Jesse Rose Approaches Every Track as a Single on New Album


The past continues to inform the present in Jesse Rose’s musical world. From helping to popularize fidget house with mentor Dave “Switch” Taylor back in the day to continuing his ascent closer to the top rung of the global DJ ladder, Rose’s open-minded ethos continues to serve him well. The Los Angeles-based Rose recently issued his third artist album, The Whole Twelve Inches, on his Play It Down label. The full-length was composed of tracks he issued for his 12×12 series: 12 releases released on the 12th of each month. He primed the pump by issuing The Whole Twelve Inches Remixed, tapping established DJs like Doorly, Sebo K and Mathias Kaden as well as emerging artists like Ninetoes and Christian Nielsen to reimagine his tracks. We talked to Rose about the concept of his new album, his ascent from West London’s Ladbroke Grove area to big clubs and what it’s like playing main stages all over the world.

Love the concept of The Free 12 Inches and The Whole Twelve Inches. How did it come about?
Jesse Rose: Well, the idea first came to me in late 2012 when I wanted to make an album. I thought instead of just releasing an album like normal I’d release a single every month for a year — that way I knew each single would have to be as hot as I could make it, and it would give me time to later edit and tweak all the tracks for a the purposes of a full album. So The Whole Twelve Inches is a concise, edited and remastered version of my favorite releases from the 12×12 series. The Free Twelve Inches was a collection of tracks that didn’t make the album but still had a place on the dance floor.

Musical diversity has always been something you’ve proudly worn on your sleeve. Where does your love of exploring different types of music emanate from?
I grew up in a musical home. My dad was a musician and I lived in West London’s Ladbroke Grove area, renowned for the Notting Hill Carnival and reggae sound systems. The radio was also a massive influence — people like Giles Peterson, Grooverider, Colin Dale on Kiss FM when it was a pirate station. I started DJing when I was really young, like 14, and proceeded to get really lucky by continually being in the right place at the right time meeting people like Switch that would influence a lot of what I’m about as a producer.

“I thought instead of just releasing an album like normal I’d release a single every month for a year — that way I knew each single would have to be as hot as I could make it.”

How did your eclecticism morph into helping define the house sound you made with Switch? Was it an experiment that just worked and excited you both to keep pushing it to see where it would take you both?
To be honest most of what we were producing back in the day was made out of two things: one house music has become just loops from start to finish and the second was us having a serious laugh at who could do the silliest most random things in their records. The funny thing is that people started making similar records but with no irony and that’s when it all ended for me.

DJ legends like Larry Levan famously dropped all kinds of crazy songs in their sets, ranging from Van Halen to Eddy Grant. Did you have any DJ heroes who inspired you to not following what everyone else was doing?
I’ve had loads of DJs I’ve admired since the beginning, people like Harvey, Masters at Work, Fabio, Grooverider, Derrick Carter but honestly none of them impacted on the sound I became known for more than my mates like Switch, Trevor Loveys and Jamie Anderson. When all your friends produce great music and you also produce together it becomes something else. Obviously we must have had elements from everyone that we heard in the past, but the way it was presented I think had more influence from hip-hop or grime than the DJs we were hearing.

Your roots are in the underground, and I’m sure you’ve spun many a night in a dark DJ booth. What’s it like spinning on stage at a big festival in front of a few thousand people all facing you?
The first time you play a bigger venue it’s slightly nerve-racking but once you’ve done it, the next time it’s a load easier. Getting to play at Field Day in Australia to 20,000 people about seven years ago made every festival after that a while lot easier.

Do you ever find yourself in a position where the festival is so musically structured that you can’t play what you want?
Probably, but I still play what I want. There is honestly no point in changing what you do.

You’ve run labels in addition to DJing, producing and remixing. If you had to choose only one profession….which would it be?
I honestly couldn’t [choose] but I do feel like a bit of a curator. That’s one profession and it covers everything. That’s what I consider my profession to be. I feel like my job in dance music has been to become a curator for this underground scene in different ways. From my own music and DJing to my labels, my club nights “Made For The Night,” development of new artists, and so on. They’re diverse, these roles, but they all stay within a certain realm and sound that we’ve been developing for years. My job is to make the underground music scene a place that everyone is invited to. I love all aspects of it. I produce but then to play the records out is part of the fun. To sign records, build artists and then invite those artists to play with you at your nights. It’s all one thing to me.

When was the last time a DJ saved your life?
Chez Damier always makes me feel like this is the reason I do what I do. His DJ sets make me want to try even harder than I do. He never saved my life but he sure made it a lot better with his music.

