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gaLocal Talk vs Garito Café
Music Joined Us
Local Talk

I first visited the Garito Café some 13 years ago after being introduced by reviewing Garito owner Nacho “Gran Reserva” Velasco’s excellent Black Nights In Garito Cafe mix (Flamingo Discos) for DMC Update. Great to hear that magical blend Disco, Jazz & Tech etc influenced House is still being conjured up now via this linkup by: Local Talk and Garito Café. Once again I can only highly recommend this to you with Jesse Futerman opening ‘Life Is A Gamble’ sounding as spiritually charged as you could hope for. The remainder plays just like a succession of standouts should with artists such as Tommy Rawson’s Jazz-Funk piece,’7 Days’ sitting comfortably beside Sasse’s tougher Acid infused ’Pino’ and even Tanzlife’s first-rate Detroit toned,’Heart Attack’ . Plus with music from the likes of Art Of Tones alongside Fred Everything you know you’re in good company. The release comes as the selected tracks on their own, or as Nacho Velasco’s superlative extended mix. Music to lose/ find yourself in…

release: November 7

Buy http://www.traxsource.com/title/370071/local-talk-vs-garito-music-joined-us

https://www.facebook.com/garito.cafebarclub
http://www.thelocaltalk.se/

Jóhann Jóhannsson
The Theory Of Everything – Original Motion Picture Soundtrack
Back Lot Music

As life needs the occasional detuning from repetitive beats, mechanical hi-hats and the sometimes rigid arrangements of Dance music this soundtrack about Stephen and Jane Hawking may provide you with a sense of light relief. Its dreamy score by the acclaimed Icelandic writer Jóhann Jóhannsson isn’t all that very dreamy at times with the composer injecting tense stabs of emotion during some pieces, such as Chalkboard, while floating off into space on the proceeding, sumptuous melancholy of Cavendish Lab on the next movement. And while the creative free flowing moments continue with the aptly titled Collapsing Inwards, which references contemporary ambience as much as does classical, the music acts like a catalyst for your emotions: lifting and falling at will, sometimes beautiful, at other times not so. Or as Jóhannsson more succinctly puts it:  The music stems in a way from the tension between Hawking the man and Hawking the scientist. A fascinating and equally rewarding enticement, that along with titles like the Hawkwind-esque ‘A Spacetime Singularity’ asks, how could you not be intrigued?

Soundtrack release: November 4 (USA)

Movie release: January 1, 2015 in the UK.

http://johannjohannsson.com
https://www.facebook.com/JohannJohannssonMusic
https://twitter.com/JohannJohannss
http://www.theoryofeverythingmovie.co.uk/

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fabCan you tell us a little about your origins and which DJ’s/ Clubs first got introduced to Dance music?

I was always into music, when I was small I enjoyed listening to different sounds, until I came across electronic music through groups like Kraftwerk, Depeche Mode, among others. When I was about 16 I started to go out at night and started to get to know the clubs in Porto Alegre (my hometown) where they played this type of music.

Can you talk us through how you produced your latest single: ‘The Walk’ EP (Sex Panda White/Da Way)?

Normally I do two studio sessions in two months and each session takes around 1 month. I produced the EP The Walk along with other music in my studio in Florianópolis. I used Ableton Live to sequence the tracks and used albums analog synths with virtual synths to get the sounds. First I search for the idea of the Groove and then I will expand the music.

What plans have you got for production moving into 2015?

I intend to continue evolving in productions that go together with my career as a DJ. I am renovating and investing in my Studio to try to reach a higher quality in my music.

Do you think these days it is essential for DJ’s to produce as well, or can they still gain popularity through Dj’ing alone?

The market for electronic music is very wide and you can explore all you want, whether as a DJ, producer, club owner, event producer, manager, owner of the agency and etc. One thing is always connected to the other and the more you can take advantage of its potential in this broad market the better. There are very famous DJs that do not produce as there are many very good producers that are not so well known.

Which residencies for you have been the most important in terms of music policy and also building your reputation?

I’ve had great residences like Warung, Beehive, Green Valley and etc. Nowadays I prefer to play at all clubs without any exclusivity.

Your productions cover a range of styles and moods. How important is that variation for you?

A lot, I like having the freedom to explore all kinds of sounds within my style, without prejudice … I like to experiment, I like to try new things, this makes me feel alive and makes my work broader and interesting.

faWhat is the club scene like in Brazil now and can you tell us about how it has developed in the country?

The club scene in Brazil is growing a lot, in the last 12 years, even with growth, I feel that it has not developed as much as other places, because of poverty and mismanagement of the country by its government, but even so we are evolving slowly. I believe that in the future Brazil will be a great power for electronic music.

