CYA soon

Bueno solo para informarle a las pocas personas que siguen este blog (y que se les agradece maxin maxin) que estaré fuera de la ciudad de guanatos por unos días, ya que estaré en al la ciudad mas horrible del mundo DF (es hermosa) ya que tengo un viaje con la universidad.

Bueno x de la vida pero aquí les dejo un nuevo video de un classic track que creo que todos conocemos es Felix Da Housecat feat. Miss Kittin - Madame Hollywod (clasicaso) un video del director gringo Guy Sagy , producción de Tim Bight y dirección fotográfica Ernesto Menela.

Espero les guste y bueno nos vemos pronto

PD. Tomen mucho y echen mucho PARTY!!! pummmm

Madame Hollywood (feat. Miss Kittin)- Felix Da Housecat from Guy Sagy on Vimeo.

Parov Stelar – The Phantom EP (Excelente)

Artist : Parov Stelar
Title : The Phantom
Label : Etage Noir Austria
Genre : Broken Beat/Nu Jazz
Date : June-2010
Quality : 320 kbps
Size : 30Mb

Tracklist :

1.The Phantom (Original Radio Version) (03:04)
2.The Phantom (1930 Version) (04:32)
3.The Phantom (Extended Version) (04:08)

download:

http://depositfiles.com/es/files/hhrbsikkm

Nick Curly open Space

Hey! aquí les dejo un link para ver a Nick Curly cabeza de las disqueras 8bit y Cecille records, en acción en Ibiza Space , el video esta cool ya que son 4 cámaras en acción.

Espero les guste!!!

link:

http://www.be-at.tv/#/brands/space-ibiza/space-opening-2010/nick-curly/

RA.213 Fred P

link:

http://ra2.residentadvisor.net/audio/RA213_100628_Fred-P-residentadvisor.net.mp3

The deep house don from Queens steps up to the plate for this week's RA podcast.

If you've been paying any attention to the new wave of house music producers that have been springing up in and around New York over the last few years, the chances are that you'll already be very familiar with the work of one Fred Peterkin. Releasing both as Fred P and also under his Black Jazz Consortium moniker, Peterkin has been responsible for some of the smoothest and most evocative four-to-the-floor tracks to come out of the Big Apple over the past decade, coupling his intense, shuffling percussion with simple but effective melody lines that hit you right where it hurts.

Having witnessed New York's house music legacy firsthand in clubs such as The Red Zone, Sound Factory and Tunnel, Fred has plenty of dance floor experience to draw from, but his own sound is much more introspective than what we've come to expect from the city's house sound. This is none more apparent than on last year's Structurefull-length as Black Jazz Consortium, which featured into our Top 20 albums of '09poll and paved the way for an increasing number of live outings across the Atlantic. These shows, along with a sterling mix for Underground Quality's night at Berlin's Tape, have quickly bolstered his reputation as a force to be reckoned with behind the decks, so we thought we'd give him another chance to showcase his turntable skills on this week's RA podcast.

What have you been working on recently?

I have been working very hard on finishing my third album—my first as Fred P—for Soul People Music. That and touring a bit around Europe.

Where and how was the podcast recorded?

This mix was recorded at my home in Queens, New York, in the corner of the living room where my decks are. I used Technics SL-1200 MK2, a Behringer DJX750, and a Stanton S-550 recorded live into Cubase.

Can you tell us a little about the idea behind the mix?

I had a bunch of ideas that kind of faded away when I got down to it. I wanted to put everything I love to listen to in this mix, but the reality is I only have a certain amount of time. So rather than presenting all my tastes, I chose to present myself, where I am right now and what vibe I am on. I guess the idea is, this is me "On This Vibe"!

You recently appeared on the Reagenz album. Can you talk a bit about how you hooked up with Move D and Jonah Sharp?

This is a good question because the history of it is very organic and cosmic—I never get tired of breaking it down. Also I get to shed some light on some facts that may have not been mentioned. My first solo EP on Soul People Music was called No Looking Back, and it got some attention from a very talented forward thinking DJ and also a very sweet and amazing person, Tanja Harde, who at the time was playing the title cut on a show she co-hosts on Frankfurt radio. I was then invited to play a couple of gigs in Germany, which was my very first time overseas. One was at a very special club called Hafen 2 and other was at another very special place called Cube. There I met Move D, and right away I was like, "this guy is really cool." His playing style was on a different level, and he blew me a way with his technique. So there it all began. Here is where the story gets cosmic: Jonah Sharp—one half of Reagenz—is also Space Time Continuum, which was and is still a huge inspiration to me back in 1999-2000. This is when I was getting back into production in the first place. He and Move D did a rendition of "Everyday" from the No Looking Back EP live in Japan, and this track went on to become "Keep Building" from the Playtime album, which still to this day makes me believe in the power of music and how it brings people together, as these guys are heroes of mine that influenced me and made an impact on my life years before we met.

