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.

Room sessions vol.2 by Serge Gee & JorgeR

Serge Gee & JorgeR - ROOM SESSIONS 2 by sergeg

Music by Serge Gee & JorgeR

Art work by Brock Davis

Alberto Ramajo.... re bueno!

http://cargocollective.com/albertoramajo

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

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.

Shit Robot - Tuff Enuff?

El puro stop motion pummmm!!

NICE!

Shit Robot - Tuff Enuff? from DFA Records on Vimeo.

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.

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

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!

https://www.yousendit.com/download/UFVyZGVUY1NrUm14dnc9PQ

object width="353" height="132">

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

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.