Where can people hear you DJ? Do you have any dates coming up in England/ Europe?

I’ve played a few times in Europe, but nothing scheduled at the moment.

www.fabriciopecanha.com
https://www.facebook.com/fabriciopecanha.group
www.instagram.com/fabriciopecanha
www.twitter.com/fabriciopecanh

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ernCan you tell us about how your collaboration with The Mole came about and what inspired you in recording over 25 minutes of music on: Ernesto Ferreyra & The Mole ‘She Said Paper Bags’?

I’ve known Colin for more than ten years now, we used to live in Montreal before moving to Berlin. Through out all these years we developed a friendship that goes beyond music, we drink lots of beers for no particular reason any day, at anytime, we play ping pong during the summer and pinball during the endless nights of Berlin winter, we share the same love for modular synths and we love to build them too, we challenge ourselves to see who will build the same synth faster and who will be the first on using it on a record.  So you can picture that this collaboration is more of the same, buddies passing the pipe, a few drinks, turning on some machines in my studio and having lots of fun tweaking knobs, patching modules and hitting record.  The rest of this 26 minutes collaboration is just magic that happened at that particular moment… we were stoked when we listened the result of that night few days after …

Buy: http://www.beatport.com/track/she-said-paper-bags-very-long-version/5953529

Listening to you DJ’ing you can hear lots of different influences in the music you play. Tell us about your biggest influences (including any you may have outside of Dance music)?

When I started to collect records was around 1987, I was very young and after listening to Depeche Mode’s  “Music for the Masses” everything changed. I got into that kind of dark electronics, but at the same time also listening to some early New York House.  At 13 years old, I landed a job on a local radio station and had to play radio friendly tunes, but they had a great collection of jazz and disco, so I got curious and started to dig those crates, and that curiosity grow bigger through out the years and since then I try to absorb as much music and styles as I can. In electronic music a big revelation was when I discovered micro house style that still today has a big chunk on my sets and also production.

How did you first get into Dance music, which DJ’s/ Clubs first inspired you?

It was listening to remixes of Depeche Mode for sure, Djs that inspired me were the Urban Groove guys, Cristobal Paz, Bruno Chaix, Simbad Segui,Carlos Alfonsin…all DJs from Argentina.  And clubs like Hangar 18 and El Sol, also in Argentina that had a strong impact on me.

House & Techno seem to be at their most popular point since the early 90’s. How do you feel about the Mainstream/ Underground divide?

Kids are confused, when popular pop DJs and their disproportionate promotional machinery makes them believe that what they play is house and techno music and that throwing cakes and spraying them with paint is what house parties are all about.
ernestoI rather ignore all that jazz and keep on doing what I like. I still believe that you can have some success in terms of earning enough with your music to pay the bills without sailing out and having to play music that makes you feel sad inside.
One thing is true, times have dramatically changed for all of us and we have to adapt to the new way of getting out there. Things ain’t getting any easier for those like me who don’t have that kind of promotion teams, logos for their names and ghost producers making
supermarket music for us wile we tour.

How did you become involved with Cadenza, and how would you describe your excellent new album to people: Some Kind Of Sign?

I got involved with Cadenza in 2009 when I released my first EP for the label and in 2010 also joined their booking agency.
Is always hard for me to describe the music I do. I just do it, but one thing that I wanted to achieve on Some Kind Of Sign was a more homogeny album, creating deeper ambiances, something darker.
You won’t find big room tech house hits. But if you listen carefully I hope you will discover all those mini layers that each track has hidden here and there

Buy: http://www.juno.co.uk/products/ernesto-ferreyra-some-kind-of-sign/547697-01/

Can you talk us through how you produced one of the tracks from the album – what equipment you used etc?

Underwater Lies is one of my favourites, because it features a lot of modular synthesis, I remember getting a pitch modulator / Phaser/ Ring modulator module and right away started running different drum loops and a recording of an old submarine transmission which resulted on those crazy watery drone sounds, then I chopped a few drum loops on the Octatrack and programmed a simple break beat kind a beat, I wanted it to be simple so the track it self could breath. I layered a few snares to achieve that big 80s snare and processed it through a eventide reverb, I used a Cwejman S1 for the sub bass, then had that voice phrase and wrote a little melody around it. Once I had the right notes I just sent the voice through out one of my favourite modules from Make Noise, the Echophone and played with the delay for a while to get those long and wet voice repetitions.
Once I had all the parts, just pressed record jammed for a while and when I got the right one I just chopped the length and that was it. Underwater Lies was done.

boiler roomYou are currently undergoing a South America tour, can you tell us about any highlights?

