Nate. I never would have had the chance to make it in top nominations. My wins were their wins. I just cannot ever say thank you enough to everyone that has pushed me to keep going, and especially to be the best I can be.

    I have never been so honored to be able to factually press a record, as with the Label Underground Music Xperience. With so many great producers out there, I just could not believe that Paul had the confidence that our music was good enough. Paul had taken some really big chances on this. He has allowed me to try different things. He has allowed me to cross over this genre, so to speak. He trusted me to be able to help promote this label in a different way being from the United States. Between our connections across the world, UMX has truly been one of the best record labels to come out in a very long time.

    I have a huge admiration for Paul and UMX. He does everything by the book. He really cares about the real process it takes to be a world wide recognized label, and it shows! He was also extremely smart in the fact he did not just do an Electro Breaks release. He added Techno to the label and a lot of experimental music. All of the producers that have made up this label are one of a kind gems! These are not your average releases. This is not your average Electro, same dialog type of tracks. This is not like anyone else's music. It is a very distinct label and sound. I cannot be so thankful that our music made the cut for what he was wanting to accomplish. He really believed in me. That means more than anything to us. DJ Mike Devious (Partner) and Jiggabot were also a huge factor into some of these releases.

    It always humbles me to hear someone say, what a great label! It's humbling to see people take pictures of their record boxes with our releases in them. It's extremely touching. Paul has helped so many people accomplish their dreams, including me. To know that someone is playing these records and cherishing them like I cherish my own record collection is absolutely priceless. To think that these songs can give inspiration, a smile, and to possibly save someone's life through the melodies is what this is really about. I know what records and the amazing producers have done for my life, and to be a part of that circle is beyond any words I can write or say. I will always be Paul's true friend. I will always look up to him for stepping out of the box and taking major risks in his life. There is a big difference between an MP3 and a record. You can hold, touch, smell and hug a record. I find myself doing this often! :) (A special shoutout to Danny Electro. You will be missed but never forgotten. Release: Invaders- UMX 010)


    It's ok to be different. It's ok to have different views and thoughts, as long as it's never hurtful to others. It's ok to dare to try something new. It's ok to be you...

    What's your take on the rising popularity of Electro these days, are you seeing it via your shows and events?

    As far as Electro and even Breaks in the United States is concerned, not a huge rise at all. Thankfully there are still some underground promoters that do keep Breaks and Electro in the light. When the Rave Act happened, this had a major impact on these genres and here are my real thoughts on this after doing countless shows: Once the underground scene went to clubs, one of the biggest downfalls to Electro Breaks and Breaks, was the fact it made people dance! This also created huge break circles and took up a lot of space. If people are dancing or are too busy watching these broken circles, the clubs actually lose money. That is a crazy statement but more than true. It took me a very long time to try and understand why Breaks and Electro were so hard to book.

    I was doing a show in a very big club in Denver. As soon as I went on, there were 3 major break circles going at the same time. It was a huge success... but was it? In some cases, there are many promoters to one event. After ten minutes of playing, the main promoter came up screaming at the top of his lungs saying, you have to stop this music. We are losing money at the bar sales and this has to stop! I was completely floored. Of course, I did not stop. I had this promoter standing in front of me with his arms crossed as I stared him in his eyes the rest of my set while tossing some of the best Breaks and Electro this club had ever heard. It was awkward, it was embarrassing for that promoter to hear other people say this was an amazing night, even though he was trying to shut this music down. It was eye opening to how commercial this scene has become. It was eye opening to see it's not about the music anymore; it's about the pure sales.

    The more boring the music is, the more people drink. The more people drink, the better the sales. So when you go out to these events and do not hear Breaks or Electro, just remember that it's not because the genre sucks. It's in the fact that these genres are the best the industry has to offer. I'm just going to say this in retrospect, especially in the United States. Breaks and Electro make people think. You have to actually have some type of background in dance or hold a beat to be able to look like you are dancing to this music. With House music and more, you can just flop around to a 4/4 beat count and it looks like you are dancing. You cannot do this with Breaks and Electro. What holds most of these types of shows is the real dancers, the break dancers and the breaks circles. Going back to what I stated earlier, this makes more sense as to why you don't see these genres in clubs especially.

