Wednesday, July 13, 2016

SVEN VATH - Face It (Ian Pooley's Moody Mix)

Sunday, July 10, 2016

Arthur Russell - Let's Go Swimming - 1986

Thursday, June 09, 2016

Aphex Twin New Product Info


Aphex Twin marks his first new record in 11 months with the slow-motion bounce cooked up on the Cheetah EP for Warp.

Using the impossibly rare digital synth the Cheetah ms800 (which was discontinued in the early 90's and from what synth heads say of it, was for good measure) to create the base( bass) of each track, this relatively unknown digital synth is said to be impossibly hard to programme but those who manage to crack the code, it has the capacity to spill forth 'low-fi digital weirdness', so who better really than RDJ to tackle such a puzzling machine? The first half of the EP rolls out an unexpected squashed acidic (almost) dub techno suite with CHEETAHT2 [Ld spectrum] and CHEETAHT7b. Both revolve around a dazed 4x4 kick that spirals into view with the Cheetah's neon-crystal like synth gloss wrapping itself around the beat with a radioactive sheen that places the tracks way outside any of the recent years Aphex/AFX excursions, whilst sounding like a spun out update of early grime and sublow styles (for which Aphex was a champion on the Rephlex Grime & Grime 2 comps) imagine if early SND had moved in the direction of grime instead of UKG and you are a few inches close to what we have here. These are followed by the quickfire analogue bubbles of CHEETA1b ms800 and CHEETA2 ms800 that disappear as fast as they float out of the speakers.

The second half of the EP is sure-fire classic Aphex in the making, fan fav (check the video if you haven't seen it!) CIRKLON3 [ Kolkhoznaya mix ] mixes up a techstep funk number with the robotic blues of The Man-Machine-era Kraftwerk with the raw melancholy of the most slippery Analord acid. CIRKLON 1 speeds up the tempo but matches the vibe for crunchy half time jungle noir, here he really unleashes his programming skills to the max by expelling melodies like no other, while the keen-eared out there will note audio flashbacks to certain selected (possibly) related works. Before 2X202-ST5 brings the EP to a close with a taught skeletal shuffle that pivots around a solid snare roll whilst the bass line growls with added squelch underneath adding a slight air of psychedelic madness to the mix whilst ensuring its place as a true DJ weapon for the 6 am head splitters.

To our ears Cheetah is a continuation of the endless proof that comes with each new record that Aphex is one of the greatest experimental musicians the world has ever seen. Much like Iannis Xenakis's experiments in 1961 pioneering the use of computers to compose music, Aphex Twin in 2016 is a sound scientist whose tools others can't even begin to comprehend the workings of. By using a piece of impossibly rare equipment to compose an extended player, he has done what few others ever will, producing sounds out of the machine that, at the time of its creation, its designers could never have even dreamed of.

Apex Twin
Cheetah EP
WAP391
Released: 08/07/2016
Formats: Vinyl, CD, Ltd Edition Cassette, Digital
01. CHEETAHT2 [Ld spectrum]
02. CHEETAHT7b
03. CHEETA1b ms800
04. CHEETA2 ms800
05. CIRKLON3 [ Колхозная mix ]
06. CIRKLON 1
07. 2X202-ST5*
*CD, Cassette and Digital track only, included on download available with vinyl

http://www.cheetah-ep.com
Thursday, May 19, 2016

Kim Ann Foxman Remixes Beacon’s ‘Preserve’ Single

Wednesday, May 11, 2016

Underground Resistance 90 - 93 Mix

Sunday, May 08, 2016

Tommy Four Seven - Ratu (Perc Remix)

Tuesday, May 03, 2016

Roland Drum Machines

Sunday, May 01, 2016

Soulphiction - Bricks

Tuesday, April 26, 2016

Magda beyond 4 on the floor

Saturday, April 23, 2016

Hypercolour



Hypercolour and its digital cousin, the imaginatively titled Hypercolour Digital were set up in 2006 by DJ/Promoters Alex Jones and Jamie “Cedric Maison” Russell and has subsequently released tracks and remixes from the likes of Glimpse, Frankie Flowerz, Dan Berkson, Agnes, Plasmik and many more to the delight of fans of underground house and techno the world over.

Both passionate DJs, Russell and Jones felt the need to create a home for much of the unheard music pushed in their direction by friends, colleagues and acquaintances met through their gruelling schedule of promoting nights, DJing and exploring the benefits of cock-nose comedy glasses and inebriated Sunday mornings. Despite Jones and Russell’s ability to avoid taking life seriously, Hypercolour quickly became a serious imprint picking up high profile fans and has become one of the most refreshing, interesting and dependable outlets for skewed, slightly left-of-centre electronic music.

With a small but dedicated roster of talent artists including Jones himself (in between releases for the likes of Kindisch, Turbo and more), Tom Demac, Glimpse and Frankie Flowerz, Hypercolour’s biggest selling point has been the avoidance of trends and themes, resulting in true freedom for the artists and something continually different for record buyers, djs and clubbers. This near belligerent attitude about providing something different is more than apparent in the two A&Rs DJ sets and the frequent Hypercolour nights around it’s London base, too.

Going forward, details of Hypercolour’s roster and output is anyone’s guess, but there’s no doubt that it will be surprising and quality in equal measure.

http://www.hypercolour.co.uk
Sunday, April 17, 2016

Underworld - Bird 1 (Patrice Bäumel Remix)

Monday, April 11, 2016

Early Kraftwerk Live from 1970 Soest, Germany

Saturday, April 09, 2016

25 Years Massive Attack

Monday, April 04, 2016

30YRS R&S RECORDS

Saturday, April 02, 2016

Massive Attack - Essential Mix 1994

Sunday, March 27, 2016

Suzanne Ciani Expalins Electronic Music in the ’80S

Saturday, March 26, 2016

Tricky "How's Your Life" Huxley Rmx

Friday, March 25, 2016

Underworld new album sampler

Thursday, March 24, 2016

Looking back at 2010

Velizar in the mix 0510 Episode from Velizar in the mix on Vimeo.
Tuesday, March 22, 2016

Aphex Twin - Live From Sheffield Hallam University 1993

Friday, March 18, 2016

BEATZD



Divergences & Contradictions of Electronic Music

Filmed with practically no budget, minimal technical resources but a fervent desire to document an important piece of music history, "Beatz" is the result of three years of effort and the absolute dedication of Eduardo De La Calle, with help of Vincent Livolsi, Daniel Arasanz and Iban Ugalde. The film is shot in various cities including Berlin, Tokyo, Barcelona, New York, Amsterdam and Paris and functions as rapid subjective summary of today’s dance music scene, from its origins to the professionalization of the genre and the paradigm shift that has come with the digital age. Pedro Pantaleon and Eduardo De La Calle ran the musical selection and the script was written by Daniel Arasanz.
Wednesday, March 16, 2016

San Proper



San Proper is a well-respected artist from the Amsterdam underground club scene. Over the last fifteen years, he has been spinning and playing live from major clubs and festivals to smaller bars and dodgy underground locations. He’s known and praised for his House & Disco sets, but also skilled in blending different styles from Acid to Afro-beat into an eclectic mix. Since 2009 he has been performing & presenting a solo live show chanting vocals and playing several live instruments alongside his hard- ware and digital gear.

As an Amsterdam local, San Proper is working close with fresh and ge- nuine labels and organizations like Rush Hour, Dekmantel and Trouw. All known for setting the tone for quality underground music and scenery by supporting local talent and paying tribute to house and techno legends.This same attitude got him to release on several labels like Rush Hour and Perlon. His first five releases with Rush Hour was based on presenting his musical friends from Amsterdam with his “Proper A’dam Family Series”, ‘Part 4’ with O-Boogie got picked up by Laurent Garnier, who did an edit of ‘Magnificent Speech Funk’. After presenting his background he released his break through record “Keep it Raw” on Perlon, after producing a remix on this label for Ricardo Villalobos with a track entitled ‘Electonic Water- It ate my Quarter’ which resulted in several releases on Perlon. Meanwhile he has been collaborating with muses, friends and associates Tom Trago, Awanto 3 and Melon representing the sound of Amsterdam House music.

