LM Affiliate AD

Music Samples for DJ's from Loopmasters.com

14 Mar 2018

Music To Film: An Interview With Dimer Ynni

The city was a portal for many, a gateway to a world of experience and intense emotion. At the centre was a sound. Whether it be Trance, Drum and Bass, Techno, House or the countless other dance music genres that penetrated the streets of Swansea and reverberated around the thriving 90s club scene.

This featured music maker grew up around this as you will read in a bit. But it isn't his dance music that we focus on here. There is an element of cinematic sound design and sparse compositions that are being looked at through a post-dance floor haze.  Someone who is inspired by the wonders of science, film composer Hans Zimmer and the importance of music education.

This is a first for the blog as we managed to collaborate with Swansea based photographer and musician Simeon Smith to deliver a beautiful photo shoot. To find out more take a look at his visually stunning website - www.awonderfulkindofimpossible.co.uk/

Thank you for reading.



EMW: Hello and thank you for reaching out to EMW. Please introduce yourself.

DY: Dimer Ynni - Swansea based electronica producer.

EMW: Did you grow up in Swansea? If so what was it like as a music maker, did you crave the bigger cities or was it a good place to be?

DY: I grew up in Pontardawe, as you can imagine there wasn't a huge club scene in South Welsh Valleys.

However, there were a lot of outdoor and indoor raves, which heavily influenced my fascination with electronic music and the dance scene in general.

Aside from that, a few local DJ's put on weekly events at Trebanos workman's club. It wasn't the most groundbreaking venue, but packed out every weekend! At one point there were 500 people jammed into this small venue, all going for it. The Dj's (Juntz, Rodman, Nik Lawson and Bounce) played mainly Trance and later become fundamental in Swansea's minimal, house, techno and progressive scene. Running events at Escape and holding residencies at various club nights. These guys and others indirectly mentored me, gave me a lot of opportunities and influenced my early dance music education.
By the time I was old enough to go clubbing, the  Swansea club scene was pumping. I spent every weekend in Escape for at least 3 years. I'd get lost in the music, blown away by guest dj's and residents. Those Trance years have always stayed with me, I've rarely seen collective energy like that, it was like the whole dance floor were on the same page. That's where I fell in love with melody really.

Once the minimal scene had kicked in, I found my taste going in a slightly different direction. Local nights such as The experimental lounge at Escape (Which was set up Nik Lawson & Rodman) Dogruff, Jnk N Fnk (Where Juntz had a residency) and digital session, run by Emma Jayne Smith.

"I'd get lost in the music, blown away by guest dj's and residents. Those Trance years have always stayed with me, I've rarely seen collective energy like that, it was like the whole dance floor were on the same page. That's where I fell in love with melody really." Dimer Ynni

Emma offered me my first residency after Rodman & Lawson introduced us. This then led to me playing regular gigs at Escape, Dogruff, Jnk N Fnk, Monkey Bar, Club Oxygen and Cardiff's System 909.

I found myself exploring the club scenes of Manchester, Liverpool and Bristol a bit. These cities club scenes were pumping. Seeing Sasha, Richie Hawtin, Ricardo Villalobos, Loco Dice and so many others really inspired me. The technicality and music was mind melting. I made the trip to Manchester at least once a month for the WareHouse Project and Sankys. Bristol's Just Jack is also amazing, those guys really go the extra mile on celebrating the diversity of house and techno. Plus their production is awesome.

The many years spent in clubs, letting loose to trance, house and techno eventually led to the exploration of more ambient music.

EMW: Dimer Ynni. Where does the name come from and is there a story behind it?

DY: Good question, Dimer is a scientific term,  A dimer is an oligomer consisting of two structurally similar monomers joined by bonds that can be either strong or weak, covalent or intermolecular. The term homodimer is used when the two molecules are identical and heterodimer when they are not.

Ynni, means energy in Welsh. I like science, it is often the inspiration for many of my songs. I wanted a different alias that was a part of me but not too obvious, Dimer Ynni represents things that are important in my life.

Technically you could argue that it means homodimer energy, but that's a bit overkill.

EMW: So you have a science background? Can you explain a little more how science inspires your song writing.

DY: No, not at all. It’s a subject I always enjoyed and did well at in school, but never really saw it more than just a subject.