    Maybe I should not say this, but I'm going to. Electro Breaks especially, are not for the weak of heart. Most of this young generation is looking for the love experience. It's friendly and more sociable. When drugs are introduced to all of this, having robots killing the world and taking over the galaxy is not what most people think of when they go to a show. I love Electro with all of my heart, but in all honesty, not for the bad of Electro. Not for the hardcore of Electro. Not for taking over the world Electro.

    I love Electro for the wonders of the universe. I love Electro because of robots and vocoders (BattleStar Galactica- Cylons 1978). The possibilities of alien life. The exploration of sounds. For the bass kicks that take your breath away. I think it's important to try and find a way to take Electro in other directions so the mass can feel like they understand it. I think some of my success is not just being an Electro DJ, but an Electro DJ that crosses over other genres sounds within Electro. I love a good melody. I love a well done vocal. I love a heartfelt song that digs deep, especially with the Electro undertones and the bass! I think there is so much more to all of this than the same old sound we have been hearing for decades. I admire the Electro producers trying new things. It does not have to be a traditional sound to still be called Electro.

    I think we have to be careful of what we think the rise of Electro is. We need these producers to be paid equally in this industry to keep them going! There is no question about that! They deserve it also. Electro Breaks is the underground music of this underground scene. There is no doubt that Breaks and Electro steals the show every time it is played. That is a pure fact. We also have to be careful of washing it out. We can burn a flame big and bright, but eventually, the bigger the flame, the faster it will burn.

    I think Electro has never gone fully away. Ever! It's always been there. A huge hats off to all of the Electro producers. Most of the time, it's not about the money and that's what makes this music so much more than what it should be in terms of money. That is extremely special, and it takes a special person to be an Electro producer pushing the industry to try new things. I really hope that someone can find a real balance to all of this. I have spent most of my life trying to crack the codes. I will always be a true fan of the producers, the music and the dancing.

    Fascinating, your heart is very true my friend! Everything you are saying is so true, and even shocking in some ways actually. I honestly had never stopped to think the dancing and less drinking would be an issue to promoters and club owners, but having done this are absolutely right! This is a real issue that needs to be exposed more.

    Alright, let's talk studio matters for a moment. What's your personal approach as an artist? Would you say you are perhaps more software oriented, or maybe hardware? How does a track come about for you?

    I grew up wanting to play the piano and drums. I just had a natural gift of music. Anywhere there was a piano, I would sneak my way over to it and just play not knowing how to read music. I told myself growing up that one day, I would own a keyboard. I would go to local music shops and stare at all of the hardware, wishing I had the money to afford one. I never intended on being a DJ, let alone a producer. I have been extremely happy being able to push other artists of all levels out by the way of radio shows. I love it all. From Downtempo, vocal Breaks, trancey Breaks, Electro, and especially to the artists that have never been heard of. I love the challenge of it all and especially the story telling of a mix.

    I have never been a huge computer guy, even after I really love being hands on more than anything. I tried reason and a few other programs when I first started and hated it. I decided my real passion was hardware. I had always promised myself I was going to get a keyboard and I was in over my head. I did not know I would need a college education getting this piece of hardware. It was difficult for me to ask any questions because I was using a Roland Fantom F6 when I first started. There was really nobody to ask questions to, so I had to learn everything from scratch and the hard way.

    I really did not think of myself as a producer at all. I loved and wrote really loopy types of tracks when I first started, due to the fact I could hear something I liked a few more times than a normal song and it was something I called breaker loops. It has taken me a very long time to learn these keyboards and I'm still learning to this day. I finally broke the mold of just loopy types of track and published my first real album called “Legend” in 2009. This was a 23 track release that I worked on over a year. I wanted to make a story. I wanted to make something nobody had heard before. I also created this to play my keyboard over the top of mixing records. I hand wrote every single beat. I hand wrote every single synth with a collage of samples. I was basically using the samples to help create the background music and story. It was a very life changing moment for me. I took all of my childhood favorite cartoon samples, movie samples and more, to create this new idea of making tracks and music.

    The release “Legend“, was in fact another idea at the time. I really was loving the idea of sampling, so I took the factual movie Legend (Tom Cruise - 1984) and started taking samples. I found that I had hundreds of them and knew I was in over my head trying to create a movie track idea. I decided to do the Goblins version of these tracks, and to tell the story this way. I ended up making a 5 track series from this. The other idea behind this was, if I was going to sell this, you would have to buy the whole release and especially the 5 tracks to tell the real story. I'm not sure if anyone ever really understood the release and the magnitude it really had. It was by far not perfect. We don't really promote our songs and videos. I did manage to archive this with Youtube, but have never really shared this out to the public.