His passion comes across best with presenting this energy live as well as the vocal extras which he serves up during Dj-sets. As a touring artist he remained playing from major to local events, spreading his diverse sets on legendary spots in Tokyo, Osaka, Montreal, Shanghai, San Diego, Detroit, London, Copenhagen, Sofia, Zurich, Berlin and Paris, where he has spend a lot of sessions completing his album for Rush Hour.

www.sanproper.com
classic.beatport.com/release/san-proper-presents-l-o-v-e
Monday, March 14, 2016

Nebula II - Peace Maker - reinforced records

Sunday, March 13, 2016

Modini

Modini is a collaboration between Scottish producer Hostage and techno veteran Neil Landstrumm. Modini are two wildebeest pushed to the edge of the precipice of electronic music with releases on Dixon Avenue Basement Jams, Optimo and Hypercolour.




www.facebook.com/Modini
www.scandinaviaworks.co.uk/modini
Friday, March 11, 2016

Joey Beltram



For over the last 20+ years, Joey Beltram is considered one of the pioneers and a legendary producer of Techno and House. He has recorded on many of the biggest labels of the early 90's such as Nu-Groove, Tresor, Warp, Transmat, and R&S records. Much of his music during that time is widely acknowledged as groundbreaking. Beltram has also been heralded as a major influence by many of todays DJ's and producers including Daft Punk (as mentioned in their song "Teachers"). He has also produced many Techno staples of the 1990's including "Energy Flash", "Mentasm", "Forklift", "Ballpark" and "Game Form".

In more recent years Joey Beltram has worked with and remixed artist's and DJ's such as Adam Beyer, Carl Cox, Umek, Oliver Huntemann and Steve Lawler.

His productions on Harthouse, BUSH, MB Electronic and Drumcode have shown he still has the magic touch in the studio. Beltram has also headlined some of the the biggest Festivals and events worldwide including Nature One, Bonusz Festival, Awakenings, Rock-it open air, Coachella, BLOC, A Day at the Park, Full House Festival and Tomorrowland, to name a few.

www.soundcloud.com/joey-beltram
Thursday, March 03, 2016

Just Don’t Call it Trip Hop



Reconciling the Bristol sound style with the trip hop genre

Jeff Wragg: PhD candidate, University of Waikato, New Zealand

Abstract

Trip hop music emerged in the early 1990s, however, as a label the term ‘trip hop’ has always been problematic. Portishead, Massive Attack and Tricky, the artists frequently credited with creating trip hop, have unanimously rejected the label, claiming their music has nothing to do with trip hop. Despite the artists’ objections, music industrialists, fans and academics continually label their music trip hop or its alternate term ‘Bristol sound’, though specifics are never given as to what, if anything, distinguishes the two terms. This article seeks to mediate the discussion between opposing viewpoints by describing the Bristol sound as a style that relates to the trip hop genre. Following the introduction, the second section discusses the controversy surrounding the term ‘trip hop’ and suggests possible reasons behind the artists’ rejection of the label. The third section addresses the terms ‘genre’ and ‘style’ and outlines their similar points of reference while also highlighting their different areas of inquiry. The final section analyses several trip hop songs and identifies common elements that relate to the trip hop genre, before identifying explicit differences that distinguish the Bristol sound style. The analysis of style focuses on the spectral quality of the works and draws from Smalley’s (1997) theory of spectromorphology.


Buy or Rent This Article
www.journals.cambridge.org
Organised Sound

Adam X & Perc - Coulomb

Saturday, February 27, 2016

Cosmic Baby - The Space Track

Thursday, February 25, 2016

Recording from 1860

Monday, February 08, 2016

The Orb: 25 years old progressively renewable sound energy into the future



25 YEARS OLD The Orb’s Adventures Beyond The Ultraworld’ classic album gets a timely vinyl reissue

by Ed Biggs

Marking pretty much the precise point at which dance music became epic, Alex Paterson turned an on-off DJing gig into a fully-fledging project with The Orb’s first studio album after years of EPs and singles. Sprawling over nearly two hours, The Orb’s Adventures Beyond The Ultraworld certainly doesn’t short change on the promise of its title. A continuous, progressive composition of ten tracks over four sections (‘Earth Orbit’, ‘Lunar Orbit’, ‘Ultraworld Probe’ and ‘Ultraworld’), the album and its signature song ‘Little Fluffy Clouds’ did an awful lot to change the concept of what dance music could sound like, particularly in terms of mainstream perceptions.

The concepts of extended dancefloor remixes and sampling had of course been around for a long time, but there was something playfully subversive, eccentric and quintessentially English about what Paterson introduced with his music. The Orb started life in the rave scene, catering to ecstasy casualties in the chillout room at Paul Oakenfold’s ‘Land of Oz’ nights at Heaven in the late ‘80s. Quickly becoming celebrated for playing ambient, percussion-free sets that lasted for several hours, Paterson worked with partner-in-crime Jimmy Cauty, whom he met through a mutual friend in Killing Joke’s bassist Youth and who found fleeting superstardom with pop terrorists The KLF. - See more at www.thestudentplaylist.com
Tuesday, February 02, 2016

Massive Attack - Safe From Harm

Thursday, January 21, 2016

The Maghreban "Now Easy" - Boiler Room Debuts

Wednesday, January 20, 2016

Jesse Saunders, On and On - 1984

Tuesday, January 05, 2016

Fave 2015 SECRETiViTE

1. Mr.C, Dance Spirit - Sweet Thing feat. Mr.C 1. Luca Lozano & Mr Ho - Bear Samurai 1. Dance Spirit - Messages 1. Miro Pajic - In My House 1. Baba Stiltz - Born2Live 1. Soulphiction - When Radio Was Boss (Jackmate Remix) 1. Matias Aguayo - Bay A Sali Bolando 1. Butch, Gel Abril - Juice Machine 1. Tom Trago - Hidden Heart of Gold 1. Louie Vega, Jay ‘Sinister’ Sealee, Julie McKnight, Kenny Dope - Diamond Life (Old School Dub) 1. Laurent Garnier - Boom (Traumer African Remix) 1. Argy, MAMA, Argy & Mama - Without Me (Alan Fitzpatrick Remix) 1. DJ Firmeza - Somos Todos Malucos 1. Avatism - Bones 1. Trus'me - It's Slow (Truncate Raw Mix) 1. Tiga VS Boys Noize - Jam#1 1. Yotam Avni - UR Sleeping 1. Douglas Greed - When A Man Sings On A Track (The Glitz Remix) 1. Super Flu, Dortmunder Philharmoniker, Philipp Armbrust - Bratzke feat. Dortmunder Philharmoniker, Philipp Armbruster (Monkey Safari Remix) 1. Tiger Stripes - Detroit 1. Barem - A (Dubfire Remix) 1. KiNK - Cloud Generator 1. Terranova - Tourette (David Mayer Remix) 1. Villanova - Abdullah 1. Jody Finch, Derrick Carter - Jack Your Big Booty (BHQ Acid Vocal) 1. Damian Lazarus, The Ancient Moons - Message From The Other Side 1. Inner City, Carl Craig - Ahnnonghay (Carl Craig Remix) 1. Italoboyz - Downtown 1. Kevin Saunderson, E-Dancer - Foundation 1. Tripmastaz - Grinding 1. Axel Boman - Nokturn (Grand Finale) 1. Tolis Q, Jay Hill, Puzzler - Still I Rise (Pezzner Remix) 1. YouANDme, Black Soda, Loco Dice - Take Away (Loco Dice Remix) 1. Tessela - Bottom Out (Kowton Remix) 1. Radio Slave - Children of the E (South London Mix) 1. Winx - Don't Laugh (Original Live Raw Mix) 1. Prophets Of The South - Ek Maak Julle Dance (Portable Remix) 1. Djuma Soundsystem - Beatboxer 1. RIONEGRO - Carruseles 1. James Curd - You Know What To Do (feat. J-Dub) (Derrick Carter Remix) 1. Nicole Moudaber, Skin, Zebra Katz - Don't Talk to Me I'm Dancin' feat. Zebra Katz (Original Mix) 1. Raw G - Down U Get (Loco Dice Remix) 1. Blondish - Endless Games 1. Sneaky Tim - Ever Body 1. Rino Cerrone, Flavio Diaz - Extraordinary Wiring (Riva Starr Edit) 1. Nico Purman - Ferroxide 1. Butane, Someone Else - Little Helper 161-4 (Live) 1. Arp Aubert - Moshislongo (Me Succeeds Remix) 1. Dominik Mars - Nebula 1. Nozinja-Tsekeleke
Saturday, December 19, 2015

