jueves, 16 de diciembre de 2010
Ten Years Of Moon Harbour....
link to download:
http://www.fileserve.com/file/CgfypSu
Gran disco de los 10 años de la talentosa disquera Moon Harbour creada por Mathias Tanzamann.
Disfruten....
lunes, 15 de noviembre de 2010
JorgeR Villa - The Pumm Vol.2
Listen & Download
1. Thomas Froehlich - Get Us
2. Radiohead - Nude (Ripperton 9$ Remix)
3. Burnski & Robert James - Malibu (Jamies Jones Night Remix)
4. Solumun - Sisi (JorgeR Villa Edit)
5. Butch - No Worries (Daniel Stefaink Remix)
6. Taras Von De Vourde - 1998
7. Fausto Messina - Amor Lleno De Esperanza
8. WestBoy - What We Had In Mind
9. Sasse & Phonogenic -That Phylosophy Track (Prompt Remix)
10. Hermanez - Seagull
11. Di Caprio - Laila
12. F.E.X - Hedonism
13. The Golden Filter - Solid Gold
RA.233 ASC
Link to listen:
http://ra4.residentadvisor.net/audio/RA233_101115_ASC-residentadvisor.net.mp3
Unreleased goodies abound on this assured encapsulation of the Autonomic sound.
Divide by two. It seems so simple in retrospect. But what the producers centered around the "Autonomic" sound—Instra:mental, dBridge and ASC chief among them—devoted themselves to a few years ago has caused an enormous stir in the drum & bass community. It has also reenergized the aforementioned artists, resulting in some of the most indelible work of their (already) lengthy careers spent at 170 BPM. None more so than ASC, AKA James Clements, whose recent album Nothing Is Certainwas termed "mature club music of the highest caliber" by RA's Max Bacharach. A distinct break from his more traditional drum & bass of the early '00s, Clements' recent work has shown him embracing a whole new world of possibility. With his RA podcast, he showcases a peek into the future of the Autonomic sound.
What have you been up to recently?
My LP, Nothing Is Certain, is out now on NonPlus+ and doing really well, which I'm very happy about. My first release on my new label, Auxiliary, also recently came out and is doing the rounds, and finally my soundtrack library Music for Pictures was also released recently.
How and where was the mix recorded?
I recorded the mix in my studio using Ableton. I had started toying with the idea of putting it together in a more conventional method, but because of my vision for the mix, I decided that Ableton would give me more control of the overall idea and planning.
Can you tell us a little bit more about the idea behind the mix?
The idea was to showcase what's become known as the "autonomic" sound at the 170 BPM tempo. I wanted the blends and mixes to be long transitions, blended in key, with up to three tracks playing at any one time in some parts of the mix.
Divide by two. It seems so simple in retrospect. But what the producers centered around the "Autonomic" sound—Instra:mental, dBridge and ASC chief among them—devoted themselves to a few years ago has caused an enormous stir in the drum & bass community. It has also reenergized the aforementioned artists, resulting in some of the most indelible work of their (already) lengthy careers spent at 170 BPM. None more so than ASC, AKA James Clements, whose recent album Nothing Is Certainwas termed "mature club music of the highest caliber" by RA's Max Bacharach. A distinct break from his more traditional drum & bass of the early '00s, Clements' recent work has shown him embracing a whole new world of possibility. With his RA podcast, he showcases a peek into the future of the Autonomic sound.
What have you been up to recently?
My LP, Nothing Is Certain, is out now on NonPlus+ and doing really well, which I'm very happy about. My first release on my new label, Auxiliary, also recently came out and is doing the rounds, and finally my soundtrack library Music for Pictures was also released recently.
How and where was the mix recorded?
I recorded the mix in my studio using Ableton. I had started toying with the idea of putting it together in a more conventional method, but because of my vision for the mix, I decided that Ableton would give me more control of the overall idea and planning.
Can you tell us a little bit more about the idea behind the mix?
The idea was to showcase what's become known as the "autonomic" sound at the 170 BPM tempo. I wanted the blends and mixes to be long transitions, blended in key, with up to three tracks playing at any one time in some parts of the mix.
sábado, 6 de noviembre de 2010
Format:B – Gospel (Incl. Super Flu Remix)
Great Release.
Link to Download.
http://uploaded.to/file/5wroef/
Label of the month: Night Slugs
UK bass music is ever-changing, and Bok Bok and L-Vis 1990's new imprint is at the forefront of its most recent mutation.
You're no longer feeling your local music scene. Do you a) bitch about it, or b) do something about it? "We wanted to bring on a new era and that is what we were saying from the get go," says Alex Sushon, AKA Bok Bok, on the inception of the Night Slugs parties back in early 2008. Sushon and partner James Connolly, AKA L-Vis 1990, have since translated a sense of personal disquiet into one of London's freshest sounding parties and 2010's most celebrated labels
You're no longer feeling your local music scene. Do you a) bitch about it, or b) do something about it? "We wanted to bring on a new era and that is what we were saying from the get go," says Alex Sushon, AKA Bok Bok, on the inception of the Night Slugs parties back in early 2008. Sushon and partner James Connolly, AKA L-Vis 1990, have since translated a sense of personal disquiet into one of London's freshest sounding parties and 2010's most celebrated labels
Link to Listen:
http://ra4.residentadvisor.net/audio/lotm/1011-ra-lotm-nightslugs.mp3
miércoles, 27 de octubre de 2010
is this Ibiza???
What IBIZA is beside the beach, party, drugs and all that shit!!!!
We Love... Primavera: Ibiza / Torino - Semana Santa / Savana Potente - Part 1 from We Love on Vimeo.
miércoles, 20 de octubre de 2010
Apparat - DJ-Kicks
Sascha Ring AKA Apparat, uno de los mejores productores alemanes del momento. Su estilo único lo identifica mucho, ya que tiene sonidos desde Techno, House y Ambien. Apparat lo tine todo.Recientemente lo tendremos en tierra azteca ya que estará de gira con su proyecto de Modetar ( Modeselektor & Apparat) llevando lo mejor del Techno fusionando con Dubstep y mas.
Aquí les dejo el link de su nuevo mix que esta increible espero les guste.
Saludos
JorgeR...
