Monday, 31 March 2014

DIVOLI S'VERE acapellas pack

JUST GOT THIS IN THE MAIL!!! An acapellas pack by one of the most talented ballroom MCs!! Super excited, expect a whole bunch of tracks ft these vocals very soon...

Sunday, 30 March 2014

L-VIS 1990 Music to Build Machines Industrial Mix

Sweet mix of industrial, and industiral-influenced music (lots of metallic noises, clanging and Terminator vibes) by Night Slugs' L-VIS. This gives a wee bit of an insight into NS' own clangy sound:

Front Line Assembly - Cro-Magnon
Wolf Müller - Pflanzentanz
D.A.F - Absolute Körperkontrolle
TAGC - Bigsex
Neon - Voices
Cowboy Rhythmbox - Shake (Original Mix)
Front Line Assembly - Attack Decay
Severed Heads - Jetlag (900 Blows Mix)
AudioBoyz - NeWest Funk (Main Mix)
Hysterics - Drum Sequence
Front 242 -Work (L-Vis 1990 Edit)
Veledrome - Capataz
Capracara & The District Union - Nickel Ride (Original Mix)
1000 Places 2 C B4 U Die - Sedition
Chris Haas & Beate Bartel - Choú-froú
Sympathy Nervous - Anatawa Suguni
Mr Mageeka - Different Lekstrix
Conrad Schnitzler - Metal
Thomas Bangalter - Night Beats
Chris Haas & Beate Bartel - Nobody's Perfect
Dat Oven - Icy Lake (L-Vis 1990 Fire Alarm Mix)
Jam City - Her
Armand Van Helden - Necessary Evil
Severed Heads - Dead Eyes Open

Thursday, 27 March 2014

ROY INC "F.A.M.E. For All My Enemies"

Member fo the legendary House Of Child, Roy Brown aka ROY INC is back with a simple but stunning new video. She got the look:

Wednesday, 26 March 2014

TRAXX ROMAY Functionality EP [Knightwerk007]

OUT NOW on CVNT fam Knightwerk Records, it's the Functionality EP by Traxx Romay, featuring a sample you may recognise:

You can buy the EP at the link above, but here's an awesome free remix from DJ Fade:

Tuesday, 25 March 2014

"The UK is a Nation of Cunts" BLACKNECKS interview for Thump UK

I interviewed the mysterious, reclusive techno duo BLACKNECKS for Thump,. Rally nice guys, so down to earth, really nice guys, so down to earth, really nice guys, so down to earth:

If there's one thing I know about techno it's that techno is serious business. Nobody knows this better than Blacknecks; the enigmatic, previously anonymous dons of serious techno. So serious and mysterious are Blacknecks that rumours about their real identities have been rife in techno-land for a while, inspiring raging debate and some epic forum threads. The press release for 2013's 'Untitled' called them "The new, anonymous side project of two prominent UK garage producers & remixers, known for remixing a string of top 40 singles, as well as having their own minor hit in the late naughties."
Word on the street was that Blacknecks were Skream, or Burial, or Disclosure (thanks Mary Anne Hobbs) - or even the dark lord himself, Cliff Richard. With that in mind, many serious techno heads crammed in to see Blacknecks live debut at Brimingham's legendary House Of God club recently - and were shocked to discover they were none of those people. 
Blacknecks are in fact two white blokes, Gary Diablo and Salso Fontes, accompanied for live shows by a cross-dressing, ginger bounce MC called Joyce. 
In this THUMP exclusive, I caught up with members Gary and Salso to get, as they call it in serious music journalism, the "low down." And it turns out that they're serious fellas alright - seriously lovely, that is, great to chat to and really down to earth. 

