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, 27 de octubre de 2010
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
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