You used to do hip-hop before you came back to house music. Who are some of the producers and MCs that were particularly inspiring to you at the time?

It was the golden age when you had to be on point so everyone was fresh and new at the time. Off the top: Tribe, De La, D.I.T.C., Showbiz & AG, Diamond D, Cella Dwellaz, Da Bush Babiez, Masta Ace, Lord Digga (production), Rahzel (he MCs also), The Roots (they came later near the end), Gang Starr, Leaders Of the New School, Black Sheep, Shakey, The Beatnuts, Black Moon, Mobb Deep, Pete Rock and CL Smooth and the list goes on and on. They all make up the my history and still inspire me today.

Have you brought some of those lessons that you learned listening to and making that music into your house music production today?

Well, listening to music in general, there are things that I adapt and apply to help me express my voice. That touches a lot of genres, from hip-hop to rock to pop to classical. I mean in the sonic sense not so much the content, more of the experience of the listener. For example, how does if feel? More clearly how does the sound make you feel? So I adapt from influences more than technique or content or even sound. Feeling is where it's at, the exploration of it and the possiblities.

What are you up to next?

The second Earth Tones release for this fall with a really great line up, and also my album on Soul People Music, The Incredible Adventures Of Captain P. The Captain P project has been in the works for a long time. It's a bit different from Structure andRe:Actions Of Light in that it has different styles and tempos of electronic music. I use a playful name to present a serious vibe that relays my story. I am very excited about it again. It's a love hate thing, you love it or you hate it. That's all good with me as long as it's honest and grounded in all its forms. There are other projects in the works but it's a bit early to bring them to light. At this stage, they are still being developed so it's a very busy time and I am grateful for it.

Little Dragon (Cologne 2010)

fabric: Out of administration; noooooooo!!!!

Three weeks after going into administration, fabric has been bought by Fabric Life Limited, "a consortium who fully back [fabric] founders Keith Reilly and Cameron Leslie's vision."

The news comes after a month of uncertainty surrounding the world famous venue's future. Trouble began when matter, fabric's sister club, announced it would be closed for the summer due to financial troubles. fabric had guaranteed a ₤3.2 million loan taken out by matter, and went into administration following the club's closure. Rumors of fabric's demise abounded online, beginning with a Tweet from Buzzin Fly labelhead Ben Watt. Meanwhile, management at fabric maintained that all was "business as usual," only admitting to financial troubles when the club appeared for sale on Property Week.

Word of the club's recovery began last Thursday when DJ Sasha posted the following message on Twitter: "Bloody good news! Fabric has announced it is officially out of administration..."

The instability at the club comes at an especially turbulent time in London's dance music scene: in addition to matter, Plastic People has closed temporarily, and T-Barrecently announced its permanent closure.

fabric's statement in full: "The fabric family is delighted to announce that fabric is no longer in administration. fabric has been bought by a consortium who fully back founders Keith Reilly and Cameron Leslie's vision; nothing within the scope of the fabric ethos or team shall change. The consortium has formed a new company called Fabric Life Limited. After 10 and a half brilliant years, we look forward to many more."

AAA Video Game

Conocido por su mezcla de ágiles movimientos, imponente presencia escénica y gran capacidad deportiva, el campeón de Triplemanía XVIII, Dr. Wagner Jr. se adjudicó el nombramiento del primer atleta en portada del videojuego, tras vencer al resto de los luchadores.

Lucha Libre AAA: Héroes del Ring es el primer videojuego desarrollado para consolas sobre este popular deporte mexicano. En su debut como franquicia, la presencia de Dr. Wagner Jr. en portada simboliza el carácter divertido y atrevido del juego, que ofrece a los jugadores una experiencia auténtica del espectáculo de la lucha libre.