Link to download:
http://www.sendspace.com/file/zvwa63
Tracklist
01. Apparat - Circles
02. 69 - Rushed
03. Telefon Tel Aviv - Lengthening Shadows
04. Apparat - Interlude
05. Luke Abbott - More Room
06. Oval - Legendary
07. Patrice Baumel - Sub
08. Martyn - Miniluv
09. Ripperton - Echocity
10. Cosmin TRG - Tower Block
11. Scorn - Falling (Autechre "FR 13" Remix)
12. Born Ruffians - I Need A Life (Four Tet Remix)
13. Pantha Du Prince - Welt Am Draht
14. Phon.o - Intervall
15. Burial + Four Tet - Moth
16. Vincent Markowski - The Madness Of Moths
17. Ramadanman - Tempest
18. Thom Yorke - Harrowdown Hill
19. Spherix - Lesser People
20. Oval - TV Power
21. Joy Orbison - The Shrew Would Have Cushioned The Blow
22. Apparat - Sayulita (DJ-KiCKS)
23. T++ - Worn Down
24. Tim Hecker - Borderlands
01. Apparat - Circles
02. 69 - Rushed
03. Telefon Tel Aviv - Lengthening Shadows
04. Apparat - Interlude
05. Luke Abbott - More Room
06. Oval - Legendary
07. Patrice Baumel - Sub
08. Martyn - Miniluv
09. Ripperton - Echocity
10. Cosmin TRG - Tower Block
11. Scorn - Falling (Autechre "FR 13" Remix)
12. Born Ruffians - I Need A Life (Four Tet Remix)
13. Pantha Du Prince - Welt Am Draht
14. Phon.o - Intervall
15. Burial + Four Tet - Moth
16. Vincent Markowski - The Madness Of Moths
17. Ramadanman - Tempest
18. Thom Yorke - Harrowdown Hill
19. Spherix - Lesser People
20. Oval - TV Power
21. Joy Orbison - The Shrew Would Have Cushioned The Blow
22. Apparat - Sayulita (DJ-KiCKS)
23. T++ - Worn Down
24. Tim Hecker - Borderlands
RA.229 Commix
link:
http://ra4.residentadvisor.net/audio/RA229_101018_Commix-residentadvisor.net.mp3
The drum and bass duo flip the script and provide an hour of house and techno.
House and techno probably aren't what you expect when you see the word Commix. But George Levings and Guy Brewer have been full of surprises of late, not least of which was the commissioning of a remix album of their massive drum & bass full-length Call to Mind which found Kassem Mosse, Underground Resistance and Marcel Dettmann rubbing shoulders with drum & bass stalwarts Instra:mental and dBridge. As Levings recently put it, "We didn't want an album that had anything too insular, too samey. We wanted it to tell a journey through different genres of music."
Levings and Brewer have long attempted to stretch the boundaries of the oft-insular drum & bass world. Just listen to their versatile Fabric.Live 44 mix or "Japanese Electronics," the "luscious precursor to today's '80-fetishising Tetris-step" (as RA's Max Bacharach poetically called it last week). On this hefty hour-long mix, the duo do it again, taking you through some of their favorite tunes of the 4/4 persuasion.
What have you been up to recently?
After our last album on Metalheadz we decided we wanted to drastically change our sound. We had been making mainly sample based music using Reason as our platform, and we found ourselves getting bored of our methods. We agreed that our studio needed a proper revamp and that we wanted to be more experimental, not just with the sound but with the tempos too. So, for the last year or so, that's what we've been up to. Forging a new sound, learning how to make other styles of electronic music and collecting more studio equipment.
How and where was the mix recorded?
We recorded the mix at our studio in Stoke Newington, London. It's actually set up within a friend's flat. He's got a really cool setup there for DJing. We did it using two CDJ's, two 1210's and an Allen and Heath mixer as we much prefer the way mixes sound when done live over mixes done in Ableton. You might end up with little mistakes, but it's a much more fluid and natural way of doing things.
Can you tell us a little bit more about the mix?
Both of us have slightly different tastes in house and techno music, so we wanted both sides of what we're into to be represented properly. We were also keen for the mix to have a good dynamic and flow to it. In the past we've just been known for our drum & bass productions and DJing, but since doing Call to Mind back in 2008 a lot of our time has been spent writing house and techno stuff. We've also played more 4/4 orientated nights like Medium at Plastic People and, more recently, the Electric Minds loft party in May, we'll be returning to that for a special event being planned for NYE. We're also playing Panorama Bar on Nov 26th, which we're really looking forward to.
House and techno probably aren't what you expect when you see the word Commix. But George Levings and Guy Brewer have been full of surprises of late, not least of which was the commissioning of a remix album of their massive drum & bass full-length Call to Mind which found Kassem Mosse, Underground Resistance and Marcel Dettmann rubbing shoulders with drum & bass stalwarts Instra:mental and dBridge. As Levings recently put it, "We didn't want an album that had anything too insular, too samey. We wanted it to tell a journey through different genres of music."
Levings and Brewer have long attempted to stretch the boundaries of the oft-insular drum & bass world. Just listen to their versatile Fabric.Live 44 mix or "Japanese Electronics," the "luscious precursor to today's '80-fetishising Tetris-step" (as RA's Max Bacharach poetically called it last week). On this hefty hour-long mix, the duo do it again, taking you through some of their favorite tunes of the 4/4 persuasion.
What have you been up to recently?
After our last album on Metalheadz we decided we wanted to drastically change our sound. We had been making mainly sample based music using Reason as our platform, and we found ourselves getting bored of our methods. We agreed that our studio needed a proper revamp and that we wanted to be more experimental, not just with the sound but with the tempos too. So, for the last year or so, that's what we've been up to. Forging a new sound, learning how to make other styles of electronic music and collecting more studio equipment.
How and where was the mix recorded?
We recorded the mix at our studio in Stoke Newington, London. It's actually set up within a friend's flat. He's got a really cool setup there for DJing. We did it using two CDJ's, two 1210's and an Allen and Heath mixer as we much prefer the way mixes sound when done live over mixes done in Ableton. You might end up with little mistakes, but it's a much more fluid and natural way of doing things.
Can you tell us a little bit more about the mix?
Both of us have slightly different tastes in house and techno music, so we wanted both sides of what we're into to be represented properly. We were also keen for the mix to have a good dynamic and flow to it. In the past we've just been known for our drum & bass productions and DJing, but since doing Call to Mind back in 2008 a lot of our time has been spent writing house and techno stuff. We've also played more 4/4 orientated nights like Medium at Plastic People and, more recently, the Electric Minds loft party in May, we'll be returning to that for a special event being planned for NYE. We're also playing Panorama Bar on Nov 26th, which we're really looking forward to.
miércoles, 6 de octubre de 2010
DeepMix Moscow Radio
link:
http://www.deepmix.eu/
En breve una de las mejores radios de música electronoca del planeta.
Moscow Russia, desde ya hace varos años deep mix te trae lo mejor de la musica electronica de generos tales como el deep house, tech house, techno, minimal, experimental, etc.
Les recomiendo apliamente esta radio, la pueden escuchar es su itunes sin ningun problema
espero les guste
saudos
JorgeR
martes, 5 de octubre de 2010
Label of the month: Golf Channel Recordings
Link to listen:
http://ra2.residentadvisor.net/audio/1010-ra-lotm-golfchannel.mp3
An edit may have been its starting point, but Phil South's label is far broader than that. RA's Andy Beta talks to the man behind one of the best parties (and labels) in New York City.
"It was like Cheers with drugs."
lunes, 27 de septiembre de 2010
Munich Disco Tech Vol.8
Una ves mas la gente de la Great Stuff no deja de sorprendernos con el octavo volumen de la serie de Munich Disco Tech. Artistas como: Martin Eyerer, Tube & Berger y Heartik nos deleitan con el mejor Tech House del momento.