    I write all of my songs to this day with a Roland Fantom G6. It's been a neat way that I can handwrite all of my own beats, sample and real time synths. It's not the most fancy way of writing. I try and keep it simple and really write these tracks for personal use. It's been amazing that anyone has taken interest into our production (DJ Natural Nate vs Jiggabot). I write all of this for my wife mainly. I have never really cared about the sales of this music. I have had so many other producers give me music for my show that again, I'm just happy to have been able to give back where I can. Most of my mixes that are released to this day are mainly Bruise Your Body Breaks productions. We have done some really fun events such as The Monkey Tennis Group Festival of Friends. I have tried to create more story mixes along the way. Even though I have been DJ'ing for over 2 decades, I only have a handful of mixes I have ever released to the public.

    Our last released story mix release was last year with Linda B. called “Sky Watcher”. This took about 3 years to write and it was not perfect either. It was another life changing moment for me. It's just been about growing, trying new ideas. Trying something different. We cannot thank Linda B. enough for believing in us to launch this mix with her incredible show with On ALLFM/96.9 FM in the United Kingdom. Some of these tracks were record releases with Underground Music Xperience. It's just been incredible to have anyone support our music. There are so many great producers and productions, to even be noticed means the world to us! All of our mixes are done with 2 turntables, a mixer, records and we do support Serato. You can hear this one of a kind mix here.

    DJ Natural Nate deep in that Taco Scratch! © The Lost Art

    What's been the response with The Lost Art lately with all these lockdowns amid the COVID-19 crisis? It seems fair to say that internet radio and overall streaming is really having its moment to shine.

    I think internet radio still has its place, but I must say, with newer technologies and especially Facebook live, radio has forever changed. I think was paving the way to how the listeners could not only hear the mixing, but to see it as well! Live Video Radio was to showcase real and raw talent. Nowadays, anyone can be a star with live video. With the onslaught of DJ’s now catching onto the power of sight and sound, it’s made it easy for someone to be independent from joining a radio station. I think there are plus sides and absolutely a downside to empowering everyone with social media. Especially with Facebook live. Over saturation can be a huge, huge downfall, and it can wear people out from wanting to engage with DJ’s. It's getting tougher and tougher to find who has real talent vs watching the countless bad shows that do not understand how all of this works. It is quickly washing itself out.

    The whole industry still is in a grey area of radio stations and live video. Using social media sites such as Facebook and Youtube has created a huge mess for copyrights. This alone has been extremely unfriendly to the average Live Video DJ. It's also unfriendly for the watchers and listeners due to the fact your videos can be cut, deleted or muted at any moment. The plus side to this would be the independent companies that use their own custom equipment. You can skip over the whole mess of social media this way, but as stated in this article, it's extremely expensive. You would think things would have gotten a lot cheaper to run videos and servers but, this is not the fact! There is still a big market for Live Video DJ's and especially

    As far as The-Lost-Art during Corona, we do not support the Coronavirus idea in any way shape or form. We have not tried to capitalize on what has been happening vs just doing our regular weekly shows. We think it's important to try and have a normal life without the everyday presents of talking about a pandemic nor do we think it's soulful to engage over troubled times. We just stay in our own lane these days. I have said this a few times in this article: One person listening is better than none. You never know who is watching, and be the best you can be. Do it because you love it. Do it not for a trend, but to better yourself with the power of mixing and music. Stay humble at all times and encourage people to learn new things. Use these live videos to learn from your mistakes as a DJ. Learn to grow from it. Try new ways to mix, scratch and to present your shows. Keep pushing yourself to be better and especially the others around you. Don't be afraid to have a voice, but don't be afraid to have reason.

    What about the future, are you hard at work in the studio? Tell us about some upcoming projects and releases.

    I kind of do my production in spurts. I do run my own business outside of DJ'ing and production. When I do get in the studio, I try and write several tracks at a time. I never know when I'm going to have time to pick the production back up. It also gives me sometime to reflect. By doing it this way, I don't completely burn myself out and when I decide to write, I'm really looking forward to it.

