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Flux Pavilion

Flux Pavilion Biography:


Things can get pretty busy when you are a world touring dj, run an international label, and also try to juggle some personal time in there. These problems are nothing new to bass music producer Flux Pavilion. He has been a big player in the game for quite some time now and things don’t look like they are slowing down any time soon. With the traveling bass music festival ‘Safe In Sound’ about to get under way this Fall,you can bet he will have his hands full once the tour gets started. We recently had the chance to sit down with Flux right after his set at Summer Set Music Festival earlier in August and ask him some questions about his career and the industry as a whole, here is how it went:

TB: First off thanks for taking the time to sit down with us, how did you enjoy your set tonight (Saturday night) at Summer Set Music Festival? I think that was the most packed we saw the Grove Stage all weekend!

FP: It was pretty awesome. I had just flown from Ibiza to Dusseldorf to Viena to Slovakia, back to Viena, to Paris, and then we landed in Minneapolis and drove to the festival, then they pushed me on stage and said, go do it. The crowd was so amazing I think I may have passed out after ten minutes. It was definitely one of the most enjoyable sets I’ve done all year,

TB: Who has been your biggest influence throughout your career?

FP:  Doctor P, who is my label partner at Circus. He’s always been the voice of insane criticism. He’ll always tell me when something’s real rubbish, more than anyone else would. That is quite an influential character to have. We’re like that to each other, we’re not scared to tell each other stuff is rubbish, because at the end of the day we’re releasing it on our label, so we want to make sure it’s good. And he’s one of my best friends, which adds to it even more.



TB: In your opinion, what defines success in this industry?

FP:  A lot of things! Success for me is having people sing along to your music, especially in dance music. If you can make people sing along to the bass line or melody. If there are no words, and people are still singing along to it, then that, to me, is a very successful piece of music.

TB: What is the most obscure thing on your rider? And if it is all plain stuff likes drinks and food, what do you wish you had on there but don’t?

FP:  I’ve just made it more plain, actually. It used to have much more obscure things – the main one was “a hand-drawn or painted picture of my own face.” That was pretty cool, but then I went on tour and  I’ve got about 35 pictures of my own face lying bout, and it’s getting a little disconcerting. I’ve taken that off now, because I just didn’t know what to do with them all.

TB: What piece of music that you have produced are you most proud about and why?

FP:  Probably “I Can’t Stop” – I’d say it’s the most successful song I’ve done because of how far it’s reached. Being able to write a piece of music and have an effect on someone is the point for me, and that track is so energetic, it makes people dance and feel something at the same time, which is a really cool thing. It’s something I didn’t expect it to do, but something I always hoped something I wrote would do.

TB: The UK has been a breeding ground for the “next big thing” in dance music in the past, what do you think will be the next big shift in style or sound to come from the UK?

FP:  If I knew what that was, I’d either be writing it or signing lots of it and be really rich. But I don’t know what that is, and no one does, really. If someone says they know what the next big thing is going to be, then either listen, or they’re lying.


TB: Through all the ups and downs of sub genres, how have you maintained relevancy and still stuck to your roots? Production wise, did you ever feel tempted to compromise your sound for more popularity?

FP:  My roots were writing music that feels good to listen to. I never wanted to get stuck into a certain sound or genre, I just wanted to be attached to a feeling, and I think that’s how I’ve stuck around for so long, because I just concentrate on that before anything else. I think getting stuck into a trend is a recipe for disaster, so I’ve tried really hard to not do that and just focus on feeling.

TB: How did the track “Steve French” with Steve Aoki come together?

FP:  We’d actually written a record called “Get Me Out of Here, which is coming out on Steve’s album, and we’ve done a video for it. It was a big dubstep record, and normally when you do collaboration with someone, you do two, so each person gets one on their album. I really wanted to do a house tune, because I’d never done it before, and Steve understands what it’s all about, so that’s what happened!

That’s all for this interview folks, be sure to catch Flux Pavillion at ‘Safe In Sound’ Festival this Fall in a city near you!


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Interview By Cameron Windsor

Rinse FM Podcast – Plastician
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