Friday, March 13, 2015

OFF - Time Operator 1988

Monday, January 05, 2015


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
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.
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.
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.


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
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
Tuesday, August 19, 2014


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


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.
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 !!!
Saturday, May 24, 2014


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'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. | | |
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.
Cristian Vogel at Facebook
Sunday, April 06, 2014


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


Thursday, January 23, 2014

Francis Grasso, Sanctuary Club, 1971

Wednesday, January 22, 2014

Timo Maas - Tantra

Tuesday, January 21, 2014


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:
Monday, January 20, 2014

Synthesizer 70s & 80s History

Saturday, January 18, 2014


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:

Friday, January 17, 2014

Andy Stott

Passed Me By / We Stay Together (Jewel Case Repress) / Modern Love

Produced slowly and meticulously over the last 12 months, these two EP's were originally released on vinyl during 2011 and have become the most widely admired productions yet from Manchester based Andy Stott. Taking influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slowhouse of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the Linn Drum classics of the vintage Prince era - these tracks create their own pace and agenda, largely shying away from the dancefloor in favour of something more complex and hard to define..

Wednesday, January 01, 2014

2013 fave SECRETiViTE witchcrafts

L.B. Dub Corp - L.B's Dub [Ostgut Ton]
Jamie Anderson, Deepgroove - The Clock (Ben Klock's Timepiece) [Rekids]
WHYT NOYZ - Glandular (Original Mix) [Minus]
Estroe - Out of My Comfortzone (Ray Kajioka Remix) [EvoNext]
Ripperton, Van Hai - Chaos Calme Feat. Van Hai (Original Mix)[Green]
Darius Syrossian - The Crew (Original Mix) [VIVa MUSiC]
Martina Topley Bird, Warpaint, Mark Lanegan - Crystalised (Original Mix) [No.19 Music]
Alex Smoke - Dust (Tessela remix) [R&S Records]
Ada - Eve (DJ Koze Remix) [Areal Records]
Kris Wadsworth - Fan Mail (Original Mix) [Hypercolour]
Gabriel Ananda, Alice Rose - Fields Of Dreams (Pitto Remix)[Manual Music]
Biri, Deep'a - Fog (Original Mix) [International DeeJay Gigolo Records]
Jaw, Kevork Keshishian - Hazihi Laylaty (Original Mix) [Circus Company]
Intruder - Sagat
Alex Smoke - Dust [R&S Records]
Dragosh - Zanzavari (Original Mix) [Memoria Recordings]
Matte Blakk - Wise Guys With Ray Guns (Original Mix) [Minus]
Glimpse - Whiles (Original) [Aus Music]
Footprintz - Uncertain Change (Audion Loves You Mix) [Visionquest]
SCSI-9 - Un Seul Sourire Pour Nous Deux (Ada Remix) [Prismat Recordings]
Stimming - Uberblick [Diynamic Music]
Johnny Kaos, Mattew Jay - Twisted Puppet (Original Mix) [SCI+TEC]
Glimpse - True South (Original Mix) [Aus Music]
Tim Wright - Thirst (Lucianos Dancehall Mix) [Cadenza]
Dr. Nojoke - Shengfui (Original Mix) [Archipel]
Uffe - See Your (Original Mix) [Get Physical Music]
Mihai Popoviciu - Running In Circles (Langenberg Remix) [Dessous Recordings]
Overlast - Range Rover (Original Mix) [Rush Hour]
Uner - Phantast (Original Mix) [Cocoon Recordings]
Gesaffelstein - Out Of Line [Parlophone France]
Eric Volta - Love Your Illusion [No19 Music]
Taron Trekka - Knarfes (Original Mix) [Milnormodern Records]
Onur Ozer - Karadae
Crash Course In Science - Flying Turns (Mac Hawking Remix) [Pressure Traxx]
Jamie Anderson, Deepgroove - The Clock (Ben Klock's Timepiece) [Rekids]
Matador (IE) - Zoles (Original Mix) [Minus]
David Mayer - Machinedrum Calypso (Original Mix) [Keinemusik]
Ben Hoo - Nightscape (Iori Wakasa Remix) [Kindisch]
Jose M., TacoMan - Nineteen Ninety Three (Original Mix) [Thirtyonetwenty]
Luciano, Quenum - Orange Mistake (Original Mix) [Cadenza]
Mikhail Kobzar & Nastia Kobzar - Mistaken Fox (Mathias Schaffhauser Remix ) [minim.all]
Mike Parker - Mnajdra (Shifted Remix) [Geophone]
Mars Bill, Anthony Castaldo - Basicon (Tom Hades Remix) [Driving Forces Recordings]
Maxime Dangles - Jupita (Original Mix) [Parquet Recordings]
Gregor Schwellenbach Spielt 20 Jahre Kompakt [KOMPAKTCD] - Studio 1’s Grun 4
Par Grindvik - The Weak (Original Mix) [Stockholm LTD]
Ruede Hagelstein - Keep Us Away [Lebensfreude Records]
Eomac - Spoock (Lucy Remix)
Par Grindvik - Sinister (ReEnter) [Sinister]
Carlo Lio - White
Sunday, July 14, 2013