En lo personal la producción es suave con sonidos de instrumentos que mantienen buenas vibras, sentimiento en el flow de la música para los mejores dace floors.
Aquí les dejo el el link para que puedan bajar el release; recuerden que es en archivo .rar
http://hotfile.com/dl/72192164/c48d368/VA-Munich_Disco_Tech__Vol._8-(GSR107)-www-minitech-ws.rar.html
Artist …… : VA
Title ……. : Munich Disco Tech Vol. 8
Genre ……. : House
Label ……. : Great Stuff Recordings
Source …… : WEB
Quality ….. : 320kbps avg / 44.1KHz / Joint Stereo
Date …….. : 27-09-2010
1. Tube & Berger & Kean Sanders – Slumdog Superstar 7:14
2. Rainer Weichhold And Lutzenkirchen – Impeccable 6:20
3. Martin Eyerer & Tomcarft – It’s Simply This 7:17
4. Heartik – Boog Me 6:55
5. Markus Mehta – Masque 8:16
RA.226 Kowton
link to listen:
http://ra4.residentadvisor.net/audio/RA226_100927_Kowton-residentadvisor.net.mp3
The Bristol-based producer blurs the lines between techno and dubstep on his mix for the RA podcast.
Can a producer successfully traverse the boundaries between dubstep and techno? Shed certainly doesn't seem to think so. But the work of Bristol-based producer Joe Cowton may make him think twice about bass music creators meddling with four-to-the-floor dynamics and lower tempos.
Cowton made his first foray into dubstep production while he was studying music technology in Manchester. Inspired by both his visit to a DMZ rave in Leeds' West Indian Centre, and the records that he was picking up at Boomkat's now defunct physical store, Pelican Neck, Cowton started to craft his own take on the dubstep sound, pricking the ears of blogger and Keysound owner Martin "Blackdown" Clark at an early stage. His first actual releases came under his Narcossist moniker, fusing together deep sub-bass tones with the rhythmic skip of UK garage on both the Mindset and Clandestine Cultivations imprints, but by the middle of last year, Cowton had started to unveil a much different style to his work.
His debut release as Kowton for Keysound was the first chance for many to hear what he'd been concocting in his new surroundings of Bristol. By dropping the tempo down by a good 15 BPM and trying to integrate heavily swung rhythms and dubstep production tropes into a house and techno template, Cowton has managed to create a genuinely unique niche for himself. The clanking minimalist churn of his 12-inch for Idle Hands from earlier this year only served to compound his reputation in techno circles, but Cowton definitely hasn't left dubstep behind. His DJ sets frequently combine music from both genres, and that's exactly what he's done with his RA podcast, transitioning through low-slung techno into hyper-kinetic dubstep.
What have you been up to recently?
Just been sorting the tracks for my next Idle Hands 12-inch. As things stand, that's going to be Idle005. One of the bits, "Drunk on Sunday," is in the mix. Other than that I've just done a remix for Dusk, which is going to be on a Keysound 12-inch around the new year sometime with a tune I did called "Looking at You" on the A-side. I've also been spending a bit of time round October's studio, and the products of that will probably be coming on Caravan before too long.
How and where was the mix recorded?
In the corner of my room on two 1210s and a knackered old Gemini Umex-9 mixer.
Can you tell us a little more about the mix?
It's some of my favorite records and dubplates at the time it was recorded, in an order I thought worked quite well. Some bits like "Claptrap" and the Panamax record I've been caning for months, others like the Szare plate and the Pev and Hyetal bit had only arrived in the post a day or two earlier. I tried not to put anything too obvious or anthemic in there. It's heads down stuff from start to finish. Focused.
How have you found making the transition from out and out dubstep to more techno-geared material? Do you find it difficult when you're playing to more of a closed minded crowd who want one and not the other?
Yeah, it's harder for sure if the crowd aren't open minded, though most of the bookings I get are from promoters that operate somewhere between techno and dubstep. I've never been a big fan of playing one sound exclusively, I think it's great though when you can move through different tempos and styles and the crowd is into it all the way through. Freerotation was a good one for that. I think increasingly crowds expect to hear both sounds; in many respects the more rolling end of the old dubstep scene now has a lot more in common with techno than the jump up most people consider to represent dubstep. The same is probably true of the crowds.
Can a producer successfully traverse the boundaries between dubstep and techno? Shed certainly doesn't seem to think so. But the work of Bristol-based producer Joe Cowton may make him think twice about bass music creators meddling with four-to-the-floor dynamics and lower tempos.
Cowton made his first foray into dubstep production while he was studying music technology in Manchester. Inspired by both his visit to a DMZ rave in Leeds' West Indian Centre, and the records that he was picking up at Boomkat's now defunct physical store, Pelican Neck, Cowton started to craft his own take on the dubstep sound, pricking the ears of blogger and Keysound owner Martin "Blackdown" Clark at an early stage. His first actual releases came under his Narcossist moniker, fusing together deep sub-bass tones with the rhythmic skip of UK garage on both the Mindset and Clandestine Cultivations imprints, but by the middle of last year, Cowton had started to unveil a much different style to his work.
His debut release as Kowton for Keysound was the first chance for many to hear what he'd been concocting in his new surroundings of Bristol. By dropping the tempo down by a good 15 BPM and trying to integrate heavily swung rhythms and dubstep production tropes into a house and techno template, Cowton has managed to create a genuinely unique niche for himself. The clanking minimalist churn of his 12-inch for Idle Hands from earlier this year only served to compound his reputation in techno circles, but Cowton definitely hasn't left dubstep behind. His DJ sets frequently combine music from both genres, and that's exactly what he's done with his RA podcast, transitioning through low-slung techno into hyper-kinetic dubstep.
What have you been up to recently?
Just been sorting the tracks for my next Idle Hands 12-inch. As things stand, that's going to be Idle005. One of the bits, "Drunk on Sunday," is in the mix. Other than that I've just done a remix for Dusk, which is going to be on a Keysound 12-inch around the new year sometime with a tune I did called "Looking at You" on the A-side. I've also been spending a bit of time round October's studio, and the products of that will probably be coming on Caravan before too long.
How and where was the mix recorded?
In the corner of my room on two 1210s and a knackered old Gemini Umex-9 mixer.
Can you tell us a little more about the mix?
It's some of my favorite records and dubplates at the time it was recorded, in an order I thought worked quite well. Some bits like "Claptrap" and the Panamax record I've been caning for months, others like the Szare plate and the Pev and Hyetal bit had only arrived in the post a day or two earlier. I tried not to put anything too obvious or anthemic in there. It's heads down stuff from start to finish. Focused.
How have you found making the transition from out and out dubstep to more techno-geared material? Do you find it difficult when you're playing to more of a closed minded crowd who want one and not the other?