    I have been working on my last project “Can’t you see it?". I have been really interested in not only making just a track, but again, a full on mix story. I am still debating if this series is done and if it all fits together right. None of this is ever perfect. Ever! I made 22 unreleased tracks through the period of 2019 into 2020. I have done a pre mix of these tracks to see if I could match my past mega mixes like “Sky Watcher”. I do write my production in a very special way. I love to start around 120 BPM and end the series with beats around 140.

    What's very unique about this is the way these mixes are designed. I LOVE to start off slow and bring the tempo up throughout the whole mix without anyone knowing this is happening. I have been working on this idea for over a decade. Usually most mixes are flatlined for many reasons. One is to make the mix easier. Some are synced and cannot go outside of a BPM range. Some artists need the BPM the same to even mix the production together, pending on the devices used. Me, I love to put more pressure on the whole production and really think outside of the box. Not only the production, but especially the whole art of the mix.

    In total, I think i have over 40 unreleased tracks. I have not been in a hurry to release anything at all. I Have been enjoying having so much unreleased music, it keeps it underground and it is unique. I also love to share these folders with special friends and other DJ's just as other producers have shared to help me be DJ Natural Nate. It helps all of us stand out a bit more. I have learned a ton of patience over my years of doing this. I have never cared about the money, ever. I don't care about the fame. The bigger you become, the more problems you may face. Everyone has something to prove. Being at the top can be lonely and also makes a huge target on your back. I don't ever want to be a master of mixing and production. I want to always learn a new scratch, I want to always learn a new mixing style, I want to always learn a new way to create a production. If I was a true master, I don't think I would still be doing this. This whole journey is about being a better person and to never stop growing.

    I truly have been enjoying just doing this on my terms. I have been enjoying just loving the turntables and mixes for myself and Jiggabot. I have been enjoying myself just doing this because I love it. I enjoy this more when I don't ask for anything. I enjoy this more when I don't expect anything. I enjoy this more when someone finds the music because they are looking for it and not being pressured to hear it. That one listen can mean more to me than a million listens. You never know whose life you can touch or inspire. I have never really expected anything from this but have achieved so much. I'm so thankful for just having a chance to push the industry and especially myself through the power of music and turntablism. I will never forget my biggest motto… One listen is better than none!

    Huge thanks for taking the time to do this interview Nate! Keep up the great work.

    DJ Natural Nate on Soundcloud

    DJ Natural Nate's discography

    The Lost Art website


    Edit note by (5.5.2024):

    The Electric Kingdom website has been offline since 2023. We replaced this teaser post with the full article retrieved / restored via the Internet Archive:…se-and-personal

    Website owner / interviewer Santino Fernandez died in 2024. RIP

    Roland Zenbeats combines the best from all the top DAW's! © Roland Inc.

    If by now you are fortunate enough to call yourself a well seasoned composer and producer, surely you remember a time when just trying to figure out the settings in your DAW seemed like an almost impossible task. Where do you start? Where does it end? Between buffering, latency, and even trying to navigate around your audio and MIDI connections, getting up and running smoothly in Cubase alone was a monumental task to say the least.

    For someone like me who has been a recording artist for the last 20 years, I can tell you in all honesty, that I have probably spent easily a total of 5 of those years simply trying to learn my way around these Digital Audio Workstations, with most of my earlier sessions, or lack thereof I should say, always ending up with me basically banging my head against the computer screen as my inspiration quickly turned to horrible frustration.

    But even after having mastered most of how these environments work, I have to admit that for many years I have been secretly lusting after a different way of doing things. While I have to say Cubase is an amazing program, and is a staple of many studios around the world for a good reason, there have been many innovations since, like Ableton and its quick workflow (which is what I was mostly after), and more hardware oriented approaches like with the powerful Akai MPC Live. Cubase for me allows me to produce and master a song as properly as you could possibly want, but somehow the workflow feels stagnant, at least for me, and there really is no way to speed up its workflow, as the structure of the program itself lends itself to a slower, more methodical way of doing things.

    Enter Roland Zenbeats. Yeah I know, somehow the name suggests this is merely some app that will let me "make beats" on the go, but you soon find that to not be the case. This is a full DAW that combines the best of things like Cubase, Ableton, and some of the...Read more!

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    For our next installment in the archive series, we welcome Kim Cosmik out of the UK, packing some serious heat in this new mix with tracks by ADJ, Stormfield, Plaid, Versalife, and much more!