O613 Episode Playlist

Velizar in the mix featuring:
Henrik Schwarz, kuniyuki - The Session 2 (Von Spar Remix) Mule Musiq
Kuni&henrik's collaboration again! since dancefloor hit track "once again". original version on a side, henrik's trippy melody and kuni's musical flute sound fits amazing. it's new style of jazzy deep house. on b side, our favotire kraut rock oriented band who base in cologne "von spar" delivered excellent remix. if you are following pampa's die vogel, you will love their remix. remix package of "session 2" with lord of the isle&henrik's children johannes brecht remix are coming in the summer. - Anyway (Rampa Remix) Mobilee Records
From shattered court dreams to booming international DJ gigs, Marius Maier, a former German Youth Basketball champion, retired from the game after sustaining a knee injury a few years ago. But like any "as one door closes..." story goes, Re.You quickly channeled his energy and ambition into electronic dance music. He exchanged his jersey number for an artst alias and the reincarnation birthed a rising talent by the name of Re.You. New to the mobilee booking roster, Re.You has already delivered his second EP on the 112 mark titled, "Anyway". This three-parter includes the self titled "Anyway" dominating the A-side while the flip side brings it down with "You Had Enough" featuring Forrest and a remix of the lead track from Re.You's live act partner, Rampa. The duo perform as RAR and are available on Cocoon records. Mobilee112 is just the tip of the iceberg for Re.You as he's about to make his first appearance this year under the mobilee imprint at the famous rooftop session at Hotel Diagonal.
The Junkies - That's What It Is (Original Mix) SCI+TEC
2012 was a breakthrough year for Toronto natives, The Junkies. Releases for Waveform Recordings, Octopus and a remix for fellow Canadian and SCI+TEC artist Carlo Lio's Rawthentic imprint, were backed by a hectic touring schedule that saw the duo touring the globe. Last year also saw The Junkies make an impressive SCI+TEC debut with their heavily supported `Au Jour Le Jour´ ep and having kicked off their 2013 campaign by remixing Zoo Brazil's 'Cut Boots' for the label, they return again with their very own brand new double-header, 'Monkey Biz' and 'That's What It Is'. The lead track is a trip beneath the jungle canopy where the animals reign and the snare drums roll, while on the flip it's the snare that rules the roost, snapping throughout this hypnotic marching number.
Santos - Ghetto People (Original Mix) Saved Records
Saved's first release for 2013 marks a return to the label from Santos, where the legendary artist delivers the 2 track "Rough Surface EP". First up is "Ghetto People", a record which has a raw and incredibly warm, rich feel with an addictive baseline, energetic vocals and an intense buildup. Completing the release is "Gentle Crime" which is built on solid percussion, crisp hats and topped off with a pulsating lead.
Tom Hades - Horse (Ray Kajioka's Wild Meat Mix) Girafe Sauvage
Girafe Sauvage is back! And how!!! We are very proud to be back with a release from Belgium's finest techno artist. Tom Hades brings you a very beautiful hypnotic track with an elegant construction and subtile shifting modulations. No one less than Ray Kajioka blessed us with an amazing remix. A consistent beat and rhythm, plus sounds that keeps on going and going makes Ray's version a pleasure for your mind. Ray called the remix: wild meat mix. I guess that is the best way to describe it. Check it out by yourself.
Friday, June 28, 2013