Kotelett, Zadak Feat. Gabriela Lindlova

Monday, December 14, 2015

Faithless - Insomnia

Tuesday, December 01, 2015

Isaac Hayes Movement - Disco Connection

Sunday, November 29, 2015

Floorplan - Baby, Baby

Wednesday, November 25, 2015

The/Das - It's True [Sinnbus]

Saturday, November 21, 2015

Blond:ish - Endless Games

Thursday, November 19, 2015

MECHANICAL TECHNO DEMONSTRATION

Wednesday, November 04, 2015

KiNK Paranormal Live

Monday, October 26, 2015

Maetrik "The Prophecy" - Bernhard Pucher

Friday, October 23, 2015

Terranova - Twisted Souls Feat Cath Coffey (Stereo Mc's Mix)

Saturday, October 17, 2015

Tsekeleke - Nozinja

Thursday, October 15, 2015

Axel Boman

Axel is in fact the Swedish word for shoulder, but born and bred Stockholmer Mr. Boman could just as easily have been named Rumpa, the Swedish word for ass, since most of his life has been dedicated to moving just that body part. It was around 1992 that Axel’s ass started dragging the confused youngster into all sorts of weird situations – dodgy warehouses, blooming fields, sweaty basements – just about any place that had a nice sound system and someone pumping a fat bassline through it. With his older brother already being a collector of the latest techno and house records, Axel started keeping a strict diet of fresh beats which has kept him alive and kicking ever since. Building a reputation for himself in the small but very friendly Stockholm club scene, he was soon acknowledged as one of Sweden’s most skillful and best looking dj dudes. Naturally, production activity followed shortly. Working out of small studios in his hometown as well as in Gothenburg (where Axel took his master degree in fine art), tracks like the underground hit “Arcimboldo” on Ourvision Recordings soon landed in the crates of connoisseurs like DJ Koze, Magda and Seth Troxler. His sounds is raw, playful and drenched in oceans of soul – just the kind of stuff the dancefloor’s of today are longing for. 2010 was the big breakthrough year for Axel and his ass, with the epic screw house anthem “Purple Drank” being released on DJ Koze’s new Pampa Records imprint, going off to London to participate in the Red Bull Music Academy and starting up his own label Studio Barnhus together with Petter (Border Community) and local idiot Kornél Kovacs. 2011 will see Axel releasing a lot of new material and remixes on labels like Permanent Vacation, Moodmusic, Glass Table, Hypercolour, Tartelet and of course Studio Barnhus.

Cheers!

soundcloud.com/axelboman
soundcloud.com/studiobarnhus

Tuesday, October 13, 2015

Avatism - Hessdalen

Thursday, September 24, 2015

Dave Clarke - Summer by DJ Hell

Wednesday, September 23, 2015

Elysée - La Chambre Des Lumières

Calibre - Another

Sunday, May 10, 2015

Border Community


Monday, May 04, 2015

Mirko Loko



Mirko Loko’s passion for music has led him on an upward trajectory ever since he first started DJing in the late 90s clubs of Lausanne. Based at the crossroads of Detroit-inspired techno and the stripped-down, jacked up side of house, his music is that of diversity and subtlety, a hypnotic collage sewn together by his imagination. Regularly hiding complexities: layers, polyrhythms, shifting moods of dark and light, high-class and low-slung.

In the past Mirko’s been involved with an original collaboration with Detroit’s Stacey Pullen and his remixes have ranged from Martina Topley-Bird (Massive Attack) to Layo & Bushwacka. In turn, techno dons such as Carl Craig and Ricardo Villalobos have remixed Mirko’s material. Not bad really when you add those to an impressive discography that spans such labels as Border Community, Wagon Repair, Planet E, Desolat, and Visionquest.

Born in 1979 in Lausanne, Mirko has always loved music. After DJing in clubs, Couleur3 (Swiss national radio) snapped him up as a DJ and programme planner between 1997 and 2001. During this time he continued DJing nationally but also started performing internationally at places like Rex in Paris, Cielo in New York, and at 2001’s Detroit Electronic Music Festival, where he was invited to perform by Carl Craig. In 2003 he moved temporarily to New York and took a residency at Christian Smith’s party, Tronic Treatment. When Mirko returned home he became artistic programmer at Loft Club. He then met Raphael Gros and together they formed Lazy Fat People, a production unit that was to impact heavily over the next few years. Their debut, ‘Big City’, came out in 2006 on James Holden's Border Community.

From there tracks spilled across other labels, including Mathew Jonson’s Wagon Repair and Carl Craig’s Planet E. There were remixes too, like their reworking of Daniel Bell’s ‘Science Fiction’ and Oliver Lieb’s ‘Isotropy’, and not forgetting the sublime C2 remix of Fat Lazy People’s ‘Pixelgirl’. However, in 2007, at the height of their success, the duo decided to go their separate ways. So Mirko continued remixing for Tania Vulcano and Tato’s IsGud as well as Alexkid’s Imprimé Records.

Between 2007 and 2009 he was also assistant programmer for the electronic side of Montreux Jazz Festival. Yet something else was brewing: it was big. It was the ‘Mousa Big Band’ track, Mirko’s collaboration with Cadenza boss Luciano, included on their Family EP and released on Loco Dice’s Desolat, alongside Mirko’s own productions ‘Liah’ and ‘Serena’. Dice even played ‘Mousa Big Band’ and ‘Liah’ during his 2008 Essential Mix on BBC Radio 1. In 2009 Cadenza released Mirko’s debut solo album – Seventynine. It proved to be both a timely tribute to his inspirations and a testament to his own journey through music. There was a new influx of shows across the globe, from Space Miami to Monegros in Spain, Lowlands in the Netherlands, Summer Sonic in Japan, Creamfields in the UK, and Sonofilia in Mexico. And an innovative new venture with Luciano and the Cadenza family was born: a live ‘visual music’ performance named Æther, which premiered in the summer of 2009.

2010 saw Mirko remix Layo & Bushwacka’s ‘The Longest Day’ on Olmeto, Ghost Dancer’s ‘Home’ on Panorama, and dOP’s ‘Assurance Vie’ on Circus Company. This was the time of his Seventynine Remixes project, with remixes by Carl Craig on ‘Love Harmonic’ and Ricardo Villalobos on ‘Tahktok’. Mirko became a professional ‘Vagabundo’ with Cadenza in Ibiza – a journey that continued in 2011. In 2012 he laid down an original collaboration with Stacey Pullen on the Deux Éléments EP (‘Formulaic Mode’/‘Tronic Illusion’) for Cadenza. He also remixed Martina Topley-Bird’s ‘Baby Blue’. ‘Gloria’ made its way to Seth Troxler's Visionquest. Various new partnerships including Francesco Tristano and Jow from dOP evolved in 2012 for Mirko.

2013 sees the five-year anniversary of Mirko playing with Circoloco in Ibiza, the 10 years of Cadenza celebrations where it is tipped that Mirko will be releasing some amazing Techno records, aswell as the preparation of his second album and the launch of his new record label.

Facebook Mirko Loko
Friday, May 01, 2015

ECHOCORD

Echocord Records is Founded in 2002 in Copenhagen, Denmark by the Danish DJ & Clubowner Kenneth Christiansen.