    As a resident of the iconic Dodo Club, as well as Xcero, not to mention her own productions as Kim Cosmik on labels like Crobot Muzik, Urban Distortions, and Touched Music to name a few, this veteran of the UK Electronic scene has made quite a name for herself over the years with unwavering dedication to the Electro sound and beyond.
    Catch the magic of her skill on this brand new exclusive mix for Electric Kingdom!


    1. Plaid – Maru
    2. Karsten Pflum – Reichenburger electro
    3. Stormfield and Nonima – Digiborrow
    4. DL/MS – Yep
    5. YLN12 – Earth without people
    6. Covert 3 – Earthday
    7. Versalife - Normal behaviour
    8. FJAAK – Matte
    9. Forward strategy group – At seminary
    10. Metrist – Eliot Me Fi (Cadans remix)
    11. Juno Lazermachine – Wormhole
    12. Cassegrain – Plate 2
    13. ADJ – Danger Management
    14. Momentum – Anthony Parasole
    15. Clark – Branding problem
    16. ASC – Silent reign
    17. Korben Nice – Plasma
    18. 1NX! – NX1 08 22

    Luxus Varta has become one of the most sought after names in the Electro scene over the last few years. With releases on international labels such as TRUST, brokntoys, or Shipwrec to name a few, Emeric Di Paolo's refined yet elusive Electro project is easily one of the most refreshing to come in a long time. Dreamy, melancholic, and profound, his music transcends time and space in a way that leaves you spellbound, reflecting on some of your deeper and perhaps least understood feelings as you drift away into his mystifying and brooding atmospheres.

    In this interview, we take some time to speak to this amazing French artist, who tells us about his early beginnings in music and life, his approach in studio, and how he came about meeting his most trusted ally, the one and only Paris The Black Fu of Detroit Grand Pubahs, with whom he shares a rather profound musical journey and passion with, as witnessed in the most recent works by their duo Techmarine Bottom Feeders. Let's begin!

    Welcome Emeric! We really appreciate you taking the time for this interview, I absolutely love your music! Let's talk about where that all began for you...what was the catalyst for you starting your path in music? Who would be your main influences?

    Thanks for your interest, it’s always a pleasure to talk about music! It was just a good feeling, music was the most suitable artform to satisfy my brain, and it came at the right moment: I’d been invited by a Punk-Rock band in the early 90’s to be the drum machine guy. Then a friend of mine bought a drum set and started playing with them. Unfortunately, he had a serious accident and was not able to play drums anymore, so he asked me to replace him. I became a musician by a cruel hazard!

    At the beginning, I was really into Punk-Rock and hardcore stuff. The Dead Kennedys and Nomeansno were my favorite bands at this time, but the Pixies came to...Read more!…pires-his-music

    Left to right: Todd Walker aka Hyde and David Noller (Scratch-D) perfoming as new Dynamix II © D. Noller

    Dynamix II has been at the forefront of Electro Bass music since the duo's debut back in '87. With heavily influential old school hits like "Feel The Bass" and "Just Give The DJ A Break", to later titles that once again redefined the Electro sound in the late '90's; perhaps most notably the single "Atomic Age/DJ's Go Berzerk", Dynamix II has inevitably been a pioneer for the music time and time again with no signs of slowing down.

    Through so many changes in the music industry however, the duo's line-up itself has seen some changes as well that have affected the direction Dynamix II would take over the years. From the old school days of founding member David Noller working with Bass mastermind Lon Alonzo, to some of the more crucial periods with Claudio Barella aka Debonaire at Noller's side, later going on to recruit Scott Weiser of Jackal N Hyde fame, and finally, after some time of going at it alone, teaming up with none other than Todd Walker, the legendary Hyde, also of duo Jackal N Hyde, who undoubtedly brings a...Read more!

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    Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.

    Hot on the heels of some of its most sought after clones coming to fruition, such as the K-2 synthesizer (an MS-20 clone), Pro-1, and perhaps one of its most monumental choices, the RD-808 drum machine, Behringer has taken to social media to share a video for another very sought after beauty; and one of original design like its iconic Neutron synthesizer, the versatile Crave.

    This single oscillator unit gets its sound from the infamous 3340 VCO found on the legendary Prophet 5 synthesizer, sculpted to perfection by a Moog ladder filter, and expanded upon by a versatile sequencer, and a...Read more!