James Holden has released hardly any music of his own since his first album, 2006's The Idiots Are Winning, but he hasn't been a wallflower either. Besides continuing to pluck new talent for his label, Border Community—which celebrates its tenth anniversary this year—he released one of the more deranged editions in the DJ-Kicks series with his 2010 entry of sun-blazed krautrock and pastoral electronica. But still, seven years since his last major body of work, it's safe to say that ears pricked up earlier this spring when word that emerged that he had a new album in the works.
And what a return it is. Named after a novel by William Golding, The Inheritors quickly bewitches with an audio headspace that's very much Holden's own. If there's anything in his past that bears the sonic identifiers on display here, it's the wobbly analogue bliss-outs of his DJ-Kicks rather than the neo-trance at the heart of The Idiots or his famous "A Break In The Clouds." Forged from single takes on his modular synth with no overdubs, The Inheritors has the blurry, delirious effect of an eighty-minute heatstroke. Holden's described some of the work here as a new kind of rave music, one that alludes to ancient English historical practices, continue read full article at RA |
Thursday, June 27, 2013



Matias Aguayo has always been a goof, the type of jump-on-the-table artist who's having way more fun than you. He depends on this persona for his scatterbrained takes on house and electro; it takes more than a little charm and panache to get someone up on that table with you. So it's problematic that it feels like Aguayo's laboring for long stretches of his third album, The Visitor. Aguayo has, in the past, mixed in noisier, less friendly tracks, but on The Visitor these tracks are more prominent, busier, and messier.

The Visitor deepens Aguayo's dependence on his voice as he steers away from merely assisting dance tracks to carrying song structures. For an inveterate weirdo, Aguayo has been involved in a surprising number of smashes: the catchy-despite-itself "Rollerskate", his vocal turn on Battles' "Ice Cream", his DJ Koze-remixed "Minimal" and its spiritual companion, "Walter Neff". On his best tracks, the rhythms act as a centrifugal force, an axis around which his voice and melodic detritus can spin. Too many songs on The Visitor fail to establish this center, and the result is an album of oddball psychedelia with its wacky creator foregrounded.

Unfortunately, we've reached the point of diminishing returns on Aguayo's imagination, as The Visitor veers from style to style recklessly; The Visitor was recorded with a host of South American artists, many of them residents of the Cómeme label. "Dear Inspector", for example, is a long, gently tumbling pop song that sounds like someone in the Elephant Six collective bought an MPC sampler. After dragging "Dear Inspector" out for nearly eight minutes, Aguayo abruptly switches modes on "By the Graveyard", a reverb-heavy storm that sounds like Can's more aggressive moments, a style he revisits on the album's clanging, industrial closer, "A Certain Spirit". These tracks have plenty of rhythm, but Aguayo can't seem to find it. He shrouds himself in effects and shouts the songs' titles, retaining none of his casual tunefulness.

Aguayo has trouble balancing his whimsical impulses with his aggressive ones throughout The Visitor, like he can't decide if he wants to flirt or brood. The chant-heavy "Llegó El Don" is domineering, its thwacking rhythms pointed right at the listener. "Levantate Diegors" busies itself with noise, unleashing dozens of small rhythmic flourishes around its bossy, bass-y vocals. It's not just that these tracks are less fun, it's that they're not compellingly deviant either. The big, evil synth line that anchors the creeping "Las Cruces" feels like a better mix of Aguayo's new style and troublemaking instincts.

