Whilst many within the dance music industry have had downtime inflicted upon them due to COVID-19, Annabel Ross has taken no such respite. 

She has in fact used the clarity of zero event distractions to focus her journalistic attention on sexual abuse allegations, bringing them to the fore in a way seldom seen in this industry. Such accounts of sexual misconduct apparently have quite a long history of perpetration – and the music press, for whatever reason, did not pick up on many of them until relatively recently.

After Erick Morillo died in September 2020, Ross made herself an investigative conduit of the allegations against the DJ and producer. She published harrowing testimonies in a Mixmag exclusive supporting those original accusations which resulted in him being brought to court for sexual battery. Following on from this, Ross also published allegations of sexual harassment and assault involving the Detroit DJ Derrick May in two separate RA articles. 

With many factors in the latter story still hazy, I felt it sensible to try and paint a clear portrait of a prominent protagonist for gender equality in dance music by interviewing Annabel directly at the beginning of February. Our conversation illuminates her career experiences and what hurdles she has faced, hopefully conveying that Annabel Ross is a balanced advocate for victims of abuse who takes confidentiality extremely seriously. 

Dave Clarke: Annabel, how long have you been a journalist? Please explain the journey from the beginning to now.

Annabel Ross: I started my internship with The Age newspaper in Melbourne in 2008, and worked at The Age for ten years before leaving to freelance in 2017, first in Paris and then in New York, writing for various newspapers, magazines and websites. I’ve always written about music, the arts and culture, mostly, but once I moved to Paris I was able to do a lot more writing about electronic music. 

The market is much smaller in Australia and there’s not really any local electronic music press that actually pays; in Europe and the U.S. there is so much going on and so many different events to travel to and cover. I started writing about sexual assault in dance music in September last year and that has been my main focus for the past five months.

You have written for many different style publications, from newspapers to fashion and of course music. Do you find that you need a different approach for music publications?

Every publication has a different style and tone of voice and you often find yourself having to adapt to each of them. RA is typically more serious in tone than Mixmag, but you might be able to show a bit more of your personality writing for the latter. When you’re writing for a newspaper or more mainstream music publication, you have to remember that the audience is probably new to or less familiar with the subject and to adjust your writing accordingly.

Is it perhaps a lighter touch than being a journalist for a newspaper?

It’s a lighter touch in that the deadlines are rarely as pressing (having to file festival reviews on the fly for newspapers is both stressful and great training), and traditionally, electronic music journalism has been taken a lot less seriously. I think there have always been great writers covering electronic music, but historically coverage has focused on the music and shied away from the politics for the most part. Now, I feel like that is changing.

Is there a difference between online and print other than that online can constantly be adapted and changed whereas print is generally static after commitment?

The only difference is the one that you mention above. I think that if any publication is going to make changes to an online story, typically to address errors, this should be noted at the bottom of the article. Obviously, if you print an error it’s a lot harder to change it, unless you publish a correction, which I don’t know if I’ve ever seen happen in a printed electronic music magazine? It definitely happens in newspapers. But I treat my online copy as if it’s print copy — we all make mistakes from time to time but I do my best to ensure that I get my facts right.

Is the business head of music journalism very male orientated?

Yes. The business head of all journalism (excepting fashion and “women’s” publications) is very male oriented.

Does that differ from writing for fashion or corporate clients?

I don’t typically think about clients in relation to their sex or gender. It’s more the style of their publication, their objectives and individual personalities that have to be managed.

Is it harder to give stories of alleged abuse air in the music industry press compared to newspapers?

It depends on who you’re working with. I wouldn’t say it’s harder but there are certain factors that play into it. How “big” is the alleged abuser? Will it interest a broader audience or not? Is this publication willing to publish this story about this person? What might get in the way of them reporting on these issues? Do they have the necessary legal support? Do they have a budget to support this reporting, which is a lot more time consuming and complicated than regular music features? These are all things to consider.

Is this down to a worry of legalities or, perhaps, a perceived lack of appeal to the readership of music publications where numbers and likes are king over serious content?

It can be due to legal concerns, yes, and the acknowledgement that they will need to hire a lawyer which of course isn’t cheap. I suppose that has been the opinion of some editors, yes — that this type of content might not go over well with readers. But most editors have been supportive; they recognise that there is actually a hunger for these types of stories.

Or worse still, is there the possibility of long-term business or personal relationships blurring journalistic objectivity?

Again, I’m sure this has been a factor and that some publications and editors have drawn deep breaths before publishing these kinds of stories. It hasn’t really been done before and most electronic music publications are not completely independent. But again, there seems to be the realisation that these are issues that need to be dealt with. Unless publications are happy to ignore them (and let’s face it, some readers would probably be okay with that), their integrity depends on addressing the core challenges facing the scene today.

Let’s get on to the developing story of our industry which is the alleged abuses by Derrick May, which you have shined a light on since November. How difficult is it for alleged victims to come forward and share their stories?

Extraordinarily difficult. We are talking about people who have gone through deeply traumatic experiences from which they are often not healed. It is already very, very difficult to talk about these things. Add to that the abuse that many survivors are subjected to on social media (even if they stay anonymous, they’re not blind and the comments are hurtful), the potential repercussions at the hands of the perpetrator and/or their supporters, and the hugely painful possibility of not being believed. The odds are stacked against them.

What are the embedded perceptions they have to overcome?

Perceptions that if a woman dresses or acts in a certain way that she is “asking for it.” The idea that they “should have come forward and reported it sooner” or that they’re “doing it for attention.” The idea that “people make mistakes” and “cancel culture is ruining lives,” or that a DJ’s career is worth more than a survivor’s story of abuse. 

Are there any differences in handling sensitive abuse details from male or female alleged victims?

I would not treat survivors and/or witnesses any differently at all; abuse is abuse in my eyes. I have not heard from nearly as many male survivors, which is not to say that they don’t exist (though I believe the incidences of men abusing women, non-binary and trans people is far more common). I feel that for male survivors, the sense of shame attached to their experiences can be extremely deep and prevents them from coming forward. I really hope we can try and foster a community in which they feel safer to do so.

What can you do as a journalist to give them safety in discourse and ultimate choice of disclosure whether they’re anonymous or named?

It is up to the survivors whether or not they wish to stay anonymous. Anonymity can present legal issues, but I believe that if it’s something that helps survivors come forward, especially when we’re dealing with serial predators and multiple accounts of abuse, then it should be an option. All I can give them is my word, and I’m of course happy to sign a letter or contract if that’s something that would make them feel more comfortable. I have absolutely nothing to gain from disclosing their personal details and would never betray anyone’s trust as it compromises my integrity. It’s also a really shitty thing to do to someone.

Do you find it a bigger uphill struggle than you expected to get some pages for this within dance music?

Well there have been very few “pages” per se; print is really struggling right now! I think that the difficulties I’ve had in regards to coverage is indicative of how huge the problem is and the fact that we’re finally addressing it properly, or starting to, for the first time. It’s uncharted territory so it’s natural that it comes with challenges, but the lack of support that I’m facing as a journalist is the same lack of support that exists for survivors across the scene. I think we’ll have to build up both at the same time.

Is there any question that I have failed to ask that you wish I did?

I think “what can I do to help?” is a question that everyone needs to ask themselves right now in regards to exterminating racism as well as sexual assault and sexual harassment from the scene. If you see something, say something. Listen to survivors; where there’s smoke, there’s usually fire. A lot of harassment and assault is tied to the much deeper and more insidious issue of sexism and misogyny, of which there are countless examples. When women are better represented and better respected in our industry, you can bet that incidences of abuse will plummet.

Anyone in dance music who wishes to disclose details of an abuse can contact Annabel Ross directly via Annabel_Ross@Protonmail.com. Victims of abuse can find additional support resources on Rebekah’s website, MeTooMusic.com/get-help.

Mall Grab (whose real name is Jordon Alexander) debuted the EP’s lead single, “Liverpool Street In The Rain,” in his BBC Radio 1 Essential Mix last year. The song’s antiquated production values and simplistic melody liken it to the releases of lo-fi artists like Ross From Friends and DJ Seinfeld.

The other three tracks on How The Dogs Chill, Vol.1 serve to broaden the horizons of the genre, however. “Bust” and “Get Impetuous” exhibit almost grime-like influences, each concept hinging around samples of gritty hip-hop verses. “Looking For Trouble,” on the other hand, is underscored by a syncopated drum pattern that – when coupled with the nostalgic production values – hints at ’80s electro.

In the context of Mall Grab’s discography and the greater lo-fi genre alike, How The Dogs Chill, Vol.1 is a step forward. Music fans who fetishize the sonic flaws of old recordings will delight in its calculated imperfections, but it successfully avoids rehashing the concepts delivered by similar artists.

How The Dogs Chill, Vol.1 by Mall Grab arrived by way of Looking For Trouble on September 21st. Download the digital album or purchase a limited edition 12″ vinyl record via Bandcamp.