    Our review of this stellar recording:

    Microm Records, Spanish Electro imprint headed by none other than Negocious Man, has been on quite a streak lately, including some really nice vinyl titles like the recent "Alphanumeric", and last year's "N.E.G.O."; Negocious' first solo vinyl LP! Then there is also a new vinyl outing in the works by Negocious Man titled "Dreamscape", which is due out November 28th, so lots to look out for indeed.

    This time offering a digital album by another one of Spain's hidden treasures, of which there are too many to name, electronic composer and producer N.A.M., who hails from Burgos, signs "Travel To Alpha Centauri" to Microm Records and what a beautiful record this is!
    Starting off with the song "Atmosphere", already we can see what a well rounded musician we are dealing with here. Soothing soundscapes decorate the warm, punchy Electro beats that drive the engines, as clever programming takes the stage and sets sail for Alpha Centauri.

    People fond of the more obscure and thoughtful side of Electro will find that aside from the title track, other songs like "Weightlessness", "When Silence Shine Dreams Take Shape", "Curvature", and "Back Home" are perfect to lay back, close your eyes, and envision a trip through outerspace as the majestic and dynamic synthwork and sequence programming envelopes all around you.

    On the other hand, if you are looking for a little more tenacity and sonic audacity, then songs like "Rings of Saturn", "New Opportunity", "Spacial Communication, and "No Future" are sure shots to get you grooving. Sinister in some ways, but highly...Read more!

    It's been a long time since I had the chance to work on such an energizing interview that reminded me how writing about music, can be rewarding, how much you can always learn, and be grateful as well when you figure out there’s still someone who continues to keep alive the essential dogma. If you don't know what I mean, you can just turn back on some crucial points of 90's Underground Resistance.

    Why did I almost forget the charm about music writing? Because I personally feel these are learning times for journalism. The reason why you do journalism now has dramatically changed, due to the increase of the business side against that visceral need that drives someone to start to write: spreading culture, diffusing messages, propagating views, only for the simple and genuine need to do it. And yes, you can of course say, this is already taken for granted. But isn't it true that journalism serves to understand our society better? Just like our music landscape.

    It's something that seems to happen to the music scene too. Now more than ever, there’s a lot of people who report a kind of annihilation. People who complain, with an unconstructive attitude, about too many spotlights. But, there’s a different point of view here. Someone who was able to put a positive spin on things, see the bright side! This gives me hope. The hope to not sink in the quicksand of business, of the form without any content.

    It’s precisely for people like Anwar and his work on Brokntoys Records, that we’ve not yet completely ruined our scene favouring the mainstream-game, or just letting what once used to be underground turn into a branded jukebox. Someone who has already seen the game’s rules and decided which side he wants to play on. That’s actually quite rare, isn’t it? Most people were saying it’d be mad to start an Electro-oriented label, while London was overrun by minimal and Tech-House sounds, and then, worked out to be one of the labels being closely watched by the Electro heads.

    This interview deals with the picture of a London wrapped up in an incessant marketing machine as well as a refreshing point of view about the European contemporary scene: “If 18 year olds are exposed to Drexciya instead of some corporate mainstream garbage, well, what’s not to like? Of course, obscurity is alluring, but isn’t the whole point to put the spotlight on the unseen?”

    Concerning the current situation, this is one of the most straight interviews I ever carried out. Thanks Bronktoys, who continue to leave and send messages in bottles for those who know.

    Giulia Scrocchi: Welcome Anwar! London’s scene always makes me so enthusiastic. It is constantly in progress, thanks to its marked multiculturalism. Would you be able to tell me its changes over the years? In matter of music scenes, of course.

    Anwar: Hmmm, every London story is incomplete, as the city is so vast you are irredeemably missing out all the time. So, my point of view is definitely skewed and limited by my own experience. I find the political and music scenes are inextricably linked. Commercially bulldozed by developers, the combination of speculation and media hysteria have created an overregulated and costly environment making it an uphill battle for small promoters to survive.

    It's definitely second to none in terms of diversity and history, but there are not so positive common threads. The standards of living are often off-putting, and the city is a hyper accelerated hotspot constantly attracting and repelling creative types. Fresh and fickle, everything seems transient. As a punter, sometimes you feel like a criminal going through airport security, which it's hardly the ideal setting to enjoy music.

    If you were to believe the incessant marketing machine, we have been living a golden age every year, but my reality has been more lacklustre. There are no doubt great parties, promoters and DJ's who worked really hard against the elements, generally just not in plain sight and by default on a state of flux.
    Over the last 10 years there has also been a mass...Read more!