It all started when Kenneth in the beginning of 2002 met Mikkel Meldgaard aka Mikkel Metal in a small recordshop where Kenneth was working. Kenneth has been thinking about starting a label for a while at that time, and when he heard the tracks from Mikkel he knew it was time. Already at that time he knew some of the people at Kompakt, so it was the place to try to get a distribution deal. Wolfgang & Michael liked it a lot so this was the beginning of a already now long relationship. A lot of things has happend since, many new artists has been signed. Tjeck the big rooster. The musicprofile has always been circling around Dub Music. from Electronica-Dub to Dub-Techno and House. Kenneth has always been very inspired from what came out of Berlin and the Hardwax Camp like Basic Channel, Chain Reaction & the DIN label, which you can hear on the label and in his dj-sets.

www.echocord.com
www.kompakt.fm/labels/echocord
Tuesday, April 14, 2015

Marc Houle

While the global EDM scene still debates the merits of “pressing play,” techno veteran Marc Houle has been wowing audiences for over a decade with a live performance that is constantly evolving night after night, in city after city, at clubs and festivals worldwide. The skill and effort that goes into creating these truly “live” sets is the result of an entire lifetime dedicated to electronic music and a deep love of the machines that make it.




Raised adjacent to Detroit in Windsor, Ontario, in the same fertile music community that spawned his former label boss and mentor Richie Hawtin, Houle’s obsession with electronic sounds goes back to the noise of ’80s video games and vintage synthesizers. And while too many electronic artists use their machines as merely tools of convenience, Houle regards his with a dedication found in few producers.

The results have been extraordinary. A decade-long career of seminal records on Hawtin’s Minus label, as well as his own Items & Things imprint, that not only helped define the beloved minimal sound of the mid-‘00s (“On It”), but had a laugh at its expense (“Techno Vocals”), before transcending the limits of the sub-genre completely by incorporating industrial, disco and new wave influences (“Undercover”).

No wonder Houle’s records have found their way into the crates of DJs far-flung from his typical list of peers. How many producers can create a track as adaptable as “Bay of Figs,” an underground club favorite favored by his Items & Things partner and star techno DJ Magda that also managed to find its way into the hearts of stadium-trance audiences via megastar DJ Tiësto.

Ironically, even though DJs of all sorts play Marc’s records, you won’t find Houle delivering a DJ set any time soon. A committed live performer, he arrives at each gig equipped six superb albums worth of material (like last year’s playful Cola Party), plus dozens of favorite singles, remixes and collaborations (including his 2013 partnerships with Miss Kittin, “Where Is Kittin” and Click Box, “Razzamatazz.”). And then there is the steady stream of new music - whether it's a brand new tune from Houle's home studio, or a remix of a classic cut (like those found on the 10-year anniversary remix of his Restore album by Joris Voorn, Popof, Julian Jeweil and Danny Daze).

No matter what time or tempo, Marc Houle has exactly the right Marc Houle tunes needed for the nightclub, after party or festival stage.

CONTACT INFO:

Booking: catherine@b4bookings.net
Label: info@itemsandthings.com
Press: press@marchoule.net
General: info@marchoule.net
www.marchoule.net
Wednesday, April 08, 2015

Robert Hood



 Deep Concentration-The Grey Area Mix

The Grey Area mix is a collection of celebral minimalism from which is a speciality of Robert Hood. Never before has there been an illustration of the many values of "grey" within the genre we call Minimal. While Minimal is now a sound all on its own which varies from region to region, deep concentration takes you through the mind of one of it's pioneers for a close analysis of this particular variation. The Grey Area.

For playlist visit www.discogs.com/Robert-Hood

"Before I got into this music I wanted to be an originator ; I wanted to be original”.

Robert Hood needs little introduction. Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties. Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. Having recorded for Metroplex, Jeff Mills' Axis label, as well as Patrick Pulsingers 'Cheap' label, Peacefrog, and more recently Music Man, Hood also owns and operates the M-Plant imprint, through which he's released the bulk of his solo material. He has only released 2 ever CD mixes one for French label Logistic, and a mix for the club 'Fabric' mix series

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group. We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy. "I was influenced by my father - I wanted to play trumpet like he did." Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers. "I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.

"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends. With this in mind the seminal ‘Nighttime World Pt.1’ in 1995 and ‘Nighttime World Pt.2’ in 2000 incorporating Jazz, Soul, Hip Hop as well as Techno and House.

"These days I am focussed purely on minimalism and really embracing minimalism, because it’s taken on a life of its own. It’s now a music style separate from techno. I would never have imagined that it would take this direction. I didn’t see that one coming! I saw minimalism in life becoming more and more evident - in furniture, in electronics, in art, in automobiles, appliances - you know I could see that coming. But, as far as music itself being thought of now as an art form? Back then, I think people looked on at it as a trend but they didn’t realise that minimalism is an art form. I did not realise it would take on this characteristic as it has now. So, where I’m at right now is embracing minimalism and seeing how far I can push it - in my interpretation of what simplicity and the music is all about. I am really representing it as an art form and not a trend. As the future evolves, we’re going to get more and more minimal"

wwww.soundcloud.com/roberthood
Friday, March 13, 2015

OFF - Time Operator 1988

Monday, January 05, 2015

FAVE 50 SECRETiViTE 2014

Wouda, Inkswel - Circle Jerks feat. Wouda
Cristian Vogel - Mungo
Lone - Restless City, Head High Remix
BrightLight - How to Build a Monster, Benno Blome Remix
Telonius - Like What, Mike Monday Remix
Jackmate - The Jacker
The Midnight Perverts, Troncoso - After Dinner Mint, Mr.C Remix
NicoLahs - Absence
Popnoname - Anna
Tom Demac - Vocoders Revenge
Axel Boman - Anytime Is Fine
Avatism - Bitter Reminiscence Feat Clockworks
Answer Code Request - Blue Russian
Tiga - Bugatti
SCNTST - Computers Do Have Souls
Giash - Dawn Woods
Carl Taylor - Debbie's Groove (Robert Hood Remix)
Echologist - Destabilize
Miss Kittin, Dubfire - Exit (The Hacker Remix)
Axel Boman - Fantastic Piano
Ben Sims - Freaks (KiNK Remix)
Alex Jones - Frizza
Undercatt - Golden Area
Alex Smoke - Green Man
Seph - Halcona (Glimpse Remix)
Jonasclean - Hu (Rhodes Mix)
Beat Spacek - I Wanna Know
Echonomist, G-Tech - Keys To Life (feat. G-Tech)(Kyodai Remix)
Tiga, Audion - Let's (Not) Go Dancing (Kane West Remix)
Cesare vs Disorder & Dave Vega - Love Takes Hostages (Original Mix)
Anthea, Fosky - On The Floor (Guti Remix)
Alex Smoke - Oni
Giash - Otus Scops (Original Mix)
Lee Van Dowski, Dean Demanuele - Put Your Shoes On
Smash TV - Robogeisha
Cowboy Rhythmbox - Shake
Mike Dehnert - Single Action
Mark E - Smoke
Herva - Snow and Clouds
Kink - Source of Uncertainty
Location 141 - Stone Wind (Mark E Mix)
Awanto 3 - Su What
Jona - Traffic
Lord RAJA - Van Go (feat. Jeremiah Jae)
Multiple Mono - When It Rains It Pours (Butane Remix)
Ames Henry - Who Feel What I Feel (Pezzner's Hypersensitive Mix)
Secret Society - Willie
Walking Shadow - Without You (Jackmate Remix)
Cesare vs Disorder, Dave Vega - Worldwide
Timo Maas, Santos - Z Panorama
Friday, November 14, 2014

A Guy Called Gerald


A Guy Called Gerald has a unique insider’s view of the evolution of dance music since the early eighties when, as a 14 year old dancer, he started sneaking into Manchester’s underground clubs. By 16, Gerald was hooked on Electro Funk. With his DJ crew, the Scratchbeat Masters, Gerald was found every Sunday in his parent’s attic where he built his first studio. Cutting up beats on their turntables, they would challenge other crews and their soundsystems. A 12 inch single called ‘Wax on the Melt’ resulted from a collaboration between a few of the crews. Gerald later joined forces with some of these members to form 808 State. The act’s ‘Newbuild’ album was released in 1988 before Gerald broke away to concentrate on his solo work.

Early realisations by Gerald that there were indeed other dimensions to dance music beyond the turntables led him into the production of electronic dance music. A year later, with meagre earnings from his job at a fast food chain, Gerald bought his first drum machine and his mixer and turntables soon began to collect dust. By the time acid house reached the UK, he had made a transform scratch button for his Citronic mixer and crafted an electro style which flowed seamlessly with the new sound.