Until I got hooked on Brian Cox’s wonders series a few years back. That series was one element in a number of events, that totally changed how I view the world. It was almost a spiritual revolution for me, made me view life in awe, it gave me a deeper connection to the earth and universe. As cheesy as that sounds, it’s true for me.

On top of that an indirect influence of several people that came into my life, inspired me to create another alias, making deeper music. Previously I only wrote House and Techno as part of live duo called Cymbol and my name of Anthony Watkins.

As Dimer Ynni I try to make music that conveys my emotional connection, melodic music is great for that. This is my mantra for writing really. I see music as a story, it’s someone's inner story, an expression of the soul.

The whole idea for my track ‘Galactic’ came about when NASA released a tone of recordings of space and rocket launches. I used a recording of Earth as an atmospheric background track. Sampled a recording of comet and turned it into a percussive sound . You can hear these best at the beginning and the end of the track.
The space thing inspired me to do a remix of the theme song for Interstellar. Specifically ‘Cornfield Chase’, The movie is one of my all time favourites. Hanns Zimmers score for the film blew me away. I love in minimalism how the same chords appear at different points in different form.

There’s a scene in the film where the main character ends up in a black hole, he sees time and space from a different perspective. That idea was incorporated into my remix. I recorded the song playing through my monitors, kinda similar to overhead recordings. The recording gives a different perspective on the sound, at the end of the track it seems to finish then the same few bars repeats, with lower quality sound. I was trying to replicate that scene into a sound.

EMW: This leads on nicely to your use of field recordings. You seem to add elements of this in to a lot of your work. Like recordings of Thailand in ‘Nocturnal’ or the above mentioned. How do you implement these sounds? Is there a process that you go through when working with non music instrument recordings.

DY: All of the field recordings so far have been recorded using a smartphone. I should probably look into getting some equipment that records in better quality. But It’s often a spontaneous thing, I’ll hear a cool sound, and think I should record that. I like the process to be organic and off the cuff.

When I get home, I have proper listen through monitors and see what can be done. The sample often dictates to the story of the song.
EMW: In film there is a relationship between the music and the actual sounds created by the sound design team. You’ve already mentioned your inspiration from Hans Zimmer. Was it your intention to make such cinematic music when moving away from Cymbol and your dance music productions?

DY: Yeah I suppose I did, but it was very natural process. There were several musical mind openers that first got me thinking about writing more ambient melodic music. Firstly live jamming with Dan Knight, (The other half of Cymbol) opened up new influences and techniques. Secondly seeing Max Cooper, then Nils Frahm play a few years back, really got me thinking about melodic minimalism. I started experimenting with different ways of writing, this initial process lead to Nocturnal being created. I really enjoyed apparching production from a different angle.

I also started working for an education music production company. Became friends with the producers and musicians there, who exposed me to a wide range of new artist, I started listening and analysing to more cinematic, ambient music.
I’d always wanted to write more cinematic, ambient, melodic music but couldn't do it under the current alias. House and Techno have a special place in my heart, so many mind bending gigs and tracks. Cymbol & Anthony Watkins are still very much alive and may have some new material in the summer.

So continuing to develop all of your projects! Do you perform live currently or are you more occupied with production?
DY: I’ve only played live as part of a duo so far. Where one person controls Ableton and the synths, whilst the other handles the drums and bass for example. I’ve not even tried to play live solo yet, but it’s in the pipeline, I’m hoping to have a system worked out in the not too distant future.

At the moment I can’t stop producing, as soon as I finish one project I’m already thinking of another.
EMW: I guess when you are in that headspace it’s important to make the most of it. We all know what creative block can be like. Is this something you’ve had much experience with and how do you overcome such hurdles?
DY: Yeah exactly, when your in the flow, you’ve got to go with it. I’ve experienced it a little, where I have no motivation whatsoever to make music. Sometimes I’m just not feeling it! Or I’ll get frustrated when I can’t turn something in my head to something tangible.

The best way to overcome it from my experience is to force yourself to have a go at writing, even if it’s just for an hour. Once I’ve pushed through that barrier, I’m back in the flow. Plus I always try and keep an eye out for future inspiration.
EMW: Being in the position of educator I guess these topics are discussed a lot. Would you say that there is more to teaching music production than just learning how to make music that sounds like something else? (I’m kind of projecting my own ideas here) And that as you previously discussed about having an interest in the Sciences and experiencing life changing realisations yourself, that there is more to be taught and learnt through teaching the fundamentals of music production and sound to young people.

