Midnight to Monaco share cinematic ‘One Way Ticket’ video

Los Angeles-based duo Midnight To Monaco – vocalist Ricky Ducati and producer Donnie Sloan – officially release the video today for their current single ‘One Way Ticket’ via Virgin EMI. Following their debut single ‘One In a Million,’ a dystopian love song which followed the story of Ricky Ducati as a failed acting icon who is facing the stark reality of Tinsel town, ‘One Way Ticket’ cements Midnight To Monaco’s distinctive sound of sleek, modern pop with a vintage feel and aesthetic.

The cinematic, Nicholas Randall directed ‘One Way Ticket’ video was shot at a mid-century house in the Larchmont section of, L.A.; at the famous East West studios where the Beach Boys, Blondie, Herbie Hancock, and Michael Jackson have recorded; and while on a drive through Topanga and Point Mugu. The video was inspired in part by performance (in studios), and in part by lifestyle videos of the ’60s and ’70s such as Sympathy for the Devil, the Rolling Stones documentary directed by Jean-Luc Godard.

Speaking on the track and video, Donnie says:

“I originally wrote the music as an idea for Empire of the Sun, another group I work with, complete with acoustic guitars and synthesizers, but when Ricky sang on the track, it really came alive and perfectly lent itself to the ’50s and ’60s doo-wop sound we’re inspired by. So much so, that the final version features backing vocals from Matt Jardine, the son of original Beach Boy Al Jardine. It’s an ode to Annie, the dream girl that never actually turns up, and perhaps only exists in your imagination.”

‘One Way Ticket’ and ‘One In a Million’ (which vaulted to Apple Music’s “The A-List: Indie” playlist, and currently has over 1.6 million Spotify streams) will be featured on the upcoming debut EP from Midnight To Monaco, release details to be announced in the weeks ahead. The original artwork for the EP was created by 1950s-’60s pulp-legend Robert McGinnis (the man behind more than 1,200 paperback book covers, and over 30 iconic movie posters, including Diamonds Are Forever, Barbarella and Breakfast at Tiffany’s). His artwork places two men (Ricky and Donnie) in ’60s-era mise-en-scènes with ominous edges.

Before Midnight To Monaco, Donnie Sloan had been writing and producing songs in Australia (including Empire Of the Sun’s platinum-selling “Walking on a Dream”), when a friend suggested he forge his own project. Fate brought him to Ricky, a Canadian musician who was already a fan of Donnie’s work. And who introduced himself to Donnie on a whim through social media. Donnie was immediately taken by Ricky’s elastic voice, which filled the space between melodic pop and darkwave.

Cerulean-blue pools glistening. Jetsetters lying stylishly in repose. Palm trees fluttering at dusk. These are the images evoked by the alt-“nu-wop” sound of Midnight To Monaco – music that’s at once vintage but futuristic, sunny but conflicted, singular but intricate. Midnight To Monaco endeavor to design an escapist soundtrack that expands on what pop music can be.

Midnight To Monaco – Suicide (Wheathin Remix)

Midnight to Monaco – Suicide (Shoffy Remix)

GENERIK FEAT NICKY VAN SHE – THE WEEKEND [onelove Recordings]

Eton Messy, Funkagenda, Todd Edwards, Chuckie, Marcus Schossow, Crown Duels, Andy Caldwell, Calvetron, Steve Aoki, Mykris, Swanky Tunes, D.O.N.S. & Warp Brothers, Dirty Secretz, TS7 (Kiss FM), Takeru John (Bloc FM Japan), Andy Warburton (Ibiza Sonica) and Magik Johnson (George FM, New Zealand).

Generik – ‘The Weekend’ Australian Tour Dates updated (see attached)

In Brief:
‘The Weekend’ is the debut single from Tyson O’Brien a.k.a. Generik, Australia’s hottest new house producer. Already known for his DJ skills (not to mention his hard partying exploits) tearing up dance floors from Melbourne to Monaco, ‘The Weekend’ sees Generik emerge from the studio with proof positive, that he’s a producer to be reckoned with. Add in a stunning vocal from Nicky Van She and you have a track destined to kick-start weekends everywhere.

Hotwiring hyperactive house with euphoric ‘90s rave piano and a sleek guitar solo, Generik’s maiden voyage into the studio reflects a natural talent, as well as the energy and finely-tuned ear for the dancefloor he’s developed during his 24/7 clubland adventures. Naturally, the track was born on a bender, which started in a London pub and spilled back to Nicky Van She’s house until all hours. “Nicky started singing the vocal into his phone on the train home,” recalls Tyson. “We got home and started banging out the piano chords and the core of the track was made.”

‘The Weekend’ signals a pivotal point for Tyson. Since cutting his teeth at iconic Melbourne clubs like ONELOVE and SuperDisco, this self-confessed joker of the deck has become the ace of clubs. Armed with killer DJ sets and that famous 1000-kilowatt smile, Generik has earned his dues, tearing it up at highly respected parties including: the Bromance Tour alongside – Brodinski and Gesaffelstein, Stereosonic, Big Day Out Boiler Room 2014, Coachella Villa After Parties (including designer Jeremy Scott), SXSW 2014, EMC closing party alongside Boys Noize and Cajmere, the highly rated Alison Wonderland warehouse parties – the list goes on…

It’s that quest for the perfect party that propels Tyson’s music and runs deep within ‘The Weekend.’ In the studio, his wild side takes a rest as he brings laser-like focus to his music, drawing upon the infamous parties lived and loved, to create a soundtrack carefully designed to fuel the fun as the weekend draws near again.

Completing the package is the stylish house mix from much-hyped Belgian duo Arches, plus a deeper, bass house mix from rising stars Terace responsible for THAT killer remix of Peking Duk’s ‘High’ and Sydney Pacha resident Glover flexes the mainroom muscle. As the man himself states in typical, no holds barred fashion, “I think if you put ‘The Weekend’ on and you don’t want to dance, there’s definitely something wrong with your brain or your ears.”

KitSch 2.0 & Damien N – Drix “Ass”

It’s sequel time again at Mutants towers; that ever important second release where the pressure is firmly on to deliver something bigger and better! So how have the Marseille duo of KitSch 2.0 approached this monumental task? Simple, they’ve hooked-up with local friend and fellow producer Damien N-Drix to become a trio. If two heads are better than one then it stands to reason three is yet another step in the right direction. “We’ve known Damien for over two years now,” explain KitSch, “He’s a great buddy, not to mention producer, so the alliance came about very naturally, first through Skype and then, because we live in the same city, actually getting into the studio all together.”

The result is a memorable hybrid that fuses a freestyle vocal that implores listeners to ‘Shake dat ass, shake dat fu€&in’ ass now’ (be warned though, Groove Armada this ain’t!), alongside a wobbly, infectious bassline, breakbeats and all the expertly produced hands-in-the-air rolls, snares and drops you’d expect from the fast-rising Frenchmen. “The vocal was our starting point,” they continue, “The freestyle spoken word has a real hip-hop vibe, so it became the source the rest of the track flowed from. In some respects you could think of it as a tribute to many of the classics that have influenced dance music over the years applied to our own fresh edge and sound.”
Certainly, the reactions to date have been very encouraging as the boys are keen to explain further, “We’ve been playing it everywhere of course, from Monaco to Paris’ renowned Queen Club and the response has been insane! The combination of the roaring bass-synth and vocal really works!” Or as one enthusiastic clubber said to them, “It’s fun!” And what better compliment? After all, isn’t that what a night on the dance floor is all about?