That said, House music first emerged in England through the funk and soul clubs, which were predominantly black. “It was a really vibrant scene,” Gerald reminisces of Manchester’s black dance underground “it was a perfect concoction of the technology and the musical structure creating an irresistible compulsion to dance”. In some night-clubs and all-dayers it wasn’t long until house music became the focal point of the event. “In those days everyone in the club danced and some had their own signature dance moves”, Gerald explains. “Dance was actually a way of life. There were jazzheads, funkheads and some dubheads, yet nobody was talking about the DJ but you knew who the dancers were and the moves they were doing – intricate moves involving back-flips and running up the walls. Clubbers held regular dance-offs. This was way before the Hacienda era and these people were its pioneers. The track ‘Voodoo Ray’ was borne of my inspiration from this scene.”

Continue read at www.guycalledgerald.com/blog/biography/history/
Monday, October 13, 2014

RIP ‪Mark Bell

Thursday, October 09, 2014

I-f - Superman

Thursday, August 28, 2014

The Future Sound of London

When Garry Cobain and Brian Dougans adopted the name The Future Sound Of London in 1992, there were those in the local dance community who considered it an impertinent choice. Yet as the infinite loop of time has gyroscoped, the open mindedness embodied in their early work has been adopted as standard in many forms of electronica and from Ibiza to indiedom, the pursuit of the beatific, which they explored in their earliest days, is an ongoing musical concern.

Cobain and Dougans were too holistic and too curious about the wide horizon to be just Londoners, but as they morph into a whole new phase of organic dynamism, letting the tide wash over their technological footprints, and embracing wild new sound hybrids, it's clear that they really did know a lot about the future - even if it wasn't the hard, digital one many people imagined.

FSOL have had a consistently accelerated evolution. At the point when Cobain and Dougans borrowed US techno legend Derrick May's title for his Future Sound Of Detroit project they had already served an apprenticeship in sample sonics and dance music. Glasgow born Dougans and Bedford rooted Cobain met at Manchester University in the pre house days of 1985.

Electronics student Cobain and nascent sound engineer Dougans were mutually fascinated by the possibilities of the new tech. With Dougans affection for prototypical likes of Cabaret Voltaire and A Certain Ratio as starting points, they set up their own studio and began collaborating on experimental electronic pieces.



The extrovert conceptualiser Cobain and the reserved sound sculptor Dougans fitted together perfectly, but it took the house explosion of ‘88 for their ideas to synch with the times. Dougans created the hard techno classic 'Humanoid' under the name Stakker, crashing into the rave days Top 10. Working together, now in London, they issued a slew of inventive, underground dance tunes using an ever changing lexicon of names including Smart Systems, Indotribe, Yage, Mental Cube, Semi Real, Yoga, Metropolis, Intelligent Communication and Art Science Technology. Their time as explorers on the fringes of dance came to an end in ‘92. Two days in the studio with a sampler had seen them pull down from the ether a beautiful, transportive piece of music, which owed as much to Erik Satie and Debussy as it did to acid house. They called it 'Papua New Guinea', brought in Andrew Weatherall to mix a version, released it through Jumpin’ & Pumpin’ under the FSOL name, and sat back and marvelled as the tune slowly grew from a minor piece of eccentricity to a massive crossover hit, now regarded as one of the last decade's defining musical moments.

1992's debut album 'Accelerator', which included 'Papua New Guinea' formed a kinetic soundscape for an optimistic dystopia and established them as leading lights in the 'head music' zone of dance. Looking back on 'Papua New Guinea' Cobain sees it now as 'a beautiful and naive child', but at the time it helped liberate 'dance' music from the deadend tunnel of hardcore. 'Intelligent techno' and a flourishing 'ambient' scene were both hugely enabled by FSOL's success. In the light of their sudden potential as hit makers, Cobain and Dougans were signed to Virgin Records and given the unusual freedom to record elsewhere under different names.

Resolutely multi-dimensional their first release for Virgin was 93's sonic voyage 'Tales Of Ephidrina' under the name Amorphous Androgynous. Over the next three years they issued two FSOL albums, 94's 'Lifeforms' and 96's 'Dead Cities', which were wilfully, precognitively and often brilliantly placed at the spinning nexus where dark and light ambient, classical, dub, techno, house and rock, meet, fight, fuck, kiss, make up and make patterns in the dust. Pushing at the industry's restrictions they issued a series of 'singles', (beginning with '93's superb 'Cascades') which stretched time limits to 30 and 40 minutes.

As the internet took off and ISDN technology came in, Cobain and Dougans took full advantage, testing entertainment/ rock'n'roll/performance traditions by beaming live gigs from their Earthbeat studio in Dollis Hill. Shows went out in London, New York, Israel. Major telecommunications companies were offering support. Mainstream media were inviting them in. Via Radio One, they played profoundly tripped out DJ sets to vast audiences.

After the release of 'Dead Cities' in 96, FSOL were due to play a high profile 'virtual' show, but Cobain was feeling less and less at ease with his role. He pulled out of the gig and flew to L.A. staying for a month with The Cult's Ian Astbury who he had been planning to collaborate with. This was the first of a series of reappraisals which would lead to FSOL's full reinvention. In the same year Cobain and Dougans indulged their love of hyper-eclectic, mind trip soundclash mixes, spending six weeks in the studio putting together the research document 'A Monstrous Psychedelic Bubble Exploding In The Mind'. An indicator of their current path, the legendary mix was a grade-A meta-cultural stimulus, blending a reverbed out Barbara Streisand into Bill Hicks, Bukowski, Deepak Chopra and The Rolling Stones. Licensing problems prevented an official release but KissFM in London played it, and bootlegs have turned up around the planet.

The second half of the ‘90s saw a symbiotic musical and personal overhaul take place within FSOL. While Dougans redrew his musical parameters, continuing to work in the band's new studio in East London, Cobain went looking for a soul, mind and body balance. He had become unhappy with the tendency of technology to promote egotism and aggression. At the same time he was suffering from a series of on-going immune system illnesses. His 'stripping back' process saw him travel widely and investigate Ayurvedic as well as Western medicine, finding answers in the strangest places and discovering techniques for balance, spanning meditation to nutrition.

With their samplers realigned and a loose collective of musicians dropping by the studio to add some awesome performances to the mix, the time was right for FSOL to slowly unveil their new shape. Jumpin’ & Pumpin’ had wanted to re-release 'Papua New Guinea' for some time and Cobain and Dougans finally agreed, partly because only remixed versions had come out originally. "For us we saw it as an opportunity to place 'Papua New Guinea' in a sound field that was completely our creation so we thought why not," says Cobain.

Accordingly, a five mix single of 'Papua New Guinea' emerge, featuring versions by Simian, Satoshi Tomiie, Hybrid and Blue States as well as the original Cobain and Dougans mix. This prefaced the October 1st re-release of their 'Accelerator' album featuring remixed tracks and accompanying bonus CD of the single's five 'Papua' remixes plus six more including Andrew Weatherall's never before issued 1992 ‘Producer's Cut’. With club chart and radio response affirming the timelessness of the tune, FSOL are ideally placed to fade up into the next stage of their evolution.

October 29th 2001 saw the release of new project 'Translations'. Locating 'Papua New Guinea' as the sonic base camp they ascend to a summit of tantric, cosmic, organic fusion which bears little resemblance to the template and then set the controls for beyond the ether.

For those with their heads down, busy with getting and spending the enlightenment at the end of the tunnel is not always easy to see. But that's alright. The Future Sound Of London have come all this odyssean way, avoided all those pitfalls and harvested such know how, to provide a soundtrack which clues you in, raises you up, maybe even opens you out, just as they've been doing, in one magic mutation or another, for the last ten years.

www.futuresoundoflondon.com
www.residentadvisor.net
Tuesday, August 26, 2014

Max Richter

The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.

Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.

Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.

Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).

Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.

Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects. Max is currently writing the music for the upcoming HBO drama series “The Leftovers” which is created by “Lost” co-creator Damon Lindelof and acclaimed novelist Tom Perrotta.

www.maxrichtermusic.com
Saturday, August 23, 2014

Alex Smoke iN ThE mix

"A new mix of relaxing, largely beatless music of the kind I like to listen to myself. It seems there is a lack of good quality downtempo mixes so this will be my first of several."