DY: Yeah, absolutely. In my opinion creativity is force that should be let loose. Forgot the rules at first, just create, let it flow. Then when you know the rules turn them on their head. Your ideas and experiences define part of who you are, that gives you a whole back catalogue of inspiration. Obviously it helps to learn the the fundamentals, whether that’s playing an instrument or music production, but that can come later down the line.

It takes time to get good at something, so in the beginning it’s important to be engaged, that goes for any hobby. There’s so many good, hands on midi controllers and music equipment these days. These controllers can engage people from the start. You don’t have to be classically trained, you can create something fun and good from the get go. Once you’re hooked, you can go deeper with your learning.


"The arts are so important to nurture a young person's creativity, problem-solving and analytical thinking. Maybe not in an academic sense but definitely in a practical one. On top of that, happiness is equally important. Cuts to the arts take away that potential passion, flow and happiness to a young person's life." Dimer Ynni 

EMW: Imagine you are approached by someone who has never opened any music making software or picked up an instrument and asked if you could teach them to make music. What’s the first thing you’d get them to do?

DY: Yeah, definitely. It’s like learning anything, once you've been shown the basics and persevere, it becomes familiar.

I think at the beginning it's great to start off layering premade sample loops. You don't need to know an awful lot about music or production to get good results.

Once your more comfortable then move onto chords and midi.

EMW: There is a lot of talk about cuts in music education currently. How important is it for music to be taught to children and young people?

DY: Yeah, the cuts to arts and education have been deep! It's a real shame.

The arts are so important to nurture a young person's creativity, problem-solving and analytical thinking. Maybe not in an academic sense but definitely in a practical one. On top of that happiness is equally important. Cuts to the arts takes away that potential passion, flow and happiness to a young person's life.

I see funding the arts as an investment, it gives young people new skills, talent and direction. Just look at Melbourne's encouragement and investment in arts & creative industries. It's created a booming art culture and created jobs.

Music and the arts in general needs to be viewed with more value.

EMW: What’s next for Dimer Ynni?

DY: Keep improving I guess, build a live set and Find more creative ways to write.

Thanks a lot, been a pleasure talking to you.

5 Mar 2018

An interview with DND: Deep house, live percussion, shamans and a robot monkey!

The Robot Monkey is coming! He's running around Cardiff asking deep questions about spirituality and getting sweaty on all night dance marathons. If you see him over the next week shout ROBOT MONKEY at him and see what happens. 

DND are taking there live DJ show to the next level this year with live percussion and shamanic chanting over driving mixes of the finest deep house music.  

A week before they take over Cardiff Speaker Hire we catch up with the guys behind the outfit to find out a little more.

An interview with DND: Deep house, live percussion, shamans and a robot monkey!

EMW: There are three of you. How did your paths cross?

DND: Danny (me) and Zirian met at University nearly 5 years ago whilst studying Creative, Sound & Music. Eventually our paths crossed with Dindi through our mutual love of music and then the three of us began organising secret location parties in rural Wales last year.

EMW: What’s your opinions on the standard of one hour sets in clubs?

DND: Although more DJ’s get a chance to play, 1 hr sets tend to be too short. As a result DJ’s try to reach the peak of their set very quickly, almost too reactionary, rather than take the room on a journey.

EMW: The impression I get from listening to your mixes is that you are mapping out a journey. Hence the 7 hour sets. Why 7 hours?

DND: 7 hrs allows us to take the audience on a journey, entertaining through building the night up to one cataclysmic moment, this allows us to get creative, varying the tempo and mood, and shaping a set which takes the room through deeper, darker and techie sounds, out into euphoric moments of eternal bliss!

EMW: Live percussion and house are well suited. How would you describe your sound to a passer by?

DND: The sound is deep and progressive, with a driving bass line provided by the percussion (we use congas and bongos) and vocals reminiscent of tribal gatherings.

EMW: Recently Zirian has joined you with chanting that really adds another dimension to your mix. How do you put together your sessions?

DND: Our sessions mainly consist and centre around the arrangements of deep, electronic and ethereal sounds.These are sourced by a wide vinyl collection with some real, early gem’s of underground house music. We then rehearse live together with driving, percussive rhythms and with Zirian’s chanting entwined.