Yeah, it's harder for sure if the crowd aren't open minded, though most of the bookings I get are from promoters that operate somewhere between techno and dubstep. I've never been a big fan of playing one sound exclusively, I think it's great though when you can move through different tempos and styles and the crowd is into it all the way through. Freerotation was a good one for that. I think increasingly crowds expect to hear both sounds; in many respects the more rolling end of the old dubstep scene now has a lot more in common with techno than the jump up most people consider to represent dubstep. The same is probably true of the crowds.
sábado, 25 de septiembre de 2010
miércoles, 22 de septiembre de 2010
JorgeR Villa - The Pumm Vol.1
September mix by JorgeR
http://www.sendspace.com/file/0llx21
1) Gorge - my boots - 8bit
2) Ost & Kjex - continental lover (uner remix) - Diynamic
3) David August - music is the place to be - Diynamic
4) Lopazz - new dimension (dub version) - Get Psysical
5) Juan Molina - un dia (reboot remix) -
6) Hector - la buena onda (Jorger Villa edit) -
7) Mikalogic - wonder lamb - Nervine
8) Hector Couto - aymara ( luca m remix) -
9) Loco Dice - definition ( nic fancuilli remix) - Desolant
10) Nikola Gala - I get U - Freerange -
11) Kasper Bjorke - heaven ( nicolas jaar remix) -
12) Nicolas Jaar - come n get it - Wolf and Lamb
domingo, 19 de septiembre de 2010
RA.225 Scott Grooves
2 links to listen:
http://ra4.residentadvisor.net/audio/RA225_100920_Scott-Grooves-1-residentadvisor.net.mp3
http://ra4.residentadvisor.net/audio/RA225_100920_Scott-Grooves-2-residentadvisor.net.mp3
The Detroit house don offers up a vintage mixtape from '93 for this week's RA podcast.
If there was an accolade celebrating the most underrated artist to come from Detroit's rich electronic music stable, one person who'd surely be up for nomination is Scott Grooves. Not only has he collaborated with the likes of Roy Ayers, Alton Miller and P-Funk pioneer George Clinton, but Grooves—real name Patrick Scott—also has a rich seam of solo material, most of which has seen the light of day via his own labels.
Growing up with a heavy musical influence from his jazz guitarist father, Grooves ended up studying the keyboard, going on to play as part of Kevin Saunderson's Inner City outfit before crafting his debut album for Soma. Loose, funky and soulful, Pieces Of A Dream stands the test of time as a great house music full-length, but the recent material on his Natural Midi label has shown that he's more than capable of crafting techier but equally refined dance floor cuts.
During our interview with fellow Detroit artist Patrice Scott, Grooves' DJing was described as "phenomenal," so it's difficult to fathom why it took until last year for him to play his first gig in Germany. As with many of his contemporaries, he grew up on a diet of the Electrifying Mojo and Jeff Mills' sets as The Wizard, and it's this combination of eclecticism and technical skill that he brings to his own sets. In a break from the usual RA podcast action, this week's helping is actually from a double-sided mixtape that Scott recorded all the way back in '93, and should give some insight into why he is such a highly regarded DJ in his home city.
What have you been up to recently?
I've decided to start another production moniker. Panther is its name, and it consists of myself and a guy called Kataconda. We've come together, and it was also an opportunity to work with someone else in a capacity that I like, and it was an opportunity to work with other labels and other people. It started out because I was getting ready to play out last year, I think on a tour in Germany, and I wanted to have some special mixes of records. I told him "listen to this, and let's see what we can do to make it special for me to play."
We re-edited the tracks and I overdubbed some live percussion, and we built a Panther soundsystem, kind of like the Jamaicans did, with effects and guitar effects pedals, just to warp the sound. I didn't want to start making total remixes, like getting the multi-tracks from the label and doing plastic surgery—I just wanted to make a cool interpretation from my perspective. That's what I did with Norm Talley's "The Journey," and it really went over. It sounded good, and Guy McCreery from Third Ear heard it, and he expressed an interest in putting it out. I've never put my own private mixes out. I just did them for my own listening pleasure, and just to have for my portfolio, so I agreed and it will be coming out sometime in the future.
How and where did you record the mix?
My setup at that time was two Technics... I think that I had just got a cassette player that had an automatic reverse function on it—it would flip over by itself. Back then, that was a cool feature, because if it didn't have it, you really had to monitor the cassette and see when the end was so you could flip over and do the other side, but this was automatic so it'd just flip over and just start recording the other side. I can't remember what brand it was, but I had a Pyramid mixer... I think it was a GLI, and I recorded it in my bedroom. TJ Johnson from Cave 9 studios did the job of cleaning the cassette and getting the sound quality up, so many thanks to him for that.
Can you tell us a little more about the mix?
For the podcast, I wanted to do something that shows a reference to time, and I think that this mix shows a reference to us in time. I mean, it's 2010, and I was just like... "What can I do to reference how long I've been doing this, and how long this music's been around?"
Last year I was in London, and I was talking to Judy from fabric while we were having dinner, and she mentioned she worked at Strictly Rhythm during that time period—the '90s—that's like our golden era! And we started talking about the different tunes that were out and at the time I had just stopped working at a record shop, but I was still very much affiliated with the buying end of things, and I knew what was selling, and what DJs were buying, and we started talking about the records on Strictly Rhythm and all the tons of labels that were around, so it stuck into my mind.
I went home and started to go through my cassettes. I would always do this—I don't know why—but I would always make a cassette and put the date on it... And I found one in June 21st/June 23rd 1993, and it instantly took me back like Michael J. Fox inBack To The Future! Back in time instantly, you know? I was thinking, "What was going on with me in 1993?" I was getting ready to put out my first release on KMS, which I was excited about, because KMS was like the label in Detroit. I was only paying $1 or $1.10 for gas, Michael Jackson had just performed at the Super Bowl, and Jurassic Park was the big movie!
Were you making quite a lot of tapes at the time?
Cassette making back then was like the thing. Most DJs, when they came into a record shop and they bought a record, if they bought dance music, they would basically go home, and make a mixtape. You just made a mixtape so that when you rode around in the car, you weren't just restricted to listening to the radio. You could pop your tape in, critique yourself, and share your tape with other DJs, and they'd give you their tape, and you all got together and made a tape together. The next week you could come in and buy another ten or fifteen records and do the whole thing again, because you never really put the same records on the same cassette, so it actually promoted a lot of vinyl buying in the city. Most DJs back then, they didn't have a residency. That wasn't even a word that we knew, but most people had a cassette deck and a basement. That was our residency! So I made a lot of cassettes, man. That was your residency.
One profound thing that I remember when making those cassettes was that my mother came into my room one day and she just asked me, "Why do you need two record players going at the same time?" That really sticks out in my mind from those cassette making days. I had to try and make her understand the concept of mixing! I made a lot of cassettes because when you bought the records, that's what you did with the records. I wasn't travelling overseas and playing in nightclubs, so cassette making was the climax of a lot of what I bought.
When you were picking out this cassette, were there any particular tracks that stood out for you?