Este título será compatible con las consolas Playstation 3 y Xbox 360, en versiones desarrolladas por Immersion Games; así como Wii, PSP y Nintendo DS de Sabarasa. Contará con más de 30 luchadores de la lucha libre AAA, en escenarios auténticos. Los jugadores podrán personalizar a sus personajes favoritos y elegir si juegan como Rudo o Técnico.

Lucha Libre AAA: Héroes del Ring será distribuido en Estados Unidos, Canadá y América Latina por Konami; en el caso de México, la distribución de este título estará a cargo de Gamexpress.

Nick Veasey cool kl

British X-ray photographer Nick Veasey turns the world of everyday objects inside-out with his unconventional use of medical equipment for art.

Massive Attack - "Psyche" (en nombre a un cierto apodo)

Los maestros del Trip Hop Massive Attack, presentando este nuevo video por el director John Downer conocido por las series Heligoland y siempre representando la vida salvaje

Vocales por parte de Martina Topley-Bird.

RA.212 Elektro Guzzi

Link:

http://ra2.residentadvisor.net/audio/RA212_100621_Elektro-Guzzi-residentadvisor.net.mp3

Macro's techno-rockers go live on this week's RA podcast.

In his review of Elektro Guzzi's eponymous debut album, RA's Richard Carnes remarked that the trio were "one of the most unconventional 4/4 outfits of current times," and it's not difficult to see why. Comprised of guitarist Bernhard Hammer, bassist Jakob Schneidewind and drummer Bernhard Breuer, the Vienna-based musicians formed five years ago in order to create groove-based music with rock instrumentation.

The members covered noise, dub and jazz in their previous outfits, and they bring all of these influences to the table, along with a heavy dose of techno and Krautrock, as Elektro Guzzi. The album sees Austrian electronic music legend Patrick Pulsinger helm the mixing desk, although the band are adamant that they use no overdubs, laptops or loops when they record.

The album's clinical sound suggests that the trio are very much at home when they play live, and we're sure that particular part of their reputation will be compounded once you listen to them action on this week's RA podcast. Taken from one of their live sets earlier this year, the whole recording is one long continuous groove, Schneidewind and Breuer locking into their typically tight rhythm while Hammer builds the atmosphere and rhythmic interplay. Our advice? Take this one for a ride on headphones. It's one RA podcast that demands a close listen.

What have you been working on recently?

We have been recording some new tracks and a studio-live set in London with Brandon "Octave" Harding which was a great experience for us. We were also playing music composed by Stefan Goldmann for a ballet performance at the Time Warp festival. And, of course, we have been playing a lot of live concerts to present our new album in clubs like fabric and Berghain.

Can you explain a little bit about your live set-up? How much of your performance is improvisational?

We play with drums, bass and guitar and do not use any prepared loops or computers. We create everything in the moment of performance and push the sonic boundaries of our instruments, using effect pedals and preparations on our instruments. When we started Elektro Guzzi, the concept was to perform completely improvised, but over the years we developed towards using more fixed patterns and sounds. Structure and form are still improvised and therefore different every time we play.

When forming the group, did you have a pre-conceived idea of what it should be?

Yes, we wanted to play techno with our instruments and with all the things we learned over the years about producing different sounds with our instruments. Through using them in a different way we found enough material to let our music sound very special.
Some of the album sounds like techno but played with a live band. What sort of electronic music do you enjoy listening to?

As a band we listen to a lot to techno, dub and experimental electronic music, but also African and Brazilian music. To name just a few artists: Jeff Mills, Basic Channel, Underground Resistance, Cristian Vogel, Carl Craig, Rhythm & Sound...

How come it's taken you so long to get material out?

Because we are perfectionists and it was a long time before all of us were satisfied with the material. We wanted to get to a point where we really got our very own and special sound, so we had to spend a lot of time in the rehearsal room.

How did you come to the decision to work with Patrick on the album? Was it his idea to send it to Macro?

We did a few other projects and live performances with Patrick before, so we already knew each other. We asked him if he wanted to work on the album with us and he was very enthusiastic about the project. It was a great collaboration for us because he really shaped the sound and gave it the perfect room. We were searching for a label that has an open-minded policy and that does releases on vinyl. We read an article about Macro in a magazine, sent them a demo and they wanted to release the record.

What are you up to next?

This summer we are going to work on new material for the next album, which we hope to release in 2011. We will finish the tracks that we've already recorded and will try to release them by the end of this year. Most importantly, we are going to play a lot of live concerts to take the music to the next level.