EMW: Any tips for recording live percussion? What mics, placement, fx etc

DND: After experimenting in various placements and microphones over different sessions we have finally found a technique that works for us. Placed above the bongos we use an archaic, altai dm1kd dual impedance mic that picks up the higher tones.

Placed right underneath and centered in between the congas we have used both a an SE1000A and an Audio Technica 2035 to capture those lower frequencies. It’s somewhat unconventional but works for our sound.

We then treat the waveforms in ableton with some slight compression & EQ for an added surge of energy.

"A robot monkey is a primitive yet advanced being on a truly, spiritual journey to enlightenment. They are largely nocturnal creatures, frequenting the more discerning, underground gatherings here on planet earth and beyond!" #ROBOTMONKEY

EMW: Top 5 (between the three of you ) tracks currently.

DND: Top tracks
  1. DJ Paul & Nicolas Rada - Clouds in the Disco
  2. Sandrino & Frankey - Hydrae
  3. Halo Varga - Future
  4. Definition: Def - Play Tulipe Noir
  5. Depeche Mode - Where's The Revolution (Patrice Bäumel Remix)
EMW: When’s your next gig?

DND: ‘DND productions Present - Robot Monkey Opening Warehouse Rave’ This is taking place at the newly established Cardiff Speaker Hire venue on March 10th, 2018. The event is special for us as its our debut into the warehouse with all elements a go! Expect deep house basslines, enchanting live percussion and wild tribal chanting. The night will also include audience participation with interactive instruments and tribal face painting.

EMW: Where would you like to take DND as a project? Any future dreams?

DND: We would like to grow DND as a recognised act whilst ultimately sticking to its fundamental roots, in eclectic underground house music. In the future it would be great to collaborate with other musicians and artists and to involve them in the project. Working with saxophonists, singers, and keyboardists would add further dimension, visual and live elements to the music and experience. This year we are aiming to establish ourselves within the South Wales circuit in various clubs, venues, secret location parties in West Wales and we would like to branch out into dance music festivals. At the moment we are also opening networks in Europe, such as Barcelona.

EMW: What’s a robot monkey?

DND: A robot monkey is a primitive yet advanced being on a truly, spiritual journey to enlightenment. They are largely nocturnal creatures, frequenting the more discerning, underground gatherings here on planet earth and beyond!

Links to us & the event:

Robot Monkey Warehouse Rave Cardiff Speaker Hire March 10th 2018




Bring out the inner monkey!

 #dndproductions #deephouselivepercussion #robotmonkey #deephouse #deephousemusic #progressivehouse #dj #percussion #congas #bongos #chanting #tribal #drumming #spiritual #spiritualjourney #ethereal #divinelove #housemusicevent #deeppassion #travel #dancemusic #worldwide

Follow us on Facebook

Follow us on Instagram

Follow us on Twitter

Follow us on Soundcloud

2 Mar 2018

Timbali Interview  -  by Doc P (Fat Soul/Fat Lace)

Fat Soul and Fat Lace present a night to warm your soul as the snow comes down. Keep warm and allow Doc P to introduce you to West Wales own Dub Reggae group, Timbali

Timbali performed on 03/03/18 at Laser Station, Carmarthen.

Timbali Interview  -  by Doc P (Fat Soul/Fat Lace

EMW: Hi there, to begin, can you tell us who you are, and just briefly say what you do?

Timbali: Hi I’m Ollie Davidson - Howell and I produce and Dj under the name Timbali.

EMW: Can you tell us a bit about ya background? (EG. Where’d ya grow up, ya roots in music, instruments/bands)

Timbali: I was born and raised in the beautiful county of Pembrokeshire. My old man is a bass player and has played in lots of bands including ‘Nik Turner’s Fantastic Allstars’, ‘The Cherryheads’ and most recently ‘Senedelica’. This meant there was always instruments lying around the house so I started picking up the guitar at a young age.

When I was about 8 years old  the group ‘Zion Train’ moved in to the house next door and although at the time I didn’t really know who they were I’m now very thankful that Roots and Dub music was introduced to me at such a young age :)

I started playing in bands from the age of 15 and have done so ever since including ‘The Chaos Theory’, ‘Monty Pirates’, ‘Johnny Action Finger’, ‘Ok’, ‘Jedi Sound System’, ‘Regime’ and ‘Nii Tagoe’.
EMW: Where did the name Timbali come from? I know the word timbali has percussion links but not a lot more than that.