I don't know if that was the case with any particular tune, but I know when I listen to it... Because I was excited too, when I finally got it transferred to CD and got in sounding good and I was able to listen to it. I was thinking that this was at a time where guys like Mark Kinchen, he was really holding his own with his productions and remixes. I have a few Mark Kinchen productions on there. Of course, Masters At Work, and CJ Macintosh—I've always liked his work. Victor Simonelli too. Not so much a particular record, but just the overall fact that these guys were making a lot of the records the records that everyone was buying.
What are you up to next?
The Panther stuff has been taking up a lot of space in my head at the moment, but as far as the Scott Grooves stuff, I did start a sub-label—Modified Suede—so I'm going to release some music on that label which is a bit more organic. I already did one release which was the Riddum Collection, so I'm going to focus a little bit more on that. A tune called "Crash" is going to the next release. My new website—scottgrooves.com—is also going to be ready soon, so people can check out what I'm up to on there.
If there was an accolade celebrating the most underrated artist to come from Detroit's rich electronic music stable, one person who'd surely be up for nomination is Scott Grooves. Not only has he collaborated with the likes of Roy Ayers, Alton Miller and P-Funk pioneer George Clinton, but Grooves—real name Patrick Scott—also has a rich seam of solo material, most of which has seen the light of day via his own labels.
Growing up with a heavy musical influence from his jazz guitarist father, Grooves ended up studying the keyboard, going on to play as part of Kevin Saunderson's Inner City outfit before crafting his debut album for Soma. Loose, funky and soulful, Pieces Of A Dream stands the test of time as a great house music full-length, but the recent material on his Natural Midi label has shown that he's more than capable of crafting techier but equally refined dance floor cuts.
During our interview with fellow Detroit artist Patrice Scott, Grooves' DJing was described as "phenomenal," so it's difficult to fathom why it took until last year for him to play his first gig in Germany. As with many of his contemporaries, he grew up on a diet of the Electrifying Mojo and Jeff Mills' sets as The Wizard, and it's this combination of eclecticism and technical skill that he brings to his own sets. In a break from the usual RA podcast action, this week's helping is actually from a double-sided mixtape that Scott recorded all the way back in '93, and should give some insight into why he is such a highly regarded DJ in his home city.
What have you been up to recently?
I've decided to start another production moniker. Panther is its name, and it consists of myself and a guy called Kataconda. We've come together, and it was also an opportunity to work with someone else in a capacity that I like, and it was an opportunity to work with other labels and other people. It started out because I was getting ready to play out last year, I think on a tour in Germany, and I wanted to have some special mixes of records. I told him "listen to this, and let's see what we can do to make it special for me to play."
We re-edited the tracks and I overdubbed some live percussion, and we built a Panther soundsystem, kind of like the Jamaicans did, with effects and guitar effects pedals, just to warp the sound. I didn't want to start making total remixes, like getting the multi-tracks from the label and doing plastic surgery—I just wanted to make a cool interpretation from my perspective. That's what I did with Norm Talley's "The Journey," and it really went over. It sounded good, and Guy McCreery from Third Ear heard it, and he expressed an interest in putting it out. I've never put my own private mixes out. I just did them for my own listening pleasure, and just to have for my portfolio, so I agreed and it will be coming out sometime in the future.
How and where did you record the mix?
My setup at that time was two Technics... I think that I had just got a cassette player that had an automatic reverse function on it—it would flip over by itself. Back then, that was a cool feature, because if it didn't have it, you really had to monitor the cassette and see when the end was so you could flip over and do the other side, but this was automatic so it'd just flip over and just start recording the other side. I can't remember what brand it was, but I had a Pyramid mixer... I think it was a GLI, and I recorded it in my bedroom. TJ Johnson from Cave 9 studios did the job of cleaning the cassette and getting the sound quality up, so many thanks to him for that.
Can you tell us a little more about the mix?
For the podcast, I wanted to do something that shows a reference to time, and I think that this mix shows a reference to us in time. I mean, it's 2010, and I was just like... "What can I do to reference how long I've been doing this, and how long this music's been around?"
Last year I was in London, and I was talking to Judy from fabric while we were having dinner, and she mentioned she worked at Strictly Rhythm during that time period—the '90s—that's like our golden era! And we started talking about the different tunes that were out and at the time I had just stopped working at a record shop, but I was still very much affiliated with the buying end of things, and I knew what was selling, and what DJs were buying, and we started talking about the records on Strictly Rhythm and all the tons of labels that were around, so it stuck into my mind.
I went home and started to go through my cassettes. I would always do this—I don't know why—but I would always make a cassette and put the date on it... And I found one in June 21st/June 23rd 1993, and it instantly took me back like Michael J. Fox inBack To The Future! Back in time instantly, you know? I was thinking, "What was going on with me in 1993?" I was getting ready to put out my first release on KMS, which I was excited about, because KMS was like the label in Detroit. I was only paying $1 or $1.10 for gas, Michael Jackson had just performed at the Super Bowl, and Jurassic Park was the big movie!
Were you making quite a lot of tapes at the time?
Cassette making back then was like the thing. Most DJs, when they came into a record shop and they bought a record, if they bought dance music, they would basically go home, and make a mixtape. You just made a mixtape so that when you rode around in the car, you weren't just restricted to listening to the radio. You could pop your tape in, critique yourself, and share your tape with other DJs, and they'd give you their tape, and you all got together and made a tape together. The next week you could come in and buy another ten or fifteen records and do the whole thing again, because you never really put the same records on the same cassette, so it actually promoted a lot of vinyl buying in the city. Most DJs back then, they didn't have a residency. That wasn't even a word that we knew, but most people had a cassette deck and a basement. That was our residency! So I made a lot of cassettes, man. That was your residency.
One profound thing that I remember when making those cassettes was that my mother came into my room one day and she just asked me, "Why do you need two record players going at the same time?" That really sticks out in my mind from those cassette making days. I had to try and make her understand the concept of mixing! I made a lot of cassettes because when you bought the records, that's what you did with the records. I wasn't travelling overseas and playing in nightclubs, so cassette making was the climax of a lot of what I bought.
When you were picking out this cassette, were there any particular tracks that stood out for you?
I don't know if that was the case with any particular tune, but I know when I listen to it... Because I was excited too, when I finally got it transferred to CD and got in sounding good and I was able to listen to it. I was thinking that this was at a time where guys like Mark Kinchen, he was really holding his own with his productions and remixes. I have a few Mark Kinchen productions on there. Of course, Masters At Work, and CJ Macintosh—I've always liked his work. Victor Simonelli too. Not so much a particular record, but just the overall fact that these guys were making a lot of the records the records that everyone was buying.
What are you up to next?
The Panther stuff has been taking up a lot of space in my head at the moment, but as far as the Scott Grooves stuff, I did start a sub-label—Modified Suede—so I'm going to release some music on that label which is a bit more organic. I already did one release which was the Riddum Collection, so I'm going to focus a little bit more on that. A tune called "Crash" is going to the next release. My new website—scottgrooves.com—is also going to be ready soon, so people can check out what I'm up to on there.
lunes, 13 de septiembre de 2010
RA.224 Soul Clap
listen:
http://ra4.residentadvisor.net/audio/RA224_100913_Soul-Clap-residentadvisor.net.mp3
The Boston-bred duo provide a soundtrack of mellow grooves for the end of summer.