THUMP: Who are Black Necks?
Gary Diablo: We are. And it's Blacknecks, not Black Necks.
How did you meet and start making music?
Salso Fontes: It's quite funny because we actually met in Wycombe in 1997, at some awful short lived drum 'n' bass club in the suburbs. I wasn't a drum 'n' bass DJ, but the fee was enough to buy two hours' worth of records for the gig, and have enough left over to pay part of my council tax bill for that month. We had a good chat about musical integrity - which I said I was in favour of, and he agreed. We hit it off. We started working on a project together that day. Gary dealt with the technical and engineering details - the arrangement, the mix-down, the musical ideas and so forth —and I oversaw the whole thing. There was a real chemistry from day one.
GD: Symbiotic.
SF: Yeah, symbiotic. And I knew a guy at Sony. All the ingredients were there.
What are your formative musical influences?
GD: I was never really into music much in the early days. It's something that just found us. In that respect, you could argue that we've had more of an influence on music than it's ever had on us.
SF: I remember growing up, when pop music in the UK was at its most cutting edge: Kraftwerk, Afrika Black Mambazo, Del Amitri just released 'All I Ever Wanted.' I remember my dad being a big fan of Slik. It’s pretty much circling the toilet bowl now. It has been ever since we started making music, anyway.
GD: Gary Numan…
SF: He wasn’t British was he?


Monday, 24 March 2014

TRANARCHY Regal Punk Realness

WE ARE BACK with our most epic shoot yet, in preparation for out ROCK N ROLL SUICIDE party on April 18th at Kraak. You can see this whole shoot here, and here's some of my favourite pics:

Saturday, 22 March 2014

FRENCH Ballroom Scene films

Not one, not two but THREE videos about the voguing scene in France have come up recently, here thay all are gathered into one handy place, kicking things off with Vice's "Proletarian French Voguers" (?!) featuring Leissandra aka Wonder Woman from last year's Streetstar:

Some footage of last year's Le Rendez-Vous ball: 

Here's CVNT fam Aviance Milan turning it at LRV 2013:

And here's a group clips from Cabinet Du Curiosites on Dailymotion - if you click through this link you can see clips of the indiviual dancers too.

VOGUING BALL - #BONUS by Cabinet-de-Curiosites

Friday, 21 March 2014

CVNTY loves the PUBLIC HOUSIN' label

A new offshoot from the guys behind Top Billin' out of Finland, the PUBLIC HOUSIN label, as the name would suggest, is dedicated to all things house, with a very classic 90s vibe. And I fucking love it! Here's some examples, and get ready for the CVNT TRAXXX "Jersey Nights" EP coming on this label very soon...

Thursday, 20 March 2014

House Of Suarez "Elements Of Vogue"

Congrats to our fam House Of Suarez who have been booked to choreograph this year's Liverpool Pride. Check out their next event, Elements Of Vogue at the Bluecoat in Liverpool April 5th. Highly recommended:

Wednesday, 19 March 2014

MIRROR MIRROR documentary

I don't know much about this film but I was tipped off by Les Child who says:

"MIRROR MIRROR. No, not the recent retelling of Snow White, with Julia Roberts but a fascinating documentary, of a pre-op transexual's surrender to HIV AIDS in New York in the mid 1990's featuring the captivating Consuela Cosmetic of SALLY'S as observed by director Baillie Walsh…. Really, a must see. x"

Monday, 17 March 2014



Taking a stand against St. Patrick’s Day homophobia: Mayors sit out the parades

Boston and New York’s mayors will avoid the events this year, because they exclude gay groups

This story is sums up something I have been wanting to write about for a while now, namely the harmful effects of cultural imperialism, and more specifically, the American domination of cultural narratives.

But first off, I’d just like to say




You are not Irish. You are not citizens of the Republic of Ireland. YOU ARE IRISH AMERICANS. Please realise this difference, and please, Americans, stop referring to these people as “Irish”. THEY ARE NOT.


Can we now discard that idiotic notion, very prevalent here on Tumblr, that white cultures cannot be appropriated from in a harmful way?

Thanks. Anyway, on to the the gist of this post:

In a nutshell, America gets to define what “Irish” means, not Ireland or the Irish. And quite often, America and Americans get it wrong.

America is still the world’s leading cultural force, and the world’s only remaining super power. American media, from television to film to music to literature to this here internet, has more exposure throughout the world than any other nation’s. American voices are by far the loudest in international discourse. America gets to dictate cultural narratives to the rest of the world, by virtue of being the loudest/most powerful. American culture is not just ubiquitous globally, it is a baseline through which non-American cultures can connect.