Timbali: I used to joke with mate Theo (Regime’s Drummer) about the ‘Timbale’ in his kit being the only drum worth hitting because it sounded so much better than everything else. They really are a great sounding high pitched drum, so I guess this is where the name started but I then wanted to change the spelling to create my own brand / word and I like the fact it has the place ‘ Bali ‘ in the spelling, maybe it will take me there one day!? Ha.

It sounds like an explosion of high energy, heavy hitting Reggae and Dancehall in my own unique Timbali style.

EMW: Can you tell us a bit about Timbali’s influences, any bands or artists you’d say have been pivotal to you over the years?

Timbali: Some of my main influences include: ‘Bob Marley’, ‘Zion Train’, ‘Red Hot Chili Peppers’, ‘Nirvana’, ‘The Powersteppers’, ‘Skrillex’, ‘Major Lazer’, ‘Damian Marley’, ‘Chronixx’, ‘Dreadsquad’, ‘Jus Now’ and ‘Benny Page’.

EMW: So as Timbali you produce, DJ, mash-up soundsystems and even do live band stuff. Would you say you enjoy all aspects, or are you more focused on certain directions?

Timbali: I definitely enjoy all of these aspects but for me you can’t beat the feeling of being on stage and making people happy and dance to your music. At the moment I’m spending a lot of time writing and finishing music in the studio which is also a big part of what I do and love.

EMW: How does Timbali sound live? What can audiences expect from your live shows?

Timbali: It sounds like an explosion of high energy, heavy hitting Reggae and Dancehall in my own unique Timbali style.

EMW: What kind of shows and events have you been involved in, any highlights in particular come to mind?

Timbali: I’ve played lots of gigs but two that stand out for me would be headlining The Croissant Neuf stage at Glastonbury festival 2016 and also supporting David Rodigan in The Globe Cardiff.

EMW: How did you come to be involved with Raider Records and can you tell us a bit about the label, and some of the other artists on Raider?

Timbali: Raider Records was formed by Dj / Producer G Duppy and I think the first time I heard his music was when Mr Benn posted one of his mashups on Soundcloud. We got chatting on the internet, exchanging music and decided to do a release. Artists on the label include: G Duppy, Rukus, Bluntskull, Parly B, Peppery, Dark Angel and Blackout JA. I love all these artists and they all bring their own unique killer sound to the label.

EMW: You’ve had some big exposure with remixes from the likes of Benny Page and Blend Mishkin to name a couple, and radio plays and mixtape features a plenty, has it been an exciting time for Timbali recently?

Timbali: Yes definitely, I’ve always been excited about this project and if the excitement and love is there it’s something I hope I will always do :) To have artists I’ve always had lots of respect for remix my tracks is a great feeling and I’m honored and very grateful.
EMW: Any brand new or upcoming Timbali releases you’d like to mention?

Timbali: ‘Pinch Of Salt featuring Dark Angel’ was released a few weeks ago on Zion Train’s Label Universal Egg. ‘How Di Place A Run featuring Peppery’ ( Remixed by Dreadsquad, Dj Maars and Selkie ) is released on Raider Records 16th of March 2018 :)   

EMW: And finally how’s 2018 looking for Timbali? Where else can people catch you live this year, any festivals lined up? And any events you are particularly looking forward to?

Timbali: You can catch Timbali at the following festivals this spring / summer: Lost Cove Festival, Big Love Festival, Bearded Theory Festival, Sunrise Festival, Boomtown Festival, Westival and plenty more to be confirmed. I am very excited to be playing on the Hidden Woods Stage at Boomtown this year :D

Big big up and thanks to you mate! Maximum respect and blessings to ya. Much appreciated.

Thanks for having me, Much Love. Timbali 


Facebook: @TimbaliSound

24 Feb 2018

An interview with beatmaker Tetrahex

Sometimes choices are hard! Like what colour socks should I wear today or what to have for dinner. Recently I've found myself having to make a difficult choice deciding which track from Tetrahex 'Save Point Ep' to feature on the #EMWTen Spotify playlist.