Aguayo is better, too, when his tracks are less cluttered. He captures a little of his old magic on "Una Fiesta Diferente", a vocal-heavy stew where he and some background singers spin an easy tune out of bilingual lyrics. "El Sucu Tucu" is frantic but focused, with Aguayo's staccato vocals matching the song's eager snares. "Rrrrr" opens the album with a stupid, inviting bassline, and the chorus's purring, rolling "r"'s are vintage Aguayo. Aguayo's music is brave and increasingly complex, but it's worth wondering how well these impulses are serving his tracks. There's potential in The Visitor's mix of electro, new wave, and pop, but it's obscuring or distorting Aguayo's personality, which is the engine that has driven his songs for so long. |
Wednesday, June 26, 2013


“A Little Part of Shade”

Swiss producer Ripperton returns to present his new studio album “A Little Part Of Shade” out now

The musician’s second full-length album will further deepen his impressive catalogue of work and follow the 2010 critically acclaimed “Niwa” seeing his return to Joris Voorn and Edwin Oosterwal’s Amsterdam based Green label.

Ripperton gained popularity as a producer with his Lazy Fat People project releasing on high profile labels such as Border Community, Planet E, or Wagon Repair; he rapidly grew as a solo artist with an almost endless run of key releases on Green, Liebe Detail, Connaisseur, Music Man, Systematic, Dessous and remixes for Radiohead (“Nude”), Laurent Garnier (“Controlling The House”), Ellen Allien (“My Tree”), Beanfield (“Tides”), Max Copper (‘Egomodal’) labeled him as a refined studio producer, adding a newfound sense of introspection to electronic house music.

Since the release of Niwa in 2010, Ripperton has been busy working on this album – combining traditional song craft with a more familiar rhythmical style.

“A Little Part Of Shade is about the part of shade that everyone has. It's about the private garden; it’s quite the opposite of Niwa. It's an inside garden. It can be bright or dark or in the middle. It can destroy or help you…”

If you weren't convinced of Raphaël Ripperton compositional talent by his debut album, his sophomore release will do the trick. The LP see’s him work alongside a variety of artists including Hemlock Smith, the multi talented writer, graphist and photographer Van Hai, and Germain Umdenstock, whom features on the opening lead track “A Little Part Of Shade”; providing guitar melodies over his carefully constructed landscapes.

Drawing on the collaborative talents from his own highly respected independent Perspectiv label Ripperton’s track “Black Wall” features the vocals of Masaya and succeeds in demanding an almost attentive listen.

The thirteen musically broad and emotionally deep tracks that are included in “A Little Part Of Shade reflect Rippertons approach to electronic music production, song writing attitude, and the sense of emotional delivery that extends far beyond the purview of techno clubs.


1. A Little Part Of Shade feat. Germain Umdenstock 2. I Don't Know feat. Hemlock Smith 3. No More Airplanes 4. She Holds My Hand feat. Andy Ernst 5. Tape Hiss feat. Hemlock Smith 6. Minor Interlude 7. City Lights feat. Van Hai 8. Black Wall feat. Masaya 9. Everytime feat. Hemlock Smith 10. Tales Of Sand 11. Chaos Calme feat. Van Hai 12. For All The Wrong Reasons 13. Spike feat. Hemlock Smith
Wednesday, June 12, 2013

Mathew Jonson

Really one of a kind, he's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another.

His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.

His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)

Out on Crosstown Rebels Now

And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.

He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.

Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.

It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.) "It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.

After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.

His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.

"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.

In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.

Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.

"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"

You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.

"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other. You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group."

– Philip Sherburne
Wednesday, May 22, 2013


Dinky was born Alejandra Del Pilar Iglesias Rivera and was named Dinky by her sister at birth. As a Child she studied Ballet and the Suzuki method (Piano) Since very early age she showed a natural musical and artistic talent. Born and raised in Santiago to a musical family ,she is a leading member of Chile's second generation of electronic-music greats.