With this cultural hegemony comes a lot of privileges, privileges Americans themselves might not be aware of, but people from any nation that isn’t America are. We would be very grateful if you could stop for a minute, reflect, and analyse the privilege granted to you on a global scale by your culture’s dominance.

American experiences and histories are assumed to be universal. But they’re not. The acceptance of this universality is, in fact, a symptom of imperialism. Hence, Americans thinking they can apply what they know of the “Irish” (in reality, the “Irish-American”) to people from Ireland. This also goes one step further, with American definitions of a host of categories being assumed to be universal, and discourse only being accepted if it accepts these same definitions. Regardless of very real differences that may exist, and the negative impact American definitions may have outside America.

America and Americans, the reason everyone understands and speaks your language, how everyone is able to converse with you on many different issues, is not because your language contains some inalienable, universal truth that everyone agrees with. It’s because your voice is the loudest. The rest of the world has grown up being bombarded with American media, culture, opinions, technology, and we can all speak American. But America doesn’t necessarily understand everything non-American. When ideas appear to contradict, or the language is not conforming to, American standards, Americans don’t always let everyone else speak.

I ended up arguing with an American friend about whether Irish people (ie citizens of the Republic of Ireland, not “Irish-Americans”) can experience “racism”, despite being white. I understand that, by the American definition of “racism”, we cannot. Irish people, on the whole ARE white, and the white Irish benefit from white privilege. White people, while we may experience ethnic discrimination, cannot experience systematic racism, because the system is built around white supremacy from which we benefit. And while that contains a lot of truth, that is the American definition of “racism”, and it  is not universal.

The British definition of “racism” is different. Under British law, discrimination based on nationality, ethnicity and religious belief also count as forms of racism. This isn’t a theory, this isn’t a differing ideology. That’s a legal fact. In the past, citizens of Ireland and their relatives have faced organised discrimination by the British state based on their nationality, ethnicity and/or religious belief. By British legal standards, that IS racism.

When I told my friend that Irish people have actually experienced racism, I was dismissed out of hand, told that I was equating the Irish and black American experiences, that Irish people have it just as bad as black people. Which is something I never said (I’m not an idiot).

I was pointed in the direction of Noel Ignatiev’s book “How The Irish Became White”, which looks fascinating, but which actually has very little relevance to the discrimination faced by ROI/Northern Irish citizens in the UK. It’s about the experience of Irish-Americans, Irish people in America, not Irish people in the Republic of Ireland. [The book’s blurb states that Irish people fled to America in the 18th Century, which is true, but the story of Ireland and its occupation by Britain doesn’t end there. It got much, much worse.]. And while the book sounds very interesting, analysing the position of the Irish and their descendants within America’s racial landscape, let’s get something clear: using a picture of a pint of stout as the cover of a supposedly serious book is beyond fucking tacky, it is re-enforcing a very negative stereotype, undermining anything the book may say.

I felt my friend was arguing with me about Irish/British history from a baseline of US-centric critical thought, when what I was talking about was a cultural experience that actually had nothing to do with America. I felt I was being shamed, my argument dismissed and hundreds of years of history erased because it did not correlate to an American definition, which in this case was irrelevant. In essence I was crying “white tears”.

There are many racism-deniers who use “white tears” to derail discussions of race, but dismissing, out of hand, genuine experiences of racism that happen outside of America and do not conform to the US definition of racism as “white tears” is cultural imperialism in action. Those who have the power to control narratives also have the power to dismiss and exclude, power which, in this case, non-Americans do not have and which we feel all too keenly.

I don’t know why exactly this type of reaction is so common, except to say that perhaps Americans have absolutely no interest in accepting as real or relevant anything that does not happen in America. But I don’t believe that - I know far too many decent, caring Americans for that to be the case. More likely is the belief that, to Americans, American opinions are inherently “true”, when the reality is the world uses American language not because it is true but because it is what we have been bombarded with.