Tetrahex has been busy in the Welsh capital, studying music and working on some great projects. Just as he re-releases Save Point EP. Now seems like a good time to find out more about this emerging artist.

I still haven't made my mind up...

An interview with beat maker Tetrahex

Who are you, where are you and what are you doing? 

I’m a beatmaker/music producer/sound engineer working under the ‘Tetrahex’ Alias. I’m currently based in Newport but spend more time making music and performing in Cardiff.

You have just released Save Point Ep on streaming services such as Google Play and Spotify. Tell me a little about this work. 

Yea, so I initially dropped the ‘Save Point’ ep as a little limited edition cassette release. I know cassette is an interesting format to be releasing on in this day and age, but I think the lofi, cheap and dirty sound of cassette suites my music well.

The tracks on ‘Save Point’ EP were written at different times, I think the first track was written in 2014/2015, and the last one was written in early 2017.

The music I make and create constantly changes, I like to bounce between genres from time to time to keep things fresh. Not only that I find it difficult to commit to one genre, it’s too limiting for me personally. For this release I wanted to capture where I was at in terms of how I sounded at the beginning of 2017, to create a musical time capsule, or ‘Save Point’ if you will. 

It’s interesting how you talk about creating a musical time capsule and your choice of originally releasing on cassette. Could you describe the process you had to go through to get your music from digital to cassette. Do you have any tips for other artists who’d like to do the same? 

The process of getting music onto cassette isn’t too difficult. There a couple of ways to go if you want your music on cassette. The most costly and time consuming process would be to buy a cassette recorder and blank tapes and get stuck in. I have wanted to do this for a while but financial and time constraints have prevented me from doing so. The fun thing about manufacturing this way though is the ability to customise each individual cassette, and that no two cassettes will be 100% the same.

The more traditional method of getting your music onto cassette would be through a cassette label. For other lofi/hiphop/beats artists, the simplest and most cost effective way would be to submit music to inserttapes.com. They're great to work with, just send them your music and cassette-adapted artwork and they take care of the rest. I went through them for my last release, “Waves ep”. You can find Waves ep here.

Alternatively, artists could go through a manufacturing website which is what I did with Save Point EP. I used a site called Bandcds.com. I sent them all the relevant files and they did the rest. Again, this method can be costly, so I would recommend the next approach. 

Obviously you are influenced by Beat Makers but also your sound has an element of Four Tet, Amon Tobin and other electronic taste makers. Do you actively seek inspiration from other music releases?

There are a few key beat producers who inspire my sound such as Flying Lotus, Dibia$e, +ma and stln drms just to name check a few. Recently I’ve found myself relying on and following various Facebook groups (such as morebeats>lesssleep, sp404 freaks, lofi.family and strictly lofi) as opposed to individual artists. 

There’s so much music being released it’s sometimes hard to keep up, so I dig through the various Facebook groups when I’m looking for new tunes to listen too. It’s like the digital equivalent of searching through dusty crates of vinyl for that one killer track, haha.

Aside from Hip Hop and making culture, two of the biggest artists that have impacted my sound are Burial and King Tubby. Burial because his second album, untrue, changed the way I perceived music. Up until that point I’d been into very clean, polished EDM, but hearing that album, the way it embraced noise, that was a game changer.

Explain your workflow. How do you start a new beat? 

For most of my beats I’ll normally start with the drums. If the drums aren’t right then the rest of the song isn’t gonna work no matter how good the other sounds and samples. When I’ve found the right sounds I’ll then move on to playing in a beat( into Ableton) with my Korg nano pad. After I’ve played the beat in and there is a nice groove going on, I’ll then chop a sample in Ableton or on my 404.

 Samples are taken from various place, sometimes vinyl, other times CDs, occasionally straight from the web browser.

If I’ve got an idea for how I want to cut the sample I’ll go with the 404 because it’s easier and more organic to chop samples. If not I’ll just let Ableton auto chop the sample and then I’ll play that back on the nano pad and take it from there. 
When I’ve got a beat and a sample chopped, I’ll then move onto adding bass guitar or bass synth, then vocals and or FX and thats normally it. Sometimes I’ll run an entire beat through the 404 for its lofi mode just to give it that extra crunch and raw grit. 

Recently I’ve found myself relying on and following various Facebook groups (such as morebeats>lesssleep, sp404 freaks, lofi.family and strictly lofi) as opposed to individual artists.