It was in New York, where she had moved in the mid '90s to join the Martha Graham School of Contemporary Dance, that Dinky's music career began to take off, as she immersed herself in the city's vital underground scene of the day. In her early twenties she turned out her first productions; within a couple of years she had release a spate of records in labels as Sonic Groove, Traum and Carpark, ranging from ambient, minimal house, techno to downcast new disco and electronic pop. In 2003, she moves to Berlin, a city that had captured her imagination nine years earlier during the heyday of E-Werk and Tresor. It was a good move: by 2005 she would release the massive "Acid In My Fridge" for Sven Väth's Cocoon imprint ; the record became a massive hit .

Dinky has gone on to become a regular fixture across the continental scene, playing regularly in the most important clubs, like DC10, Fabric, Amnesia or Cocoon Club, while in Berlin she currently holds the honor of a Panorama Bar residency since 2004.

 Dinky she never limits herself to one style.

She has released 4 albums ,3 mix Cds and dozens of singles. She is currently working on a new album where she is the leading singer and multi instrumentalist (voice,guitar,drums piano) Her last studio Album ("Anemik" ) was listed in the Top 20 albums of the year in Resident Advisor(2010 ). Early in 2012 she recorded backing vocals for Chilean Pop Star Jorge Gonzalez new album “Libro”. Her album will be released on the Uk based label Visionquest in the spring of 2013. Jazz, Disco and Blues are a big influence in her music.
Tuesday, April 30, 2013

Richard West aka Mr.C

Born in London in the late 60's, he started MCing in the London clubs aged only 16 & soon earned a reputation as a fast talking vivacious rapper working with LWR radio's Ron Tom, Jasper the Vinyl Junkie & Jazzy M. Mr.C then hooked up with Colin Faver & Evil Eddie Richards to became resident rapper at Camden Palace going on to MC for Colin Faver on the then illegal Kiss FM. Mr.C went into the studio to record his 1st house track with Eddie Richards as Myster-E which was released in August 1987. This inspired Mr.C to become a DJ to learn more about his beloved House & Techno music so in late '87 Richard took to the decks. Mr.C has since organized, promoted & been resident DJ at: Fantasy ('88), Base (Dungeons '89), Release (91), Harmony (92), Drop (93), Cyclone (94), Vapourspace (94 & 95), Flavour (The End 95 & 96), Subterrain (The End 95 - 2002), Superfreq (Worldwide 2002 - Present) & Super Disco Freq (LA 2010 - present).

In December 1995 Mr.C opened the legendary night club The End in London with Partner Layo Paskin & then AKA bar 3 years later, which celebrated its 13th anniversary in December 2008. Sadly The End & AKA closed its doors for good on January 24th 2009. 1 Chapter closes & another begins.

Mr.C is founder & owner of Plink Plonk records, cofounder of End Recordings & cofounder & owner of Superfreq Records. Mr.C has also recorded under the names, Myster-E, Unity 2, Nu Jacks, Bass Bureau, The Shamen, Mantrac, Somnambulist, Animus Amour, Killer Loop, Mr.C & Tom Parris, Mr.C & 16B & the Sycophant Slags.

Mr.C is best known as front man of the pop group The Shamen with whom he notched up a string of top 10 hits including Move Any Mountain & the number 1 hit Ebeneezer Goode. The Shamen also won a highly coveted Ivor Novelo for Songwriters of the year UK in 1992. Richard's currently recording solo as Mr.C & also as the Sycophant Slags with his production partner Adultnapper & has just started a new & very fruitful collaboration with Affie Yusuf as the Indigo Kidz & has recent releases on Poker Flat Records, Wagon Repair Records, Get Physical Records & Adjunct Audio

Mr.C runs & promotes Superfreq events, which celebrates being 11 years old in March 2013 & ran monthly at Mr.C's club The End until it closed down in January 2009. Superfreq now has 2 residencies in London, the first as Superfreq E'special at the amazing luxury members club Paramount, perched 31 floors above London on the top of the famous landmark Centre Point & the second, a bi-annual residency at the legendary Fabric. Superfreq also does regular events in various venues in Los Angeles, in various clubs in Calais as well as holding down quarterly events at Junk Club in Southampton, Volatl in Chicago, Tree House in Miami & at various spaces in Moscow, as well as having completed one off events recently in Detroit, San Diego, New York, Dallas, Denver, San Francisco, Ecuador, Costa Rica, Puerto Rico, Panama, Mexico & St Petersburg.