Alex Smoke



Alex Smoke is a Scottish talent making electronic records that blur together European minimalism, pop structures and emotional strings and pads. He has released two full length albums, ‘Incommunicado’ and 'Paradolia' [Soma Records] and a slew of singles and remixes, many of which have arrived on Soma and German label Vakant.

His debut release ‘Random As’ came out in January 2002, but Smoke has always been immersed in music. In his youth he sang in a choir for four years (a far cry no doubt from the mournful tones on his ‘Don’t See the Point’ or ‘Never Want to See You Again’), his parents are involved in classical music, and he has classical training in cello and piano.

Smoke’s own productions are often described as moody, a reputation he doesn’t shy away from. His debut on Soma was the euphoric ‘Chica Wappa’, described by Smoke as “undoubtedly the most optimistic track I'll ever write. My music will never be this upbeat again.” His wish might have come true: recently Smoke’s remix work on Vakant and especially his reedit of Junior Boys ‘In the Morning’ have focused heavily on melancholic electronica, although Smoke has a noisy, brash side too, evidenced on big tracks such as ‘Meany’ and ‘Brian’s Lung’.

Smoke both performs live and DJs, and his agenda as a spinner is perhaps well represented by ‘Sci-Fi-Hi-Fi Vol. 3’ from 2006. His debut DJ mix combined a fascination with dub techno, classic Detroit (Smoke is not averse to playing old records at all) and new European minimal techno.

Tracklist:

Hope Not Dope – Aardvarck
Words (Processed) – Aphex Twin
Let my Fish Loose [Aphex Twin Remix] – Nobukazu Takemura
Uritual – Boards of Canada
tcp d4 7 count in russian different voice irdial – The Conet Project
Inside The Shadow (W. Metals) – Burning Star Core
Duet – Gonjasufi
Brutal – Dean Blunt
Let’s Go Swimming – Konx-om-Pax
P2101V – Arpanet
Bugged in Gaza – Madteo
Self-Playing Schmaltz – Holden
Oil – Jonny Greenwood
Cosm – Alex Smoke
Disorder Whiteroom 3 – Alex Smoke
From no part of me could I summon a voice – Colin Stetson
Ascension Phase – Kuedo
OD Drone 4 – Alex Smoke
Caves Of Paradise – Actress
Silent Night – William Basinski
Laibach – Koran [Alex Smoke Remix]
Disintegration [Alex Smoke Remix] – Laføden
Inside The Shadow – Burning Star Core
Faust (Dream Of Home) – Alex Smoke

www.alexsmoke.com
Friday, August 22, 2014

Moon Harbour


Few labels have established themselves as solidly and definitively as Matthias Tanzmann and André Quaas’ Moon Harbour. Since the turn of the millennium it has been a bastion of deep and tech house quality that has not moved with the times, but has defined them ahead of trend. Through a carefully curated series of EPs and LPs, the label has fomented its own close-knit family that expands and contracts with careful consideration.

Running up the spine of the label’s quality output over the years have been full length albums from the likes of Matthias Tanzmann in 2008, Luna City Express in 2009, Martinez in 2010 and Ekkohaus in 2013. So too does the label offer up a label compilation series, Moon Harbour Inhouse, which tells the story of the label’s evolution, and along the way there have been many underground hits including now close family member Sable Sheep’s debut EP Upon Burning Skies in 2013, Arado & Marco Faraone’s Strange Neighbours in 2010 and Santos’ Hold Home in 2009.

As well as Sable Sheep, Philip Bader is now part of the tight knit Moon Harbour family and along with label manager Dan Drastic, Marco Faraone, Sven Tasnadi and the aforementioned album artists, together these DJs and producers wholly encapsulate the infectious Moon Harbour sound. That sound is regularly and proudly showcased at label parties around the world, at conferences like Sonar Barcelona, WMC Miami and ADE Amsterdam and also in association with the Goethe-Institute.

Back in 2010, the New York Times declared Leipzig as one of the 31 Best Places you could visit, and noted that part of the reason for that was because of Moon Harbour and their independent musical wares. Of course, boss Matthias Tanzmann is also a celebrated resident at famous Ibiza night CircoLoco at DC10, continue reading

www.youtube.com/moonharbour1
www.soundcloud.com/moon-harbour
www.mhradio.wordpress.com
Tuesday, August 19, 2014

PsiAmsterdam

Valentino Kanzyani has been producing spellbinding electronic dance for well over a decade, but it’s perhaps on ‘PsiAmsterdam’ that the Slovenian DJ and producer has created some of most his hallucinatory and psychedelic work to date. The sleeve depicts a kaleidoscopic blend of amphibians and mushrooms in splashes of vibrant colour, a fitting visual to the music contained within.

‘PsiAmsterdam’ is a subtle and sedate piece, a chugging groove and worming bass, with Valentino’s, as ever, reliable beats under pinning an ever evolving synth arp. Splashes of ambience and reverberated sounds bounce off the groove as the 11 minute piece hots up. The sound design is one that evokes shades of the early electronic and ambient classics, such as Future Sound Of London, its haunting synths melting over the beat.


‘8.Agosto’ on the flip, continues this theme, with some well thought out ambience and piano work weaving its way around some solid drum work, keeping a timeless appeal by not resorting to current trends or gimmicks, just some sophisticated sounds and detailed arrangements from this unique artist.

A digital only ‘breakbeat’ remix of ‘Viole(n)t Thoughts’ completes the package, taking a favorite cut from his last Cadenza ‘Love & Gratitude’ release and remodeling it to a pacey broken beat, retaining the magic of the melody retained within.

Having released the aforementioned ‘Love & Gratitude’ trilogy already on Cadenza, and been behind many releases over the years for labels like Primate Recordings, Yoshitoshi, Tronic, Welcome To Masomenos, and his own label Jesus Loved You, Valentino Kanzyani is an artist most definitely creating his own sound on his own terms, and making a big progression on this release for Cadenza.
Sunday, August 17, 2014

Stockhausen: "Gesang der Junglinge"



"I heard the piece Aphex Twin of Richard James (sic) carefully: I think it would be very helpful if he listens to my work "Gesang der Junglinge"(Song of the Youth), which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it varied to some extent and if it did not have a direction in its sequence of variations.
Gesang der Jünglinge (literally "Song of the Youths") is a noted electronic music work by Karlheinz Stockhausen. It was realized in 1955–56 at the Westdeutscher Rundfunk studio in Cologne and is Work Number 8 in the composer's catalog of works. The vocal parts were supplied by 12-year-old Josef Protschka.

The work, routinely described as "the first masterpiece of electronic music" (Simms 1986, 391; Kohl 1998, 61) and "an opus, in the most emphatic sense of the term" (Decroupet and Ungeheuer 1998, 97), is significant in that it seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. In this way, for the first time ever it successfully brought together the two opposing worlds of the purely electronically generated German elektronische Musik and the French Musique Concrète, which transforms recordings of acoustical events. Gesang der Jünglinge is also noted for its early use of spatiality; it was originally in five-channel sound, which was later reduced to just four channels (mixed to monaural and later to stereo for commercial recording release). Continue reading at wikipedia
Monday, August 11, 2014

SiS iN THE MiX


Burak Sar aka Sis was born in 1980 in Michelstadt, southern Germany, and from a very young age was Inspired by his musician father, who introduced him to a myriad of musical instruments and rhythms with his Turkish musical group. Sis formed a rock band and played the drums, but after his dancefloor epiphany he bought a pair of Technics 1210s and learned how to mix. Within a short period of time spent developing his DJ skills, he began playing in small clubs and parties around Frankfurt and Mannheim.

SIS's first experience with electronic music was more or less accidental. Inspired by hearing Dj Karotte play percussive Indian-style beats at Frankfurt U60 Club at the age of 21, he decided on the spot that this would be his future.

Burak Sar aka Sis was born in 1980 in Michelstadt, southern Germany, and from a very young age was Inspired by his musician father, who introduced him to a myriad of musical instruments and rhythms with his Turkish musical group. Sis formed a rock band and played the drums, but after his dancefloor epiphany he bought a pair of Technics 1210s and learned how to mix. Within a short period of time spent developing his DJ skills, he began playing in small clubs and parties around Frankfurt and Mannheim.



Not content with limiting himself to DJing, Sis began learning the ropes of production, drawing on his musical roots to craft his own unique style of House Music. Sis gained confidence with his first release (Lilly from the Valley EP, Amused Rec.) in 2006, and he soon gathered more momentum. Following a release for 8bit Rec. (Voices of Istanbul EP), international attention came at the end of 2007 with his first EP for Cecille Rec. (La Garua/Orgsa), a record which sold out within a day in shops across Europe.

His second release for Cecille (Nesrib) was a real bomb, playlisted by all the top DJs around the globe. A number of other tracks followed, then came "Trompeta", arguably the hit track of summer 2008. After handing "Trompeta" to Ricardo Villalobos at Robert Johnson club in Frankfurt, Villalobos liked it so much that he decided to release it on his own boutique label Sei es Drum, which up to that point had only showcased Ricardo's own productions. Both DJs and DJ press agreed that Sis was one of that year’s best breakthough acts, as Groove Magazine awarded him "Producer of the Year" and "Track of the Year" (1st Nesrib, 2nd Trompeta) honours in their end of year poll, and Raveline named him the #2 Live Act of the year and Newcomer of the year.

Riding a well-deserved wave of hype, Sis he has delivered further well-received release for Welcome to Masemenos and Connoisseur Recordings, and followed this up by establishing own label, Cocolino Records. The future continues to look bright for Sis, and in 2011 he will release his debut project with Get Physical Music, with more quality tracks and DJ/live sets on the horizon.

www.facebook.com/sisofficial
www.beatport.com/artist/sis
www.soundcloud.com/djsis
www.residentadvisor.net/dj/sis
Monday, July 21, 2014

The Shamen

Tuesday, July 08, 2014

Faithless - Insomnia

Friday, July 04, 2014

Lory D - T.T.

Wednesday, July 02, 2014

Julian Jeweil

Internationally acclaimed DJ and producer Julian Jeweil is originating from the south of France. In 2007, he released his first Hit EP “ AIR CONDITIONNE”. Following this magnificient release, Julian continued his musical journey producing a second EP for Skryptom, named "POP CORN" and remixed by Danton Eeprom. He then proceeded to producing two more – “TOURNESOL” on Craft Music and “MY CAT” on Figure (Len Faki’s label).In 2010, Julian signed to two prestigious labels, Cocoon Records (Sven Vath's label) and PLUS 8 records (Richie Hawtin's label): "BABOO" was released on PLUS 8 records and includes 4 tracks."COLOR" was released on COCOON and includes 3 tracks, one of which is "SOHO" which charted at number one the beatport techno charts.Julian’s other releases that same year include " TECHNO CORNER" EP on Popof's Form records, a remix of Moby’s "STAY DOWN" and the "POLAROID" EP on Sébastien léger ‘s record label; Mistakes music.Performance-wise, Julian has hit various stages all across the world. His techno live PA has been heard on multiple festivals and venues. The latter includes: Monegros desert festival (Fraga), Kaballah festival (Sao Paulo), Soul tech festival (Mexico), We love techno (Tel Aviv), Refresh festival (Portugal), Astropolis/ Marsatac/ I Love Techno/ Electro d'Uzes etc (France), ROW 14 (Barcelona), Womb (Tokyo), D.Edge (Sao Paulo), Onzième (Osaka), Sankeys (Manchester), Zoon (Mexico), Rex club (Paris),Warehouse party (London), Ellui club ( Seoul) ... and many more.In 2011, Julian established himself as one of the most reliable techno artists. There is no doubt that he has earned his spot amongst the celebrities of PLUS 8 records after signing his second release with them: “HERMANOS” ep. He is currently working on his remixes for artists like John Digweed/ Nick Muir, Dusty Kid etc. He is also working on more techno, as well as some tech house tracks... This biography is therefore, to bec o nt inue d !!!

www.beatport.com/artist/julian-jeweil
www.facebook.com/pages/Julian-Jeweil
www.soundcloud.com/julianjeweil
Saturday, May 24, 2014

BEFORE THE SUNRISE

JOY WELLBOY, KIKI, DIXON, SAFETY SCISSORS
Since last year, Joy Adegoke und Wim Janssens aka Joy Wellboy belong to our BPitch Control fami- ly. In addition to their contribution for the Where The Wind Blows compilation, the debut record Yorokobis Mantra was one of the highlights for BPC in 2013. After their single Mickey Remedy, the opener of the LP Before The Sunrise now comes in four different versions.The Tension Dub version of BPC veteran Kiki equip the original with its downtempo drive and poppy flair with a pumping attitude, while the spiral synths and a proper bass structure will pull you clearly towards the dancefloor. Kikis second remix transform pop into deep house and with the emphasis of the lyrics What if this is happening, he caters for a nice phantasm somewhere between absent- mindedness and doubt. The remix of Dixon may be listed already for the best-of lists 2014. The co-founder of berlin-based label Innervisions and magic bullet speaking of remixes, emphasizes not only the dreamy side of the original, but let his trademark sound unfold that distinguishes his much celebrated sets: a glorious melody, the vocals of Joy and this Dixon warmth, fed by pathos and ro- mance. Focus on the yearning supplication of Joys wonderful timbre were simply melting away! In addition to the radio edit of Before The Sunrise, the interpretation of Matthew Patterson Curry aka Safety Scissors knows how to spread his talent. In order of a sweeping climax he passes on the vo- cals, because before sunrise nothing is more important than to enjoy the here and now. Carpe diem!On the digital release there are another four gifts waiting for you: In addition to a wonderful devoti- onal live piano version of Lay Down Your Blade, three new tracks underpin the inimitability of Joy Wellboy. While Birds dreams of the possibility of flying in retro-driven pop look with shimmering synths, Darklands a cover by The Jesus and Mary Chain, with its downtempo aura and a delicate duet just float away jauntily. Diamond Sky is a dub-flavored gem in terms of easiness and charm, while the timbre of Wim Janssens with his dark complexion is a perfect counterpoint to Joys whispe- ring. Less...
Tuesday, May 13, 2014

1trax


1Trax's numerical compilation series continues with 'Five' mixed by Samu.l. Just like the previous four chapters in the catalogue the creativity behind the mix is an artist whose style doesn't lack in distinction. Samu.l is known for creating deep, emotive tracks with an effortless groove, and more often than not building to that perfect peak time moment. Prominent labels including Saved and One Records have all released his material, with regular support from the likes of Marco Carola and Steve Bug. His live sets are accepted as a solid representation of his own sound, with rolling basslines and a stripped-back style capable of adapting to any time and audience. Samu.l's 1Trax 'Five' venture is no different, from the haunting feel of the first track Michael Mayer's 'Baumhaus' (Robag's Paavo And Veita Rehand Mix) to the introduction of Ilario Liburni's remix of Samu.l's 'Don't Worry' through to the swirling finale of Francisco Allendes' 'El Regreso De Los Abuelos' 'Five' twists and turns through a profusion of modern house variations and sub-genres.

soundcloud.com/1trax | facebook.com/1trax | twitter.com/1trax | beatport.com
Sunday, April 13, 2014

Cristian Vogel

A composer and music producer, known for his experimental DJ and Live performances, studio composition and production. Born in Chile 1972 but growing up in the UK, he now lives and works in Barcelona. Cristian Vogel is a composer and music producer, known for his experimental DJ and Live performances, studio composition and production. Born in Chile 1972 but growing up in the UK, he now lives and works in Barcelona. He studied 20th Century Music at Sussex University, under the tutor-ship of the British composers, Jonathan Harvey and Martin Butler. Over more than a decade he has recorded a number of albums and released on eminent experimental techno labels such as Tresor Berlin, Novamute and Mille Plateaux. His most recent full length, 'Station 55' has been described as "an album which will keep you awake at night in all the wrong ways". Cristian has toured consistently since 1992 as DJ and live performer, as solo artist and also with Jamie Lidell as 'Super_Collider'. Of late, he has been singing and playing guitar in his new band 'Night of the Brain'. As a studio remixer, he has been invited to reinterpret songs by artists as diverse as Radiohead, Maximo Park, Thom Yorke, Juan Atkins and many others. Cristian Vogel's producer credits include albums for Chicks On Speed, Panico, Virüs, Las Perras del Infierno and others. Since 2002, he has returned to electro-acoustic composition, composing four original scores and live soundtracks for the renound Swiss choreographer Gilles Jobin. These pieces ( 2-0-0-3, Delicado, Steak House) have been performed and toured by Ballet du Grand Theatre de Geneve, Gulbenkian Ballet Lisbon, and Gilles Jobin's own company Parano. As well as contemporary dance, he has been involved in other projects with international multi-media artists - Roland Olbeter's 'Sound Cluster' for Sonar Barcelona 2003, Artificiel's 'Bulbes' for the Montreal museum of Contemporary Art in 2003 and Stefan Brüggeman's 'A Production of Nothing' in 2005. As if that wasn't enough, Cristian Vogel has also been behind four independent record labels, Station 55 Records, Rise Robots Rise Records, Mosquito Records and Sleep Debt Records, as well as hosting a long running internet community known as Erutufon.