You are heavily involved in music making and promotion. You currently run an event in Cardiff?

Yea, I run events under the “True Dirt Presents” banner. The idea is to promote and present underground electronic artists in South Wales. There are so many insanely talented producers in wales, I felt there was a need to create a live platform to showcase the bubbling underground electronic music scene in South Wales. In the future I’d love to start live streaming the events and interviewing producers, I almost want to create a mini boiler room style channel, focusing on underground artists in South Wales and pushing the local electronic scene as much as I can.

Who has featured or will be at “True Dirt Presents”?

We’ve had some brilliant acts such as Trials,Perp Posse,Bryn Morgan, Sunbane, Requisite Bass, Kyak and Owth all play at True Dirt so far, however I’ve seen a couple more artists recently who id love to have play in the future. As always, I’m looking for more acts to play for future events, so to anyone reading this that wants to play at upcoming true dirt events, get in touch….!

What’s the best way for interested artists to get in touch?

For those wanting to play at future True Dirt events, send an email with links to music and social media profiles to true.dirt.presents@gmail.com. Although the main focus of true dirt is live events, were keen to promote artists music through our social media channels too! 

Shout outs to all the producers in and around south wales for making new sounds and pushing the scene forward (Sunbane, 5th Spear, Stereo Ripe, Little Eris, Bryn Morgan, Robert Mist, Trials, Perp Posse, Requisite Bass, Kyak and Owth)

>--Follow me on social media--<
Soundcloud: Tetrahex
Instagram: @tetrahex_uk
Facebook: TetrahexUK

18 Feb 2018

An interview with Simon Parton from Swansea Music Hub

Sometimes it's possible to forget that music has the power to bring people and cities together. With so much emphasis on the virtual network of Soundcloud, Spotify, Bandcamp et al,as well as the pressure for artists to gain social reach on Facebook, Instagram, Twitter and any other platforms. Sometimes the best way to reach out is to, as @SimonParton puts it "go to other bands/musicians gigs". Such simple advice that could really benefit so many. (Including myself)

In this interview Simon talks more about Swansea Music Hub and his work in the city of Swansea. Building up a massive list of creatives who are making some amazing music and connecting with their listeners offline.

Meanwhile I'm hiding in London trying to develop a new EMW v2.0 platform for online content. I need all the help I can get so please do not hesitate to get in touch if you think you can help. ( Email me )

An interview with Simon Parton from Swansea Music Hub

Simon Parton from Swansea Music Hub

Hello and welcome to EMW. Who are you and what do you do?

Hello! My name is Simon Parton and I’m a musician living and working in Swansea. I am one half of the team coordinating the Swansea Music Hub & Swansea Fringe Festival (alongside Joe Bayliss). We both also teach, deliver music workshops and produce & compose our own music too.

Last year you organised Swansea Fringe. Tell us more about this and what it involved. What did you learn by hosting such an exciting and varied cultural event?

I was asked by Joe to help with the Fringe last year and I think Joe will agree, we aimed high with over 150 acts across over 15 venues which meant we learnt a lot very quickly.

It showcased a cross section of music, comedy, poetry and arts, but as we are both musicians there was a big focus on music.


I think one of the most useful things that we learnt from the event is that there are so many amazing creative things happening in Swansea and so many like minded people wanting our music scene to flourish.

What were your personal highlights from this event?

In between running around delivering PAs, drum kits and everything in between to venues I was fortunate enough to catch some of the things that we had booked in! Personal highlights were Trampolene, Afro Cluster, Rachel K Collier & Roughion on the Horizons stage in Cinema & Co, and the Atomic Supermen in Tech Hub.

You are both musicians in your own right. How important is community for you as a creative?

It’s absolutely paramount for me and the way that I make music. The majority of my creative output recently has been all about collaboration. With my projects Belgrave and Friends, it’s all about sending files and projects over the internet and linking up with artists and musicians that we’ve met through the music scene.

More recently I’ve been discovering lots of new music through organising our music directory on the site and it’s been great to reach out to artists to get creative and collaborate with them.

Trampolene Band performing in Swansea
Rachel K Collier performing in Swansea
Afro CLuster performing in Swansea

"Go to other bands/musicians’ gigs. Visit venues that you haven’t been to before. It’ll all come full circle and you’ll find that more people will support you!" #SwanseaMusic

What triggered you to start the Swansea Music Hub Page?