Review: Swedish House Mafia’s ‘Leave the World Behind’ is the EDM Version of Metallica’s ‘Some Kind of Monster’


One member of the group is dedicated (Axwell), another has anxiety and has been cautioned by his therapist to avoid stress (Sebastian Ingrosso), while the third (Steve Angello) is disinterested. Welcome to final days of Swedish House Mafia.

Whether or not you are a fan of Swedish House Mafia’s epic EDM signature, director Christian Larson’s Leave the World Behind presents a captivating inside look at the outfit’s slow, dysfunctional demise. Continue Reading

Annie Mac Previews Her AMP US Tour, Says Dance Music is the Norm in the UK


“It’s so exciting to be DJing again.” The elated voice down the line is BBC Radio 1 DJ Annie Mac, and she’s beaming about her Annie Mac Presents tour that returns her to the U.S. after a two-year respite in which she gave birth to her son while maintaining her radio show. She says the concept of the tour — simply dubbed AMP — is to mix and match big-name artists with emerging talent.

“It was quite difficult to put together,” she confesses. Making it all work was problematic as some interested artists weren’t available due to schedule conflicts. In the end, AMP’s lineup came together quite nicely with Cajmere (“one of my all-time heroes”), Skream, Jacques Green and Gorgon City all sharing the bill on select dates.

Mac says she is thrilled to be back playing in the States. In cities like Austin, Miami and Washington, D.C., she’s played them many times and knows the lay of the land. But in others, namely New York where AMP will kick off at Brooklyn’s Output on March 10, she says she’s intrigued by the lore of the famed mecca where photography is strictly prohibited so as to not taint the enjoyment of the music.

“I’ve heard incredible things about Output,” she relates, “I contacted my girl Jess Jubilee about it. I was like, Yo, what’s the deal with this place?! It sounds like a dream club — dark, no-frills and with a great sound system.”

Mac is hoping to broaden her musical horizons while on her 15-day excursion and educate herself about what’s going on in the States where she’ll be dropping “all sorts of new stuff.” While she estimates that the U.S. audience still favors EDM, she reports that the scene in the UK is “all about house music” and points to the number-one success of Route 94’s ‘90s style mover “My Love” as proof.

“Dance music is the norm in the UK,” Mac concludes. “It’s great. Let’s see what happens next.”

3/10 – Output – Brooklyn, NY
3/11 – U Street Music Hall – Washington, DC
3/12 – The Mid – Chicago, IL
3/14 – SXSW Majestic – Austin, TX
3/22 – Bang Bang – San Diego, CA
3/23 – Sound – Los Angeles, CA
3/25 – 1015 Folsom – San Francisco, CA
3/26 – Hoxton – Toronto, ON
3/25 – LMNT – Miami, FL

Maya Jane Coles’ ‘fabric 75’ Out April 21

maya jane coles fabric 75

On the heels of her acclaimed debut album, Comfort, Maya Jane Coles will lend her golden mixing touch to Fabric’s heralded compilation series. Due out on April 21, Coles’ 17-track fabric 75 includes an array of techy and house offerings from the likes of Trus’me, Mathew Jonson and Paul Woolford. The mix features an unreleased track by Coles called “Premonition.”

Obligatory press release gush from Coles: “fabric was one of the first clubs that I partied at, so it’s quite mad to have gone from being a punter to a headliner, playing the midnight set at NYE and now my own fabric mix. It feels like the club has been symbolic in the evolution on my career with a lot of good memories and milestones.”

Tracklisting for fabric 75:

01 Trus’me – Somebody [Prime Numbers]
02 Ksky – Madness (Volta Cab Remix – Maya Jane Coles Edit) [Sad But True]
03 Dapayk & Padberg – Close Up (Exercise One Remix) [Mo’s Ferry Prod.]
04 Mathew Jonson – Level 7 (Dixon Remix) [Crosstown Rebels]
05 Heiko Laux & Alexander Lukat – Lucho Part 2 [Ovum]
06 DJ Yellow & Flowers And Sea Creatures – No One Gets Left Behind [Compost Black Label]
07 Konstantin Sibold – Romin [Snork Enterprises]
08 Maya Jane Coles – Premonition [unreleased]
09 Baikal – Why Don’t Ya? (Ripperton Remix) [Maeve]
10 Paul Woolford – Erotic Discourse (Dense & Pika Remix) [2020 Vision]
11 Paride Saraceni – Dissolute [unreleased]
12 Negru – Concubinaj [Natural Rhythm]
13 Shall Ocin – Forgive Me (Edu Imbernon Remix) [Culprit]
14 Yenk – Basement [Baumhaus]
15 Chesus feat. Kofi Tarris – Monster [4lux]
16 NT89 – Purple Garden [Food]
17 Fran Von Vie feat. Cio May – Lonely Nights [Sudbeat]