I am not anti-American, not at all. (And, in case it needs stating, nor am I anti-British). I love US culture - not all of it, but quite a lot has been massively influential on my life, and even how I define as a person. I just wish that Americans would realise just how loud their voices are, how much influence they have, how blinkered their views can be, and listen more closely to what non-Americans are saying without dismissing them because it is different.

These homophobic Paddy’s Day parades have gotten more press than all of the parades in Dublin/Cork/Waterford/Athlone/Limerick/Donegal/etc combined. And that worries me, because I fear “homophobic” will be added to the US-centric definition of what being “Irish” means, along with “violent” and “drunk” and “lazy”.

But I want to end on a positive note, with something that reflects pride in my identity as both a homosexual and an Irish citizen, how those things are not contradictory, and how, despite antagonism, I believe we can get on with people whose culturse have oppressed us. So here’s Panti Bliss’s anti-homophobic speech from the Abbey Theatre remixed by Pet Shop Boys.

And one last thing:


Monday, 10 March 2014

BEN AQUA interview for Thump US

Got an interview with my holmes up on Thump (US edition):

You Can Thank Ben Aqua for Keeping Austin Weird

Long before the phrase "EDM" emerged to sell stadium techno to norms, dance music was the purview of weirdos: hippies, drag queens, drug addicts, cyber-goths, dummy-sucking man-babies. You know, the kind of people who live in Austin—people like Ben Aqua.

Part-time visual artist, producer, DJ and label manager at #FEELINGS (home of Lotic, Rabit, Ynfynyt Scroll and more) Ben has just released his debut album Virtual Anticipation, an opus that taps everything from footwork and club to seapunk and skweee, and pulls it all together with a post-human outlook. The dude holds it down for an international network of social media-savvy digital natives, and it's not unusual to see friends in any major city wearing his iconic NEVER LOG OFF shirt, or sporting a #F sticker on their laptop. On the week of the #FEELINGS SXSW showcase, I quizzed Aqua about his life, work, and—most importantly—the Illuminati-endorsed "Gaylien Agenda."

THUMP: Which character from the movie Hackers most closely resembles you? And why?

Ben Aqua: I was the formless, invisible cluster of bug-free binary code subconsciously embedded throughout the film once every 14 nanoseconds.

Something about your work, and in particular your album, makes me think about the melding of man and machine, or the singularity, even. It might be combination of classical elements and up-to-the-minute synth sounds. Is there any kind of a concept behind the album? What is Virtual Anticipation

Virtual Anticipation is loosely about a sense of anxiety, happiness, fear, alienation and excitement I've felt as a result of years of endlessly analyzing how the Internet and technology are influencing ideas of self-identity, sexuality, privacy, "immortality," and fantasy. Aesthetically, I experimented with a ton of different samples and instruments from various sources, old and new. So if you listen closely, you can hear bits of field recordings from my phone, drum fills ripped from mid-70s cosmic prog/synth vinyl, pitched up and pitched down sounds from random YouTube videos, sampled Nintendo DS noises, bit-crunched iPad soft synths, etc. I wanted the album to sound very loud, detailed, crispy, cute, fresh, somewhat frantic and NOW, but with hints of THEN and ALWAYS and NEVER and FOREVER.


Sunday, 9 March 2014


So, this was gonna be another track entirely, but when I put in the sample of Gia Gunn (from Drag Race Untucked, S6E01) it worked so well it just HAD to be:

Friday, 7 March 2014

BigDickBitch aka TS MADISON interview *NSFW*

The name TS Madison might not ring your bells, but if you're on Vine (or know anyone who is) then it's very likely that you have seen her videos. Madison, aka BigDickBitch, is the star of the viral hit "She Got A Dick!!!" in which she coins a catchphrase while showing the world her very generous apendage. Here's the clip, censored, and it's still VERY NSFW:

Apart from being a star of Vine and an adult film performer, Madison has branched out into making music, recently teaming up with ballroom star B Ames for the dancefloor destroying "Is It On?" which simply drips cunty attitude:

LOVE LOVE LOVE IT! I sent Madison some questions, which she was kind enough to answer:

Who Is TS Madison?   