So after the Swansea Fringe Festival we felt a huge buzz for the potential of the Swansea Music Scene and we didn’t want this to go away or only happen once a year. We wanted to show that Swansea has a wealth of not only great musicians, artists and venues, but also a huge potential for audiences (both new and old) to get out, experience and support original music from the city.

Taking a look at the page. There is an amazing list of performers, composers and producers slowly building. How has the initial response been?

It’s been overwhelmingly positive. We keep discovering new artists and musicians from different communities within the larger scene that we have never heard of and that’s been really exciting. Getting different musicians from different parts of Swansea and genres all in one place is great and opens dialogue between artists that may never have made contact before.

This was true at our musician’s forum earlier this month - we had people from the heavy metal scene expressing the same thoughts, barriers and concerns as those from the hip hop and electronic music scenes!

How easy is the current model to maintain. Are you prepared for a large database of musicians?

At the moment, it’s pretty manageable. As both myself and Joe teach and are doing the Swansea Music Hub voluntarily it means that we can take things at our own pace. Every week I’m spending time searching for new artists to add to the directory, new gigs and reaching out to artists to let us know about any live shows / releases that are coming out of Swansea. We currently have over 100 artists listed on our directory and we’d love it to grow even more.

Swansea Music Hub Logo

"We currently have over 100 artists listed on our directory and we’d love it to grow even more".

Swansea Music Hub

Where can you see Swansea Music Hub going as a platform. What are your visions and dreams for the future?

We are looking to grow the Hub to a become a sustainable project that offers support, education, facilities and events for musicians and those interested in music in Swansea.

We want it to be a place where ideas, events and opportunities can be shared and a place where musicians can come together to improve our music scene. We’re hoping that this will not only bring new opportunities and develop the music scene, but will also attract bands and promoters from other cities to put on shows and events in the city.

How can the music community help you achieve this?

Shout about anything and everything creative that you are doing. Let us know about gigs and/or releases of original music that you’re part of. Invite all your friends to shows and pack out venues. Use the hashtag:

But, more importantly, support each other. Go to other bands/musicians’ gigs. Visit venues that you haven’t been to before. It’ll all come full circle and you’ll find that more people will support you!

What would your ideal online music community include?

Dialogue, support and progressive development between musicians, venues and those interested in original music.

Thank you!

Swansea Music Hub @swanseamusichub (Twitter / Instagram / Facebook)

Swansea Fringe Festival @fringeswansea (Twitter / Instagram / Facebook)

Simon Parton

(Twitter / Instagram) @simonpartonmusic (Facebook) Simon Parton Link

Simon and Joe
Swansea Fringe logo

1 Feb 2018

A Dub Experiment v1.0

A Dub Experiment

v1.0 - 010218

This will be called ‘A Dub Experiment v1.0’ - #ADubExperiment. I have just found a dub track made a while back that I didn't do anything with so in the spirit of musical experimentation I have uploaded it to the cloud for anyone with the link to download and, manipulate, record upon, re-version, remix, master and then return it to the cloud. I hope that this little experiment will produce some gold. There are no rules. Edit to your hearts extent, add samples, instruments, vocals, other media and send back.

This project is licensed under a Creative Commons (Attribution-NonCommercial-ShareAlike CC BY-NC-SA.

This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms.
  1. song file name: 001 9-Audio.Wav
  2. songwriter/composer: Harish Jariwala
  3. date published to cloud: 010218
  4. license:CC BY-NC-SA
  5. link to download: Link

T&C: If you download and rearrange track you agree to upload the new version name A Dub Experiment v(x+1) for further manipulation. You can upload to any cloud based file and music sharing website as long as you license it under CC BY-NC-SA and allow for free download so that others may manipulate the work.

For further info contact Harish - info@electronicmusicwales.com

Update: The Google Drive folder is available to anyone with the link. If you like you can upload the new version to the folder /versions

28 Sep 2017

The Dandadda feat Ragga Twins = Reggaeville Premier #RAVEOLOGY

It's premiering over on Reggaeville

Sounds like stumbling across Asian Dub Foundation having a knees up in the woods with rave royalty.

The Dandadda bring high energy, exciting songwriting and an obvious live appeal. Well worth a look/listen.