Superfreq has accomplished 7 successful seasons in Ibiza, 3 at Club Underground, 2 seasons at DC10, 1 season at Blu & 1 season at Aura & also be hosted an arena at Kazantip Festival for the 2nd time last summer in the Ukraine. Superfreq has also completed 5 tours of South America, as well as having done 1 off shows the world over including U.S.A, Canada, Mexico, China, England, Spain, Italy, Holland, Belgium, Lithuania, France, Croatia, Greece, Latvia & Russia to name but a few places.

Smell the Coffee, Mr.C new album is out now on Superfreq

Tracklist: 1. Open Up 2. The Future 3. Wake Up 4. War Games 5. Can’t Get Enough 6. Step It Up 7. Interaction 8. Synchronicity 9. The Hunt 10. Smells Good
Monday, April 29, 2013

Josh Wink

When you’re as iconic a figure as Josh Wink, it’s not so easy to sum up a career in a few words—but there are a couple of terms that might serve to get a handle on the seminal electronic-music producer’s lifework. One of the most apt, certainly, would be longevity. A brief scan of Wink’s mammoth résumé reveals the following: Early-’80 days as an underage mobile DJ; a major role in fostering his native Philadelphia’s burgeoning warehouse scene during the house-music explosion later that decade; name-making ’90s club hits like “Don’t Laugh,” “Higher State of Consciousness” and “I’m Ready”; a label, Ovum Recordings, that’s undisputedly one of the most essential dance-music imprints; and his current position, after all these years, as one of the scene’s most vibrant and creative DJs and producers (witness the critical success of his 2009 long-player When A Banana Was Just A Banana).

Another word one could use to encapsulate Wink’s oeuvre is versatility. From the twisting, acidic breakbeat of the aforementioned “Higher States” to the organ-groove deepness of 2008’s “Stay Out All Night,” and from the pulsating ambience of 1996’s “Horizontal Dancing” to the streamline liquid techno of his recent remix of Agaric's “Who Made Up the Rules”—with side trips along the way for drum ’n’ bass beats and hip-hop rhythms (Wink was a regular at West Philly DJ battles as a kid)—his sound ranges as far and wide as anyone’s. The same could be said for Ovum as well, which over the 16 years has released music from such varied artists as dream-vibe drum ’n’ bass specialist Jamie Myerson, Wild Pitch originator DJ Pierre and jack-track master DJ Sneak, to mention but a few. As with Wink’s own material, it’s timeless music—you could play a cut like David Alvarado’s swirling, percussion-drenched “Klugh” at a techno hoedown today, and it would sound as fresh as it did upon its late-’90s release; as with most of Ovum's catalog, it's music that's not defined by time or trends.

Which brings us to our final term: integrity. It’s a trait that Wink possesses by the crateful, one that’s carried him through the vagaries of dance music’s endless cycles. Some who hit big when Wink did are content to live off past successes; others chase trends in an effort to stay relevant. But Wink has always been happy—determined, really, to do his own thing and follow his own path—if the music sells and the gigs keep coming, that’s great, but that’s not why he’s still in the game. “I got into this because it was something that I lived and ate and breathed,” Wink says. “There was so much passion for the music, there was nothing else for me. Whatever notoriety and success had come from this, it’s kind of a mistake, a byproduct, and I never planned for that. I never knew I could make a living from doing what I loved when I was a teenager; my parents thought it was a fad, actually.” And what do his folks think now over 25 years later? “Oh,” he says with a chuckle,” they love it.”

-Bruce Tantum