Ts Madison is that girl and who does her hair... lol, just kidding. Seriously TS Madison is a brand, a business mogul, and she's an entertainer.  A transgender woman with limitless skills and abilities who stands for equality for all people, no matter race, color, creed and most importantly sexual orientation and gender. 

B Ames is one of my favorite producers, her beats always turn me out. How did you hook up with her?

B Ames reached out to me as a fan and supporter of the TS Madison movement and, when she did, it was instant chemistry as if we had known each other for years. We traded ideas and knew that we wanted to do something big for the community.  We wanted to rewrite the alma mater for confidence and self esteem. 

The track you have done together is SICK. I love it! What was the inspiration behind "Is It On?"

The phrase "Is It On" originally was used before I did every vlog to express my feelings and views on current events, but it was really referring to my mug and how pretty I looked in the camera! My religious followers understood that I was talking about my mug and related to it. B Ames saw that quote and knew that we could make this a high-energy, self-esteem boosting song.

And what was it like working with B Ames?

She was wonderful, amazing and she listened and we were able to brainstorm this genius. 

Have you made music before or is this your first time?

Yes I have made music before, but this time was different because this time I saw this as original and something that would make an impact on the community.

Your clips are notorious, and also very funny. What has the reaction been like to them? I am guessing it has been both good and bad? 

The reactions have been varied in both negative and positive reviews, but either way it goes it has put my name out in mainstream society and has allowed me to expand my brand.  Allowing my positive energy to touch masses of people.

What made you put the naked clips up in the first place?

My initial occupation was an adult film star and producer so I utilized social media as any business minded person would do for a marketing strategy. Countless others were doing the same before me.  I had no idea that MINE would go viral. 

Will there be more naked clips? 

Ummmmmm... Honestly I dont know just stay tuned!

You've got quite a reputation on Vine now. How does it feel to be one of the first "stars" of Vine?

"Star" that's a complicated word and so complex and I am just TS Madison. I have a lot to say but I just say it a little louder. But I am just like everyone else.

I am loving your hair right now too - if money was no option what would be your dream weave?

My dream weave always has to start out 22 inches, honey, because you do know that "if it aint 22 inches or better your practically baldheaded".  Seeing how my hair is always custom made by AAA QualityRemy hair it seems I always live wearing my "Dream Hair".   

You can buy "Is It On?" on iTunes.  

Thursday, 6 March 2014


Like Jersey/Baltimore? Then download the CLUB CLARITY mixtape by DJ K-DUECEZ featuring remixes of B.O.B. + Nicki Minaj, Lorde, Drake, Justin Timberlake and 18 more tracks. DO IT.

Wednesday, 5 March 2014

SUGUR SHANE mix (and Cheesecake Recipe!) for STYLSS


Break out the sweets. For the 19th installment of the STYLSS Mix Series we invited Philly’s SUGUR SHANE to join us.

“Every mix, I imagine the dance floor in front of me. The mix is to introduce new classics while reintroducing older classics creating the ultimate orgasm. My first personal showcase of 2014 including friends of mine! Enjoy.” -SUGUR SHANE

2 (8 ounce) packages cream cheese, softened
2 cups frozen whipped topping, thawed
1 cup white sugur
1 teaspoon vanilla extract
1 (21 ounce) can apple pie filling
1 (9 inch) prepared graham cracker crust
Beat cream cheese, sugur, and vanilla extract until smooth. Fold in Cool Whip.
Fill pie crust and top w/ pie filling. Chill 1 to 2 hours before serving. Enjoy!

STYLSS Mix 019: SUGUR SHANE tracklist:

Missy Elliott - Lose Control (One Man Army Club Mix)
Sugur Shane - Qween Beat Attack
Krueger - Can You
Copout - Crushed
Get Em - Pogo
Schwarz - (Donít) Drop that HA (Gas Pedal)
Sugur Shane - Outta Sight Cunt Juice
Sugur Shane - Show Me What You Got
DJ Dior - Elevator (On Ice Edit)
B. Ames - Sniffles (The Bump Dub)
Ynfynyt Scroll - Drone Warfare
Mikix The Cat - En Vogue
DJ 809 - Took The Night [Jersey Club Remix]
DJ 809 - IronMan Theme 2k13 ( Opera Remix )
Hard Drive - Deep Inside (Mike Gip Remix)
Sugur Shane - Boy Girl Fling (Drippin Remix)
Filter - Take A Picture (Club 69 Trance Mix)
Club 69 - Warm Leatherette (Saeed Younan Remix)
Tyga - Bad Bitches feat Gudda Gudda
C O N N E C T • W I T H • S U G U R S H A N E :
S T Y L S S • N E T W O R K:

Tuesday, 4 March 2014


Cross post with Generation Bass

I was recently told to check out the music of Yarinka Collucci, and I am so glad I did. Every few years I tend to stumble on an act who makes "perfect music". Perfect for me, that is (perfect for everyone would be impossible), featuring my favourite elements from my favourite acts or genres, presented in a fresh way. A couple of years ago it was Ynfynyt Scroll's twisted take on ballroom and club, before that it was the squelchy synth symphonies of Ben Butler & Mousepad. Yarinka is now up there with both those acts, with a delicious blend of familiar(ish) tribal house beats, forward-thinking synth/sample work and a deep spacey vibe all of her own. In fact, I have to admit I am a little bit obsessed. Yarinka is not just a wicked music producer, she's also a very talented visual artist (soon to be creating some work for Generation Bass), and a mysterious, beautiful, gender-bending persona. I sent Yarinka some questions to help me understand...  


Yarinka Collucci is a music producer from the future (Atlantis 4200), who enjoys making people think and dance to her tropical vibes. Raised on the internet, but a Neptune native. Part Goddess, part human, a cyberbabe who likes to spend most of her time making music and discovering new artists. Yarinka is mostly recognised for her seapunk vibes and has a top 5 seapunk video on YouTube. 


I always knew I wasnt 'normal' and didn't want to be. A normal life with a normal job and normal people around me, it all seemed like a nightmare to me! I always wanted more from life in every aspect. I'm everything society rejects and im not scared of it. 


Ever since I was little I had a passion for music. Before I started to make music I used to enjoy dancing (serving people) and listening to music people would call 'weird'. I starded producing as a hobby and started to get more serious when i started to get recognised. I always wanted to be famous and have people love me for who i was - since i never had that growing up. I always liked connecting with people in more spiritual ways. I come from a family of musicians so it runs in my blood, and there's nothing more I rather do.  


1. Destiny's Child - Destiny Fullfilled 
2. Missy Elliot - Supa Dupa Fly 
3. Daft Punk - Discovery 
4. Justice - Cross The Universe 
5. Aaliyah - I Care 4 U


My biggest ispiration is the people and all the support and love they give me. Sometimes I'm in such a bad mood and someoone can hit me up and tell me they like my music. It instantly makes my day! I get inspired from a lot of tropical stuff, I like stuff that makes your soul dance, I like music that is not mainstream. Right now my favorite label is MAINCOURSE, they're really putting it down! 


I would say myself. I like to experiment a lot with different looks and styles and like anything that's weird and just out there, anything that's futuristic and not plain!

HOW DID YOU END UP WORKING WITH PIYAH MARTEL? (Piyah is a disabled, transgender blogger/performer who famously appeared as a guest on RuPaul's Drag Race.)

I know Piyah for quite some time now, I would always watch her videos and enjoy her blog. She starded making music, and I really loved it. So then we started talking about a remix and thats how it came about. Actually, that remix that recently came out is a year old. My computer got messed up and thank God I had saved the song to my phone. A year later while scrolling trough my music i found it! 


My biggest hope for the children of the future is for everybody to accept each other, to end this pointless homophobia, and stop bullying. I know how hard it is first hand, and I don't think any kid deserves to be bullied no matter how different they are. I don't think anyone should be descriminated against just for being different. I hate that.

Sunday, 2 March 2014



That little flat-top cartoon dude has been a total icon of house music since I first got into it about 20 years ago, and now that dude IS REPPING ME!

To say I am stoked is an understatement. Thanks to Louie Balo aka Ride Committee for all of this, you can buy my remix of "Synthetic" here.

And here's the whole track: