Noticed your fans don’t like your decision, have you? Jeff Mills deletes his SECOND defence on MDL Beast Soundstorm attendance – oh, if only a naughty blogger had taken a screenshot…

For people who work in quite a technology focused genre of music, DJs and such show a considerable amount of ignorance sometimes. Take Jeff Mills, for example. He became known as “The Wizard” due to his incredible skills on turntables in 1980s Detroit.

Yet when it comes to at least one aspect of computing, he apparently remains entirely ignorant. You see, he posted a second defence of his decision to go to the Saudi Arabia government funded event MDL Beast Soundstorm later this month. The first was deleted by Dave Clarke, when he scrubbed his thread from the imternet for reasons unclear.

Mills deleted his defence from his Facebook page a few hours ago. He seems to think if he deletes it, it never existed – and no one will be able to read the whole sorry mess again. Wouldn’t it be a terrible shame, therefore, if someone – like a blogger with a penchant for asking awkward questions – had taken screenshots of the whole thing?

Well, I’m more than happy to help. I’ve split it into four pictures to make it easier to read, but not one single word has been changed. Here’s the defence Mills now wants to pretend he never made in its full glory…

It comes across as even worse after a second read, doesn’t it?

As Traxsource release their 2021 In Review graphics to artists to tell them how they did on the site this year, are they relevant in the dance music scene today – or just a pointless vanity badge?

It’s that time of year once more. The dance music scene is mostly winding down now for the winter. Clubs may well remain open – at least where Covid restrictions permit it – but as Christmas approaches, many producers retreat back into their studios to start making what they hope will be next year’s hits.

And naturally, it’s also the time of year when Traxsource release their Year In Review graphics for the DJs, producers, singers, labels and everything between on the site. These little badges basically contain information like how many charts the entity in question has has their music featured on, the number of top 100 entries and so on.

In the interests of transparency, here’s mine. Not too bad seeing I’ve only released a handful of things this year…

Anyway, one question I see asked every single year is why anybody should care about this information. It’s nothing more than a vanity badge that producers can stick on their social media pages, right? It doesn’t have any effect on how many gigs you’ll get in the future or how many labels will come knocking on the door, no?

Speaking as someone who has released music for five years – and I’d never say never to returning – my view is they are important. A great paradox exists in the music industry for me – despite the fact we live in a digital age, finding out how many streams or downloads or whatever a song has had remains stubbornly difficult. So I welcome any kind of information like this that Traxsource can provide.

It’s also difficult to keep going at times when you’re making music. Sometimes, you get periods where the ideas don’t come as freely as they usually do – and things like this can result in disillusionment. So knowing that there are DJs and other people out in the world listening to and playing your music is a useful thing to help push through those difficult times.

Yes, some people clearly use these as vanity badges. The square size of the photo makes it perfect for sharing on the likes of Instagram – but so what if they do use it as a vanity badge? In a world where thousands of new songs appear every day, let them have their moment to be proud of what they’ve achieved.

There isn’t much else to keep you going sometimes, trust me…

Breaking up is so hard to do, isn’t it, Patricia? Nyaera rose from the Transmat ashes earlier this year – but Derrick May’s ex-manager forgot to scrub the YouTube channel’s grubby history…

Earlier this year, mysterious things started happening within the Transmat Agency. All the artists on the roster – with the sole exception of Derrick himself – left suddenly. No explanation was ever provided for this mass exodus. And May himself also found himself without a manager, again with no warning.

Then changes started happening on social media. The website and Instagram page were suddenly rebranded and scrubbed clean of any mentions of Transmat or Derrick May. The new name was Nyaera Agency – with “nya” presumably meaning new. It came with the sort of new logo you only get from paying a bunch of whippersnappers who think they’re being artistic far too much money.

None of this was ever elucidated. No one involved even made the slightest attempt to elaborate on what was going on – and even my investigations haven’t been entirely successful. The only thing that’s definitely certain is that Patricia Altisent ceased to be Derrick May’s manager sometime during this period and she took all of Transmat’s artists with her. Rumours that this was her “price” have never been substantiated.

The majority of Nyaera’s social media platforms are old Transmat ones, but with new signs over the doors. It’s a bit like what happened with Gerald Ratner’s jewellery shops in Britain in the 1990s after he unfavourably compared one of their products to a 99p prawn sandwich – only less successful.

Shiny, overpriced new branding might well be all over the place, but a bit of digging around reveals the real grubby history of the place. Such as on Nyaera’s YouTube channel, which forgot to make changes to their About section…

At the time of writing, the channel has 25 subscribers and the last video was uploaded on May 18th – over six months ago. You’d almost get the impression things aren’t going very well…

They don’t like it up them, do they? Alan Oldham – friend of Derrick May – blocks this blog on Instagram in pathetic attempt to stop me scrutinising him…

People in the dance music world are typically not used to being scrutinised. The dance press has never been particularly good at it, even in their well-resourced print heyday in the 1990s. So when someone like me comes along, they have no idea how to respond.

Petulance is usually the standard response – just cast your mind back to the time Mutya Buena complained about an unflattering post. Or there’s the other option of pretending you haven’t heard me by blocking my account on social media. The fact it’s a response is something that usually goes amiss with these people – ask Terrence Parker.

The latest to take an issue with Amateur’s House is Alan Oldham. On October 8th, I wrote that this self-declared friend of Derrick May had been photographed with Rebekah Teasdale – the person in charge of the #ForTheMusic movement. Given the allegations surrounding May, I would have thought being seen anywhere near one of his friends was a PR disaster waiting to happen.

Teasdale obviously thought differently. And on October 11th, I wrote again about an exchange under a photo of Derrick May – which was extremely disturbing with the benefit of hindsight. And at some point this week, Oldham became aware of what I wrote about him.

Because he blocked this blog’s Instagram account. Presumably he didn’t like the fact I’ve been scouring through his old posts on there. So blocking me has put a stop to it, has it? Dream on, Alan. Your latest move told me more than you’ll ever know…

“We were hoping you could cover the cost of flights yourself”: just one of the ridiculous messages sent to upcoming singer Jamie Mathias – and wait until you read what one person requested!

The music industry, at all levels, is filled with people who think they’re entitled to something for nothing. I have my own story on this, for example. Three years ago, I was offered an opportunity to do a remix for a major label. I turned it down after this label, whose profits were being reported in the news at the time, claimed to have “no budget” to pay me.

So I wasn’t remotely surprised to read a thread on Twitter by Brighton-based singer Jamie Mathias with some of the things people have requested from him. One, for instance, suggested Mathias was being “unrealistic” after pointing out that “neither my rent or bills can be paid in exposure”. Another charmingly offered to pimp out the bridesmaids – meaning his payment would be in the horizontal rather than the financial sense.

My personal favourite has to be the idiot who said Mathias should “write, record and perform a song for you for free AND cover the cost of my travel just so I can get a free video for it”. Check out the thread below for the full list…

The highlight of the thread, though, must be this. It’s an, ahem, very specific request and it wasn’t for his singing skills…

How much do you have to have wrong in the head to think it’s perfectly acceptable to offer to let him have horizontal refreshment with the wife?

That’s enough internet for me today…

It will all end in tears – again! Derrick May is back in touch with Greek girlfriend he calls his “passport”, so WHAT does she see in the balding 58 year old (mostly) out of work DJ?

Quite what women find so alluring about Derrick May is quite the mystery to me. Perhaps it’s his penchant for going out with broken glasses? Maybe it’s the fact he has lots of money – mostly because he prefers others to spend their money instead? Or could it possibly be the attraction of being seen with a 58-year old balding DJ which they love?

Answers in an email, please. One woman who might be able to tell us is Sofia Tsagaraki, his ex-girlfriend from Greece.  And yes, she’s the one who accused alleged victims of Derrick May as “seeking fame” or “not getting the attention they wanted” – which tells you in itself that Tsagaraki isn’t a terribly nice person.

Their relationship ended on apparently bad terms at the end of July. He ghosted her on social media and offered no explanation as to his apparent loss of interest. Yet it appears there has been a reunion of kinds. Because when Derrick May posted this on Instagram last Monday…

…guess who appeared in the comments section?

Step forward none other than Sofia Tsagaraki. And May liked the comment. As for rumours, first reported last week, that an in-person reunion was a possibility, no word yet as to whether it actually happened.

Whichever poor woman in Detroit he currently calls his lady friend might not appreciate the surprise.

Oh, and on a lighter note, what is going on in this photo, Derrick?

You look like you’re on the run…

The garage house crew, led by Danny J Lewis, want their (rightful) place at the Traxsource table – but is there are any chance infighting within the scene could stop first?

The garage house movement is having another one of its “stand up and be counted” moments. Admittedly, most of these in the past have just resulted in shouts of “sit down”, but there are few people who defend their craft more.

This blog is sometimes accused of having some kind of problem with the garage house movement. Not guilty. I happen to think the combination of tougher beats and lighter melodies can be a real winner. Garage and house have influenced many an other genre over the years, so I see no reason why a sound which fuses the two together cannot.

With the right songs and the right marketing, I think it could go far. Which is why I was highly amused to see that the garage house crowd are once again making moves at getting Traxsource to officially recognise them – by giving them their own genre category on the website. Previous attempts have been rebuffed – a source at Traxsource tells me “the consensus was it was under developed and poorly defined when they last looked at the question”.

Danny J Lewis – a blog favourite, coincidentally – posted about this on the public Traxsource Garage House group on Facebook. He points out that “those of us whose music gets put into soulful house are losing any opportunity of gaining traction because it’s a purist genre where we are simply not accepted” and that garage house doesn’t really fit into anything else.

Legendary producer Grant Nelson, in the meantime, mentions that “it could service everything from garage house to speed garage and other new school 4×4 UK garage and also what it classed as classic garage from back in the day”.

Do I think it needs to happen? Most definitely, yes. Will it happen? My take on it is Traxsource are a business. They’re going to want a business case for making this change. A scene which presents itself as professional and having lots of good music in it stands a pretty decent chance of getting its own category.

Which is why those of you who are engaged in infighting might want to seriously think about what you’re doing. If you really love garage house, put your egos aside and work together…

“Uh oh, DM’s in the building… watch out ladies” – how disturbing these words about Derrick May appearing at a Berlin club by Cisco Ferreira posted THREE years ago now look

Back in 1989, the world knew very little about Derrick May. Other than the spin put out about the Belleville Three by journalist Neil Rushton, he was in many ways an unknown quantity. Many who were into house and techno could name his tracks, but few knew the man behind the records.

For years, literally the only glimpses we got into their characters and the way they ticked was the few interviews given to the press. Journalists writing these had a difficult balancing act – they wanted enough material to make for an interesting read, but they also needed to keep that person on side. Musicians and egos are often close friends – especially so in the case of Derrick May.

An easy way to find out is to ask the people who they’ve worked with. Such as veteran house and techno producer Cisco Ferreira. In 1989, he released a song called “Why Don’t You Answer” on a three-track EP for Transmat’s sub-label Fragile. As I understand it, Ferreira only found out about the release several months afterwards and never got paid for it.

Rumours persisted for many years that May was something of a womaniser. This was a topic he addressed in an interview with Muzik Magazine in June 1998, where he declared a wish to change his ways, saying he didn’t “want to f*** little girls anymore”.

And back in early 2018, Alan Oldham – a friend of Derrick May – posted this photograph…

Cisco Ferreira – a man who, incidentally, has been horrified by the revelations about May – responded with this…

Anyone reading these comments at the time might have rolled their eyes or raised an eyebrow. But such words have a very different meaning now…