Get the ladies on the dance floor, and the rest will follow. It's a simple rule. But Soul Clap's Charles Levine and Eli Goldstein understand it better than most. Although funk and jazz were the pair's first respective musical loves, they found a common passion in searching out disco, house and techno records at Boston's Vinyl Connection store, where they were schooled by resident disco connoisseur Caril Mitro.
Itzamna and Airdrop were early supporters, but it's their ongoing hook-up with the Wolf + Lamb crew that was the duo's real tipping point, culminating in a series of edits that housed up the likes of Fleetwood Mac, R. Kelly and Stevie Wonder, which have become staples in their DJ sets. Recently, the duo have released theirAction/Satisfaction EP on Crosstown Rebels following a tequila-fuelled session at Damian Lazarus' Los Angeles abode, and when they're not in the studio, they're busy either touring the globe, or in Berlin where they've recently taken up residence. Don't go expecting much techno on their mix for this week's RA podcast, however, as Eli and Charles have crafted a soundtrack to the end of summer—a special sun-kissed selection of tracks and exclusive edits that will no doubt fuel the dance floor when they play at this year's RA party at ADE.
Get the ladies on the dance floor, and the rest will follow. It's a simple rule. But Soul Clap's Charles Levine and Eli Goldstein understand it better than most. Although funk and jazz were the pair's first respective musical loves, they found a common passion in searching out disco, house and techno records at Boston's Vinyl Connection store, where they were schooled by resident disco connoisseur Caril Mitro.
Itzamna and Airdrop were early supporters, but it's their ongoing hook-up with the Wolf + Lamb crew that was the duo's real tipping point, culminating in a series of edits that housed up the likes of Fleetwood Mac, R. Kelly and Stevie Wonder, which have become staples in their DJ sets. Recently, the duo have released theirAction/Satisfaction EP on Crosstown Rebels following a tequila-fuelled session at Damian Lazarus' Los Angeles abode, and when they're not in the studio, they're busy either touring the globe, or in Berlin where they've recently taken up residence. Don't go expecting much techno on their mix for this week's RA podcast, however, as Eli and Charles have crafted a soundtrack to the end of summer—a special sun-kissed selection of tracks and exclusive edits that will no doubt fuel the dance floor when they play at this year's RA party at ADE.
jueves, 9 de septiembre de 2010
Superpitcher - Kilimanjaro ajua!
Tal como hace unos posts puse el podcast de Superpitcher de la Residet Advisor, he aqui su nuevo disco llamado Kilimanjaro.
El aclamado productor alemán una ves mas produciendo bajo el sello discográfico KOMPAKT, label de su gran amigo Michael Mayer.
Un disco que nos lleva desde un chill out hasta un Nu Disco Indie y mas no podía faltar Tech House.
Excelente disco 09/10
Aqui les dejo el link para bajarlo esta en .rar
http://oron.com/zjhudlobanu3/Superpitcher-Kilimanjaro-(KOMPAKTCD80)-WEB.rar.html
miércoles, 8 de septiembre de 2010
Matthew Dear - Black City
Y que no digan que soy codo, ya que todos mis amigos lo dicen (claro esta en pasar música ja).
Aquí les dejo el nuevo disco de Matthew Dear llamado Black City un disco estilo Synth Pop electronic; bueno para escuchar en casa tranquilo, corriendo, con la novia/0, o haciendo tarea ya que estaremos pasando gran tiempo en eso.
Les dejo una rolita para que se den una idea de lo que es este disco.
Espero lo disfruten:::..::.
Aquí les dejo el link para que lo bajen pum!
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martes, 7 de septiembre de 2010
Toko! diseño, comunicacion visual, graficos y mas
http://www.toko.nu/
Toko is a multifaceted creative practice committed and driven by passion.
Formerly based in Rotterdam,
The Netherlands and since 2008 permanently operating out of Sydney, Australia. It's creative output can be appreciated through their extensive portfolio of work realized for both national and international clients in
a diverse range of fields.
Toko's founding members, Dutch designers Eva Dijkstra and Michael Lugmayr, are educated and brought
up in the rich Dutch-European culture of design and art.
In line with those traditions Toko's philosophy and creative process follows a distinctive conceptual approach in which critical thought, experimentation, and potential collaborations are key.
Concepts are derived from extensive research to develop contemporary, distinctive and coherent design solutions often challenging it’s visual application, playful, unexpected
and minimalist.
Areas of expertise
Identity design
Brand and Design strategy
Visual communication
Print and Publishing design
Environmental design
Campaign development
Information graphics
Multimedia and Web design
Concept development & Art direction
Ost & Kjex - Remix:Sessions 06 Continental Lover
Exquisite release from the label Diynamic, Ost & Kjex with the bests grooves, out of limit; with this release called Continental Lover remixes from Stimming and Uner.
Hope you guys enjoy!
link to download:
http://hotfile.com/dl/47453890/d3b522b/0000weed459598.rar.html
lunes, 6 de septiembre de 2010
Back again with: RA.223 Superpitcher
link download:
http://ra4.residentadvisor.net/audio/RA223_100906_Superpitcher-residentadvisor.net.mp3
The Cologne dandy presents a bewitching mix of voodoo house and techno.
There are few producers who embody the spirit of the Kompakt label more than Aksel Schaufler. Over the past decade, his Superpitcher output has cemented his place as one of the label's most enduring artists, covering schaffel, micro house, stomping Cologne techno and, of course, his own brand of dreamily emotive electronic pop.
Although he's proved himself to be adept at creating driving, club-ready anthems for the Kompakt Extra sub-label, his forays into the album format have seen Schaufler demonstrate his keen ear for a killer pop hook. Here Comes Love's brooding vocal techno was well received by rock and electronic audiences alike, while his Supermayer project with Kompakt co-founder Michael Mayer saw him continue to blur genre boundaries in a wonderfully oddball manner. His sophomore solo full-length,Kilimanjaro, is due for release this week, and showcases a slighty more jaunty vibe than the lush melancholia of its predecessor. Those of you who are looking for a preview can check out a couple of its inclusions on his self-described "voodoo" mix for this week's RA podcast.
What have you been up to recently?
I was touring a lot recently and just found the time to allow myself the luxury of a little vacation. I've begun to work on the dub versions of my new album, Kilimanjaro, during that time. It feels great to destroy everything and strip it down. I've always been impressed by this technique which was brought to perfection by the geniuses of King Tubby, Lee Perry, etc. who took amazing, beautiful songs and changed them radically into music that sounds like it comes from outer space, just by leaving everything out and adding crazy effects. I've also been doing a lot of press which is the hardest thing for me to do.
Can you tell us a bit more about Kilimanjaro? You mentioned there were more live instruments and singing in it. Have you been able to put together a band to take it on the road?