    Behringer BH 770 studio reference headphones © Behringer

    Behringer has become a sort of household name these days. Whether you are just getting started as a musician, or a veteran of the scene, chances are Behringer is at the top of your list with so many grandiose releases as of late and many more in the works. Imagine, a fully faithful recreation of a synthesizer such as the ARP Odyssey, with features not available before, or perhaps a nearly-identical clone of the infamous TR-808 drum machine that is actually affordable and even more powerful than the original. And there is just so much that we could write about, released and planned, but it's really quite a lot. Behringer dare we say, has been on absolute fire lately! And there is no sign of slowing down.

    Having always been a budget-friendly audio company in general, perhaps their next release wouldn't come as much of a surprise as the next inevitable announcement of some clone that will leave us completely baffled. Infusing the audio engineering market with some of that philanthropic Behringer love, the company next delivers a real gift not just for the seasoned studio pro, but for the many of us....Read more!

    Alavux live on his 505! © Goran Alavuk/Facebook

    Alavux is a veteran of the new school Electro sound. A persistent force with consistent output on many of the great labels such as Bass Agenda, and Twilight 76. His music, defined by an adventurous, aggressive, abstract and always ingenious spirit that pushes forward into realms unknown with pure passion for music that exists on levels most of us can barely imagine.

    By his side, and infused into basically every one of his productions, is his trusty MC-505. Roland's follow-up to their MC-303, the infamous machine that would launch their "Groovebox" series, and inspired a whole new generation of Ravers and synth enthusiasts alike to pursue a path in...Read more!

    Alan R. Pearlman, founder of the highly influential and innovative synthesizer company ARP Instruments, has died at age 93. His daughter Dina Pearlman, took to social media last Sunday to make the announcement, saying: "My father passed away today after a long illness. At 93, too weak to speak he still managed to play the piano this morning, later passing away peacefully in the afternoon. He was a great man and contributed much to the world of music you all know today".

    Indeed the contributions of Alan Pearlman and his company have been far reaching, in many ways not unlike those of Bob Moog. Having worked on electronics since he was a child, Pearlman would go on to run a multimillion (a lot at the time) dollar company after designing amplifiers for NASA's Apollo and Gemini missions. It would not be long before he would found synth manufacturer ARP Instruments with...Read more.

    Released back in October of 2017, VCV Rack, which is an open-source virtual modular system, was warmly welcomed by the synthesizer enthusiast community and for a number of reasons. Just in time to weave itself into the momentum being gained by the rising popularity of modular synthesizers, VCV Rack offered users a completely free way to get into modular systems, and with plenty to offer from the start. But this was by no means just a tool for modular beginners, the reality is that this high-quality and great sounding program was designed as either a continuation of an existing hardware modular set up, or the beginning of it.

    With continuously developed and released modules; some free, some for purchase, like Hora Music's Analog Drums, Scalar quantizer and scale tuner, or the Befaco and Audible Instruments collection for example (both authorized ports of actual Befaco and Mutable software), you can come up with some very powerful racks that can be routed into any DAW, using the recently added Rack Bridge plug in. A couple of very straightforward audio and MIDI modules within VCV Rack, make...Read more.…dpTNrmTwalAJIXQ

    Tony "Pretty Tony" Butler is a very mysterious producer. Working behind the scenes on productions that many people would perhaps be surprised that he was even involved in, he has helped lay the groundwork for the path that our music has taken over the years. From groups like Freestyle to Debbie Deb and her hit single "When I Hear Music", he has been the key component in some of Electro's hottest releases of the past.

    Starting out as a local DJ in his hometown, Tony Butler quickly got inspired to turn it into a serious business. Working out deals with his high school activities coordinators and radio stations, he soon turned it into Florida's most successful mobile DJ group. Not long after, a couple of members from the American Football team "The Miami Dolphins", approached Tony along with a six franchise Burger King owner to help put together a skating rink which would go on to become one of the most lucrative in the southeastern United States.

    All of this was all good for Tony, but his real passion was to make music...and music he made...oodles of it! All winding up classics that still to this day get as much airplay in many cases, as any other hit with major relevance to the direction Electro Funk and eventually the Electro Bass sounds have taken over the years.