Source: Mixmag

According to a source, a tower collapsed near the south side of the festival grounds around 8:10 PM local time during a performance by Seattle bass music DJ and producer SHARPS. The breakdown allegedly occurred due to the structure not being properly secured. The attendee is said to have suffered a forehead cut and other minor injuries.

Das Energi promoter V2 Presents has issued a statement via their Facebook page indicating that all ticket holders on the festival grounds at present will be given reentry wristbands, allowing them to stay in their vehicles until the harsh weather subsides. When Selector reached out to V2 associate they denied that the tower had not been properly staked, claiming that the organizers could not have foreseen that the structure would have to endure 70 MPH winds.

We will update this developing story as more information becomes available.

UPDATE: As of 11:00 PM PST on August 18th, 2018, V2 Presents has reopened the festival to ticket holders except for beach areas, whose safety has been compromised by wet conditions. The attendee has been released with no serious injuries.

TheHundred Presents founder Brennen Bryarly revealed the news during a gathering at The Church Nightclub in Denver on Friday, June 8th. He made the announcement in between DJ sets delivered by Lee Burridge and Hoj (the former co-founded All Day I Dream and the latter is a signee and resident).

No other performing artists have been announced for the first All Day I Dream in Denver. Bryarly told Selector that no locals would be booked for the gathering as Burridge would curate the entertainment roster himself.

Teamwork Makes the Dream Work

Lee Burridge and Matthew Dekay founded All Day I Dream in 2011 to double as an event brand and record label. Since then they have provided a platform for such producers as Bedouin, Gab Rhome and Lost Desert in addition to hosting curated events in mass markets like Barcelona, Dubai, Holland and Los Angeles.

Brennen Bryarly makes a suitable partner for several reasons. He also launched his own promotional company in 2011 to champion house and techno in the Mile High. Through his newfound partnership with Live Nation, Bryarly has more resources at his disposal than ever before.

Lineup announcements will arrive gradually for the first All Day I Dream in Denver. Purchase tickets or find additional information here.

According to CBC News the proposal is a response to lawmaker concerns about increasing incidences of drug overdose and sexual violence at electronic music events. A City Administration report published in conjunction with the motion defines raves as “after hour club parties, electronic music shows and electronic dance parties that feature fast-paced electronic music and light shows.”

Included in the report is a chart of statistics indicating that drug-related hospitalizations stemming from the city’s most prominent electronic music events increased from 78 in 2016 to 84 in 2017. The attendance figures for all events taking place each year totaled 31,939 and 29,362, respectively.

Alberta Electronic Music Conference co-founder Andrew Williams (who DJs and produces house music and downtempo under the alias Dunsmore Park) voiced concerns over the vague wording of the report via Twitter. “I’m extremely disappointed with [Edmonton City Councillor Scott McKeen’s] support for the rave moratorium,” he wrote. “This short sighted, overly vague, policy was created with no stakeholder consultation and is a threat to [Edmonton’s] economic and artistic prosperity.”

In a blog post intended to “clear the air” about the moratorium, McKeen explained that the Edmonton City Council was not proposing a permanent ban on all types of electronic music events. “The moratorium is not a ban,” he wrote. “It is a pause so we can come together and discuss possible solutions to the alarming rates of overdose and sexual assault happening at these events.”

The moratorium is to be discussed by the Edmonton City Council in a Community and Public Services Committee meeting on Wednesday, June 6th.

Source: Mixmag

The original version of “I Never Asked To Be Your Mountain” arrived courtesy of Buckley in 1967. The Chemical Brothers – A.K.A.Tom Rowlands and Ed Simons – had reimagined it as a still largely acoustic rock song roughly 20 years ago, enlisting Orton for the vocals.

“I imagine the track got put to one side, slotted into that book that I told myself I’d read someday & never did and the track got forgotten,” Orton tweeted. She went on to speculate that it must have been made shortly after Rowlands and Simons released their second studio album, Dig Your Own Hole.

Staying Power

The Chemical Brothers’ career arc ran parallel to the big beat movement of the ’90s, which saw producers fuse breakbeat with pop music to bring electronic music into the mainstream spotlight. Whereas acts like Fatboy Slim and The Prodigy have faced more difficulty in their efforts to remain relevant, Rowlands and Simons have arguably managed to keep putting out records that remain true to their original avant-garde sound while still exploring uncharted territory.

The Chemical Brothers’ Tim Buckley cover was not their only Beth Orton collaboration. Her vocals appeared on tracks that appeared on albums like Exit Planet Dust and Come with Us as well as the aforementioned Dig Your Own Hole. Their rendition of “I Never Asked To Be Your Mountain” marks the inaugural release on Lost Leaves, which is Orton’s newly launched record label.