Kilimanjaro is a place in my mind, a place where you can go, find peace or get really lost. It's a place with tons of energy and vibrations, a place in Africa, a place wherever you are. The mountain of fear, a place where you eventually find yourself...
I'm spending a lot of time putting together a band, it's something I've been thinking about for many years. It's just so difficult because the context of a club is kind of limited, so it must be super compact and, of course, super fresh. Also it must look super flashy. I hope we will be ready for next year.
Where and how was the mix recorded?
The mix was recorded at home, last minute, because I was on the road for weeks. I used two turntables, one CD player, a looper and a little effects tool. It was a dark night.
Can you tell us a little about the idea behind the mix?
Voodoo!
What are you up to next?
Producing a Pachanga Boys record and doodling with my poodles.
There are few producers who embody the spirit of the Kompakt label more than Aksel Schaufler. Over the past decade, his Superpitcher output has cemented his place as one of the label's most enduring artists, covering schaffel, micro house, stomping Cologne techno and, of course, his own brand of dreamily emotive electronic pop.
Although he's proved himself to be adept at creating driving, club-ready anthems for the Kompakt Extra sub-label, his forays into the album format have seen Schaufler demonstrate his keen ear for a killer pop hook. Here Comes Love's brooding vocal techno was well received by rock and electronic audiences alike, while his Supermayer project with Kompakt co-founder Michael Mayer saw him continue to blur genre boundaries in a wonderfully oddball manner. His sophomore solo full-length,Kilimanjaro, is due for release this week, and showcases a slighty more jaunty vibe than the lush melancholia of its predecessor. Those of you who are looking for a preview can check out a couple of its inclusions on his self-described "voodoo" mix for this week's RA podcast.
What have you been up to recently?
I was touring a lot recently and just found the time to allow myself the luxury of a little vacation. I've begun to work on the dub versions of my new album, Kilimanjaro, during that time. It feels great to destroy everything and strip it down. I've always been impressed by this technique which was brought to perfection by the geniuses of King Tubby, Lee Perry, etc. who took amazing, beautiful songs and changed them radically into music that sounds like it comes from outer space, just by leaving everything out and adding crazy effects. I've also been doing a lot of press which is the hardest thing for me to do.
Can you tell us a bit more about Kilimanjaro? You mentioned there were more live instruments and singing in it. Have you been able to put together a band to take it on the road?
Kilimanjaro is a place in my mind, a place where you can go, find peace or get really lost. It's a place with tons of energy and vibrations, a place in Africa, a place wherever you are. The mountain of fear, a place where you eventually find yourself...
I'm spending a lot of time putting together a band, it's something I've been thinking about for many years. It's just so difficult because the context of a club is kind of limited, so it must be super compact and, of course, super fresh. Also it must look super flashy. I hope we will be ready for next year.
Where and how was the mix recorded?
The mix was recorded at home, last minute, because I was on the road for weeks. I used two turntables, one CD player, a looper and a little effects tool. It was a dark night.
Can you tell us a little about the idea behind the mix?
Voodoo!
What are you up to next?
Producing a Pachanga Boys record and doodling with my poodles.
lunes, 9 de agosto de 2010
DoP - Watergare 06
link:
http://depositfiles.com/es/files/v2b4u5ejz
Album Compilation CD
Artist: Dop
Label : Watergate
Cat Number: WG06
Out: 07-06-2010
Style: Tech House / House / Electronic
Quality: 320 Kbps Stereo
Store: Whatpeopleplay
Tracklist Explicit:
01. Enliven dOP Acoustic – The Dust (Recorded Live at Watergate)
02. dOP & Nôze – Les Fils du Calvaire
03. Aquarius Heaven & dOP – Before You Go
04. Daniele Papini & dOP – Carte Blanche
05. dOP & Seuil – New York
06. dOP – Stock Option (Tiefschwarz Remix)
07. Mathias Kaden & dOP – The Ceremony
08. Seuil & dOP – Glory Hole
09. Catz & Dogz & dOP – Deaf Wagrant (Selianka Edit)
10. Wareika & dOP – Play Play Play
11. Art of Tones feat. Jaw – Call The Shots (Motor City Drum Ensemble Remix)
12. Khan – Candy Girl (dOP Remix)
13. dOP – Goodbye
El futuro del Dj
Creo que esto es algo muy interesante, muy claro podemos ver que NI (native instruments) ha echo de las suyas una ves mas, que mas podemos esperar de ellos...
Label of the month: Stroboscopic Artefacts
"This month's label showcase is a special one. Taking the Monad series as his palette, Stroboscopic Artefacts owner Luca Mortellaro presents a live, one-take journey through the productions of six distinct producers. With no post-editing and lengthy airings of each track, it's a raw and honest take of this particular series that Mortellaro calls a "slow walking into the SA 'perceptional' world"link:
http://ra2.residentadvisor.net/audio/1008-ra-lotm-stroboscopicartefacts.mp3
Tracklist
Markus Suckut - Cosmos (Monad VI)
Xhin - Key (Monad III)
Donor - Confine (Monad II)
Pfirter - Repeticion (Monad IV)
Chevel - Fulcron (Monad I)
Markus Suckut - Parsec (Monad VI)
Perc - Bozo (Monad V)
Xhin - Mutate (Monad III)
Pfirter - Supraventricular (Monad IV)
Perc - Stoq (Monad V)
Markus Suckut - Wormhole (Monad VI)
Donor - Portal (Monad II)
Pfirter - Arcon (Monad IV)
Perc - Rowan (Monad V)
Donor - Rethoric (Monad II)
Chevel - Portego (Monad I)
Xhin - Mind (Monad III)
Pfirter - Materia (Monad IV)
Lucy - Krishnamurti Acappella Extended (SA001)
Markus Suckut - Cosmos (Monad VI)
Xhin - Key (Monad III)
Donor - Confine (Monad II)
Pfirter - Repeticion (Monad IV)
Chevel - Fulcron (Monad I)
Markus Suckut - Parsec (Monad VI)
Perc - Bozo (Monad V)
Xhin - Mutate (Monad III)
Pfirter - Supraventricular (Monad IV)
Perc - Stoq (Monad V)
Markus Suckut - Wormhole (Monad VI)
Donor - Portal (Monad II)
Pfirter - Arcon (Monad IV)
Perc - Rowan (Monad V)
Donor - Rethoric (Monad II)
Chevel - Portego (Monad I)
Xhin - Mind (Monad III)
Pfirter - Materia (Monad IV)
Lucy - Krishnamurti Acappella Extended (SA001)
lunes, 2 de agosto de 2010
RA.218 Peverelist
link:
http://ra4.residentadvisor.net/audio/RA218_100802_Peverelist-residentadvisor.net.mp3
The Punch Drunk boss digs into his box of dubplates for this week's RA podcast.
Tom Ford is arguably the central figure in Bristol's electronic music community, spending his day job managing Rooted Records—the last remaining small shop in the city that sells new stock—and running the Punch Drunk label, which is resolute in its function as a platform for Bristol talent. Ranging from the fluorescent dubstep ofGemmy and Guido through to the heavily dub and jungle-infused tracks from RSD, the imprint hosts a wide variety of different styles, but what really makes it stand out is its consistent level of quality over the past four years.