No-future.com
Cristian Vogel at Facebook
Residentadvisor.net/dj/cristianvogel
Sunday, April 06, 2014

JEFF MILLS 1983

Wednesday, April 02, 2014

Frankie Knuckles - Your Love

Saturday, March 29, 2014

Sonic Flavors 0314



Jackmate - Boots
Inxec, Mark Jenkyns - Broken Wings (Konrad Black Remix)
Green Velvet - Destination Unknown (C2 Detroit-Chicago Unity Dub)
Rafa Ortega - Cycle (Steve Mastro Remix)
Radio Slave - Transitor Rhythm
Cesare vs Disorder, Dave Vega - Love Takes Hostages
Mathias Schaffhauser - Neun.Punkt.Fuenf
Stimming - state of mind
Bambounou - Ignition (Laurent Garnier Remix)
Hot Since 82 - Like You (Exacta Remix) Maceo Plex - Conjure Bass
Butch, C. Vogt - Missing Channels
Orson Wells - Obsidian
Dalton J - Live Life (Sergio Casas Remix)
Dennis Cruz, Mother Mine - No Ligh (Gesus Lpz Remix)
Moritz Ochsenbauer, Jakob Reiter - Metroland (Fanatico Dub Remix)
Maps - I Dream Of Crystal (Steve Lawler Dub)
Wednesday, March 05, 2014

KiNK live dub session

Monday, February 10, 2014

Sub Berlin - The Story of Tresor

Wednesday, February 05, 2014

Sonic Flavors 0214

Pick a Piper - Caribou Remix / Phonica White. One Day Later - Nicole Moudaber / Intec. Memories (Vinyl Edit) - The Cheapers / Upon You Records. Who Will Comfort Me (Slowmo Rework) - Wally Callerio, Poncho Warwick, Guti Remix / DFTD. Ruff Dancer - Kadebostan / Recovery Tech. Mijal - Egokind / Traum. Pipes - Pezzner / Crosstown Rebels. Just a Beat - Yousef / Circus Recordings. Rainbow Bended (Alex Celler Glatte Redub) Italoboyz, Blind Minde / Superfiction Recordings. She's Crazy - Memnok, Dolgener / Starkstrom Schallplatten. Deshumidifica - Aldo Cadiz, Francisco Allendes / Hoehenregler Records. YOLI (No Vox) - PROJECT AKC / Soma Records. Looky - Alex Costa / MBF. Love Or Leave Me - Johnny D / Recovery Tech. Eddyken Analog - SIS / Extravaganza. Lucho Part 1 - Heiko Laux, Alexander Lukat / Ovum Recordings. Let's Go Dancing (Sonido Fantasma Remix) Tiga, Audion Sonido Fantasma / Turbo Recordings. ChiChi (Francisco Allendes Remix) Ilario Liburni / Serkal. Corpus Delicti (Blawan Remix) Chris Page Blawan / Decoy Records. Amega Furu (Dub Version) Mathias Kaden / Mule Musiq. On The Floor (Guti Remix) Anthea, Fosky Guti / VIVa MUSiC.
Wednesday, January 29, 2014

WE CALL iT TECHNO!

Thursday, January 23, 2014

Francis Grasso, Sanctuary Club, 1971

Wednesday, January 22, 2014

Timo Maas - Tantra

Tuesday, January 21, 2014

Soniclab

Soundtrack From A Life Unexpected Xnx

SONICLAB is a creative electronic laboratory. The main goal is to present new projects and ideas of exploration in electronic music and visual art, in creative atmospheres, without limitations, feeding itself from experimentation and innovation. There will be various methods of communication, including a label that will be exclusively distributed by Kompakt. The first release is the album from the audiovisual concept called XNX. XNX is a project developed by Ilidio Chaves, best known as Expander from Soniculture. The live concept intervenes in a space and creates what we call a "chaos bubble" by using sound and visual design to surround people in a way that they feel inside of a space that is fondling with their perceptions. This album represents the works of XNX that were made between 2002 and 2013. Over ten years of audio production that was applied to several areas of art such as contemporary dance, video and installments. "Soundtrack from a life unexpected" is made in a way that all tracks are continuous so it presents itself as a voyage through different music styles, feelings and sensations, all combined in a way that the result is a whole soundtrack itself, which should be listened in one continuous take. XNX has prepared a special visual show for this soundtrack that is presented on stage with a 4m x 3m structure and advanced video mapping techniques. It has a very strong impact on the viewer.

Here is some short footage: https://vimeo.com/65743741
KOMPAKT.FM
Monday, January 20, 2014

Synthesizer 70s & 80s History

Saturday, January 18, 2014

BLKRTZ

It has been 12 years since Scott Monteith quietly launched his Deadbeat music project with an unassuming performance on the street outside a Montreal café as part of the first edition of the city’s now internationally lauded Mutek festival. And while the venues and audiences have grown steadily and seriously in the years since, the crackling dub sonics, deep grooves, and rumbling bass which characterized that performance have remained a constant in his live and recorded work, and earned him a substantial number of devoted followers the world over in the process.

Having worked with a virtual who’s who of the most respect labels in the industry over the last decade, Monteith now takes the plunge into the murky depths of labelhood, launching his BLKRTZ imprint with no less than a full album of new material. “When I received the news a few months ago that ~scape was officially closing its doors, I was incredibly sad to hear it.” says Monteith from his new home in Berlin. “Though I hadn’t worked with them in a few years, I always saw ~scape as the natural home for a very important part of my work. Not necessarily the more listening side of things per se, but certainly the most unconcerned with genre or function, from a creative stand point the most free I guess. Barbara and Stefan worked very hard to promote a great deal of quite marginalized material over the years and did a lot to help me and many other artists out personally who otherwise would have had a much harder time of it. Though I’ll be concentr ating on my own work for the first few releases, it’s my hope that BLKRTZ can serve a similarly honorable purpose in the years to come.”

In celebration of the label’s inaugural release, Monteith has teamed up with long-time friend and world renowned video artist, Lillevan, to create an immersive audio/visual performance quite unlike any other. “Lillevan and I were invited to take part in the Cinechamber project at this year’s Transmediale festival, and though our performance sadly fell victim to the technological bottle necks of a decidedly experimental environment, we came away from it with a lot of great ideas that we felt were important to develop further. I’ve known Lillevan for a great many years now and have always enjoyed his work and company and I think what we’ve put together something that stands out as quite unique from anything either of us have done before. Mutek has always been a strong supporter of both of our work and we’re very happy to be able to debut the fruits of our labor at the festival this year.
The Orb & Lee Scratch PerryThe Deadbeat Remixes / Blkrtz

Deadbeat's dub credentials are by this point are as solid as they come, and being asked to remix 2 of the genre's heaviest hitters, not once, but twice is just about the greatest complement anyone in said position could ever hope to receive. Originally released on CD as part of the deluxe package for the mind blowing collaborative Orb and Scratch albums via Cooking Vinyl, we here at BLKRTZ are over the moon excited to commit these 2 dub monsters to wax for the first time. Without a doubt, this limited vinyl only 12 inch release is an essential purchase for any and all archivist of all things dub wise.

Press Inquiries: melissa@tailored-communication.com
Bookings: p@cynbookings.com