“I Never Asked To Be Your Mountain” by The Chemical Brothers featuring Beth Orton came out on Lost Leaves June 1st. Download or stream it via Spotify, Apple Music, Google Play, TIDAL and other platforms here.

Source: Mixmag

Butch, Argy and Billy Turner have delivered remixes for “All I See,” “Got Me With A Bang,” and “Shadows,” respectively. The label has offered up the latter cut ahead of the release. Driven by a droning buzz that gives way to atmospheric layers, Turner’s contribution stands out as the most experimental of the three.

Leading Up to the SoMe Remix EP

Three months before the arrival of SoMe Anja Schneider had announced her split from Mobilee Records, an imprint she founded 12 years prior. She left it in the hands of DJ and producer Ralf Kollman while announcing that SoMe would arrive later in the year.

Prior to the SoMe remix EP, Schneider also released a single titled “Prosperity” two months ago. As with “Signs” on the flip, it encapsulates the serene sort of deep techno for which she has garnered worldwide renown.

Preview or preorder each entry of SoMe Remixes on Beatport and find the EP’s tracklist below.

Anja Schneider – Shadows (Billy Turner’s Obscurity Mix)
Anja Schneider – All I See (Butch Dub)
Anja Schneider – Got Me With A Bang (Argy Remix)

Source: Data Transmission

Rennie Foster, A.D. Cruze and DJ Cent were among those who tweeted about Jensen’s death yesterday, May 28th. The first story on the unfortunate turn of events arrived by way of Big Shot, who have not disclosed an official cause of death at the time of writing.

A Detroit House Legacy

Dwayne Jensen rubbed shoulders with plenty of seminal house acts as well as those widely credited for first wave Detroit techno. Having started his career as a jazz percussionist before being influenced by the likes of Frankie Knuckles and Larry Heard in the ’80s, he eventually collaborated with the likes of Kevin Saunderson and Derrick Thompson.

After living in London for several years he returned to the Motor City in 1994 to launch Fathom Records. A fixture at electronic music gatherings like Winter Music Conference and Movement, his final release was titled Regain Your Soul EP and came out on is / was last year.

Selector has reached out to Fathom Records for comment but has not heard back at this time.

Source: Only Techno

On May 12th the Georgia government coordinated raids of the two clubs that resulted in the arrests of eight alleged drug dealers. Shortly thereafter, thousands of Tbilisi youths gathered to demonstrate outside the capitol city’s parliament building. Activist Beka Tsikarishvili called off the protests on May 14th but warned that they would resume on the 19th if officials failed to meet their demands.

Bassiani in particular incurred substantial losses due to the raids. The club’s co-founder, Tato Getia, had told Resident Advisor that it would have to close altogether if not allowed to reopen its doors by the first week of June.

The Greater Good

The end of the Café Gallery and Bassiani investigations stands as a clear victory for Tbilisi nightlife culture. Whether it will catalyze drug policy reform remains to be seen, however. Georgian drug laws still penalize those found in possession of microscopic amounts of some substances with lengthly prison sentences, and Getia remains skeptical that officials will keep their promises to revisit other legal inconsistencies.

With techno clubs caught in the crosshairs of Georgia lawmakers, Tbilisi nightlife is becoming more and more symbolic of progressive change. Both Café Gallery and Bassiani foster an LGBTQ-friendly atmosphere, and homosexuality has only been legal in the country since 2000.

Georgia Minister of Internal Affairs Giorgi Gakharia has publicly apologized for the raids and agreed to renew talks about drug policy reform.

Source: Resident Advisor

For how few creative liberties either artist took, “Back 2 Jack” fits well within the context of Cox’s recent tech house discography. The source material’s nostalgic production values may have been lost to the update’s modern sound design and re-recorded vocal, but its central motif ultimately remains intact.

Full Circle

“Time To Jack” has symbolized a bond between Carl Cox and Chip E (real name Irwin Larry Eberhart II) since long before the track’s rework was a glimmer in either artist’s eye. Cox has cited it as the first acid house record he ever purchased, although early Detroit techno by the likes of Derrick May would shape his aesthetic during the years when he reached international stardom.

Eberhart refers to Cox as one of his best friends, and the two have toured together extensively. Cox founded Intec Digital in 1999, and following a four-year hiatus the label has also provided a platform for such household names as Umek, Boris and Frankie Bones.

“Back 2 Jack” by Carl Cox and Chip E arrived by way of Intec Digital on May 18th. Download both versions of the track via Beatport.

Source: Data Transmission