Ford's own music—under the Peverelist moniker—is a major part of the Punch Drunk sound, reconfiguring soundsystem culture's past into futuristic technoid rollers that sound like nobody else around. Even though it was released late in the year, his debut album Jarvik Mindstate managed to reach #19 in our albums of 2009 poll with its twisted subversion of dub, jungle and techno sounds.
Being a record shop employee and a self-confessed soundsystem culture vulture, his passion for vinyl extends to his own DJing, and he continues to cut a large amount of dubplates for his live sets. Hence, it's no surprise to hear that this week's RA podcast is an all-vinyl set from Ford, which is packed full of fresh dubs and plenty of his own material. We shot Tom an e-mail to talk about the mix, his current production habits, and who he's been in the studio with.
What have you been working on recently?
Punch Drunk just had the Guido album hit the streets around a month ago. That was followed by my new 12-inch Better Ways of Living / Fighting Without Fighting which came out last week. I have been working at Rooted as normal, juggling that with Punch Drunk-related stuff. I haven't had much time in the studio, but have managed to complete a couple of remixes recently, one for Bristol Roots crew Dubkasm, one for October's Caravan label. I've been planning ahead with the label releases for the rest of the year and have some great 12-inches lined up, the next one is a tune called "Find Your Way" by a producer called Superisk, which has been causing waves in London over the last couple of months.
How and where was the mix recorded?
Just in my bedroom on my 1210s. A few acetates and a few records. No special FX, no Ableton, no CDJs, just raw DJing as it should be.
Can you tell us a little about the mix?
There's the A side from the new Peverelist 12-inch buried in there alongside some brand new unheard Bristol dubs and a few familiar faces. It's a snapshot of the Pev DJ bag at the moment I guess, a real mixture.
We hear that you're doing some collaborations at the moment. Can you tell us a little about them?
Collaborating can be fun, a new creative angle and a good social. I recently linked Appleblim to remix our friend Bass Clef's track "Promises" from his May the Bridges I Burn Light My Way album. I've also been working with Hyetal on a couple of beats which came out great. We're both really pleased with them.
Where are your favourite places to play outside of the UK?
It's an honour to travel abroad to play and I've never had a bad experience. It's always great to see how other scenes operate and how music works in the different contexts. I always love Berlin and have many friends there. I've played there twice this year so far, once at Mark Ernestus's Wax Treatment dance and once at the Sub:Stance party at Berghain. Japan is wicked as well, I spent a bit of time out there at the end of '08.
Do you feel the need to expand your production horizons at all, or are you still comfortable with your Fruity Loops set-up?
It's not what you've got, it's how you use it. I'd love to increase my studio and expand, but I don't have the budget. Spent it all on dubplates.
What are you up to next?
I'm having a weekend off! Heading off to the Free Rotation festival and I can't wait. Otherwise I'm looking forward to getting back in to the studio, and moving forward with the label and music in general.
Tom Ford is arguably the central figure in Bristol's electronic music community, spending his day job managing Rooted Records—the last remaining small shop in the city that sells new stock—and running the Punch Drunk label, which is resolute in its function as a platform for Bristol talent. Ranging from the fluorescent dubstep ofGemmy and Guido through to the heavily dub and jungle-infused tracks from RSD, the imprint hosts a wide variety of different styles, but what really makes it stand out is its consistent level of quality over the past four years.
Ford's own music—under the Peverelist moniker—is a major part of the Punch Drunk sound, reconfiguring soundsystem culture's past into futuristic technoid rollers that sound like nobody else around. Even though it was released late in the year, his debut album Jarvik Mindstate managed to reach #19 in our albums of 2009 poll with its twisted subversion of dub, jungle and techno sounds.
Being a record shop employee and a self-confessed soundsystem culture vulture, his passion for vinyl extends to his own DJing, and he continues to cut a large amount of dubplates for his live sets. Hence, it's no surprise to hear that this week's RA podcast is an all-vinyl set from Ford, which is packed full of fresh dubs and plenty of his own material. We shot Tom an e-mail to talk about the mix, his current production habits, and who he's been in the studio with.
What have you been working on recently?
Punch Drunk just had the Guido album hit the streets around a month ago. That was followed by my new 12-inch Better Ways of Living / Fighting Without Fighting which came out last week. I have been working at Rooted as normal, juggling that with Punch Drunk-related stuff. I haven't had much time in the studio, but have managed to complete a couple of remixes recently, one for Bristol Roots crew Dubkasm, one for October's Caravan label. I've been planning ahead with the label releases for the rest of the year and have some great 12-inches lined up, the next one is a tune called "Find Your Way" by a producer called Superisk, which has been causing waves in London over the last couple of months.
How and where was the mix recorded?
Just in my bedroom on my 1210s. A few acetates and a few records. No special FX, no Ableton, no CDJs, just raw DJing as it should be.
Can you tell us a little about the mix?
There's the A side from the new Peverelist 12-inch buried in there alongside some brand new unheard Bristol dubs and a few familiar faces. It's a snapshot of the Pev DJ bag at the moment I guess, a real mixture.
We hear that you're doing some collaborations at the moment. Can you tell us a little about them?
Collaborating can be fun, a new creative angle and a good social. I recently linked Appleblim to remix our friend Bass Clef's track "Promises" from his May the Bridges I Burn Light My Way album. I've also been working with Hyetal on a couple of beats which came out great. We're both really pleased with them.
Where are your favourite places to play outside of the UK?
It's an honour to travel abroad to play and I've never had a bad experience. It's always great to see how other scenes operate and how music works in the different contexts. I always love Berlin and have many friends there. I've played there twice this year so far, once at Mark Ernestus's Wax Treatment dance and once at the Sub:Stance party at Berghain. Japan is wicked as well, I spent a bit of time out there at the end of '08.
Do you feel the need to expand your production horizons at all, or are you still comfortable with your Fruity Loops set-up?
It's not what you've got, it's how you use it. I'd love to increase my studio and expand, but I don't have the budget. Spent it all on dubplates.
What are you up to next?
I'm having a weekend off! Heading off to the Free Rotation festival and I can't wait. Otherwise I'm looking forward to getting back in to the studio, and moving forward with the label and music in general.
jueves, 29 de julio de 2010
Zev – Dont Break It
link:
http://hotfile.com/dl/58369741/c00e4c6/Zev-Dont_Break_It-(WLM11)-www-minitech-ws.rar.html
Artist …… : Zev
Title ……. : Don’T Break It
Genre ……. : Tech House, Deep House
Label ……. : Wolf & Lamb Records
Source …… : WEB
Quality ….. : 320kbps avg / 44.1KHz / Joint Stereo
Ripdate ….. : 30-07-2010
1. Don’t Break It 7:09
2. Don’t Break It (Kenny Glasgow And Jonny White Remix) 7:01
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