    Pretty Tony's first shot at becoming a successful producer was with a track written by the Mills Brothers Calvin and Carlton, called "Summer Delight". He would soon follow up with the debut of Freestyle Express, now known as Freestyle Evolution, which would bring about such classics as "it's Automatic" and Don't Stop The Rock!". Tony Butler also produced the Debbie Deb classics "When I hear Music" and "Lookout Weekend", and the hit songs by Trinere "All Night" and "I'll Be All You Ever Need". His own works as Pretty Tony can also be found in songs like "Computer Language", "Will We Ever Learn", and "Jam The Box".

    Tony has also launched his label called "Countdown Music Group" as well as a new group called "Digital Footprint", and seems to have...Read more.

    Hello everyone!!! We are Electric Kingdom, an online magazine dedicated to the sounds of Electro music. Our team consists of people with a long history in the scene, like Chris Nexus 6 from New Flesh Records and Fundamental Bass Intelligence, Santino Fernandez (Morphogenetic, Ascension Electronique), Giulia Scrocchi of Soundwall Magazine and the iconic Italian Orbiter parties, and of course, Lukas Barfield of Global Funk Radio and his long-running Freebass Radio show.

    You can check out our posts here from time to time, or visit us on the web at:

    Carl Finlow is a man that hardly needs an introduction. With a vast career that spans nearly 3 decades, with various projects such as Black Labs (with Daz Quayle and Kevin Walsh), Voice Stealer, IL.EK.TRO, Silicon Scally, and many others, the man is one of the single most iconic figures in the Electro scene...and he just keeps going!

    Hot on the heels of his new vinyl release "Boolean" on Craigie Knowes label, as well as recent remixes for artists like Mr. Velcro Fastener and Mauro Nakimi, Carl Finlow recently announced a very interesting project that for him, may be the most important of his career thus far: the "MIDI Archeology" box set on Fundamental Records.

    Comprised of 6 vinyl records, the project is the product of Finlow's recovery of many of his tunes from the 90's which were buried in old CD's and DVD's, reworked by the artist and remixed by many of your favorite names like ADJ, The Exaltics, Hardfloor, Radioactive Man, and many more. 4 of the vinyl records feature the artist's reworks of his music, while 2 more will feature all the remixes mentioned. But here is where you come in: There will actually be a 7th record included in this set as well, which will essentially be a 3rd remixes record that will be carefully picked by Carl Finlow himself, allowing any willing participant to submit their remix to Fundamental Records.

    The idea behind the track selection goes a bit deeper still however, in that it methodically cancels out any potential for picking out certain artists over others, in favor of previous history or successes, by using an alphanumeric system in place of artist names and song titles (ie. a312An2389Xx.wav). Once chosen, the remixer can choose to use their artist name and song title of course, or leave it as is.

    Deadline for this project is December 14th, so act fast if you would like to be part of this monumental endeavor. The only other rule is all remixes must be submitted as a WAV/AIFF, and must be under 5 minutes long.

    You can find everything you need to get started, including Ableton Live 9 data, by going here.

    If you'd like to get an idea of the musical concept behind the project, listen to this new mix by DVS NME introducing the music of MIDI Archaeology.

    Perttu Häkkinen, the legendary Finnish musician perhaps best known in the Electro scene for his works as Imatran Voima with Jaakko Kestilä, is also an artist with a fairly extensive solo music career dating back to the year 2000. Having appeared on labels such as Flogsta Danshall, Harmönia, and Losonofono Records as Randy Barracuda, with classics such as the singles "Rick James Is Dead", or "The Structure Of Scientific Revolutions", Häkkinen was also the recording engineer and performer behind many releases like Cae$ar's "Suck My Soul", or post-psychedelic rock band Itäväylä's "Itävalta" album.

    If I remember correctly, it was Lauri Virtanen of the Ural 13 Diktators; another Finnish group with whom I became friends with at the end of the 90's, who suggested to me the duo Imatran Voima. At that time the internet was a very different world from the current one, Google was not so efficient and researching could take several hours. Saving the URL was practically mandatory, and finding records of micro-labels like Kostamus Records (imprint of Imatran Voima), which did not even exist the web, was really difficult. Kevin Lewandowski had not yet launched Discogs, and many fears and phobias reigned over e-commerce for possible scams perpetrated against unsuspecting buyers.

    "Super Breakout", the debut EP of Imatran Voima, was perennially out of stock on Nuloop; the French web store from which I bought records by correspondence, and which made available just 30 seconds of the audio preview to...Read more