Is the first time in my career that I can say that each and every one of the gigs were completely highlights, everything worked perfect, the crowds were so friendly! The promoters were very professional and were there to take care of every single detail.

But if I have to pick just one, Boiler Room in Buenos Aires was pure magic! We were all friends playing together for the first time in a long time which made the event even more special. It was one of those few times that you feel that nothing can go wrong and everything is there to enjoy.

Do you find there is a difference in what people like to dance to in South America compared with Europe?

Not anymore, even if I still think that in South America people prefer faster techno this is changing in the last few years, giving the opportunity to play more deep and interesting music.

http://ernestoferreyra.com
https://www.facebook.com/Ernesto.Ferreyra.Official
https://twitter.com/ErneFerreyraOFC
http://www.cadenzamusic.net/profile/ernesto-ferreyra

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annaTell us a little about your background and how you first got into Dance music and clubs?

I’m an East London girl, so when I first started letting my hair down it was when clubs like The End, Turnmills and The Key and The Cross were still around. I guess they’ve become quite iconic now and I feel lucky that I got to experience them just before they all closed down. I was also a Raindance regular, held in the arches in SE1 where Ratpack were residents. When we were too young to blag ourselves into the clubs, we’d go to squat parties.

How did your show on Future Disco Radio come about?

I began working with Sean Brosnan at the beginning of last summer when I was helping out on his Future Disco parties at Space in Ibiza. We started the show again and I was producing it with Sean presenting; one week he handed it over to me to fill in so I guess it just naturally happened from there – I often lose my voice so some people find it amusing that I do radio, but I guess maybe it’s just because I talk too much!

How do you see radio’s place in the digital world and why do you think the format has lasted so long?

Well it’s constantly evolving – I think because now there are a lot more stations available online and options for playback rather than necessarily tuning into FM dials, I think it means that radio is still a great source for hearing new music especially when you can delve into track-lists at ease.

Can you talk us though the process of producing your current release, the excellent ‘Broken’ on 22Tracks

Well, it’s actually the first track I ever made! It was about 3 years ago around the time that I’d fractured my ankle (hence the name) – it wasn’t the easiest being on crutches so it felt like the right moment to get my head stuck into production to escape from the world as I couldn’t do it on my feet anymore. I loved the idea of the 22Tracks compilation and it feels great that it’s finally found a home.

What are your future plans for production?

At the moment I’m finishing up solo material that’s been kicking around for ages and getting dusty, and also I’ve been getting stuck into quite a few collaboration tracks lately – I think if you get on with someone and you’re on the same wave-length, it can be really fun in the studio too and you can learn a lot from each other. I’ve been working on an EP with a friend of mine during our summer in Ibiza, and starting some more projects with my friend Tom Bulwer too. Just keeping busy and having fun with it I guess.

What’s the story behind The Bricks PR?

It’s the company I set up for the the freelance projects I work for various record labels. This can be anything from club and radio promotion, radio production and syndication to selected press. It’s been amazing having the opportunity to work with grass-roots labels based worldwide and I’ve been sharing my time between Ibiza, London and Berlin.

You’re running a series of mixes via Soundcloud: The Bricks That Built My House. Can you tell us more about the idea behind those?

The idea originally was about creating mixes that reflected influences both past and present. When I first got into dance music I was a bit obsessed about the roots of where it all came from. I’m still young, and there’s huge back catalogues of now defunct record labels and new ones cropping up every day that I still find fascinating to delve through – I think those mixes are a kind of outlet for everything that makes me tick.

You recently attended ADE. Was that productive and would you recommend it?

Absolutely, it’s an incredibly well run conference and seems to get better each year. I think for anyone in the industry, it’s a great way to do business, to re-connect with people as well as building new relationships. People travel from all over the world to be there and it’s an opportunity to get to know people on a more personal level…you can’t have a glass of wine with someone over an email!

At long last there are more female DJ’s breaking through. Why do you think those opportunities are happening now after decades of such a male dominated industry?

‘Female DJ’s’ has always been a bit of a strange term as it’s suggesting that there is a difference between males and females behind the decks. It’s a question that comes up so often and I guess my answer is that there are many women that have built their way up the ranks over the years that are truly inspirational, and we should be applauding them on their skills and passion rather than how far they’ve got based on their sex.

Where can people catch you DJ’ing next?

I just got back from an amazing weekend playing in Newcastle and then London for Maya Jane Coles and friends for the FOUND Horror Series.

Next weekend I’ll be up in Leeds playing on the 8th Nov with Nathan Fake and Paris XY, and then my next London gigs will be for a new night on the 14th Nov called 12+1 which is a Boat Party concept, then for Hyde alongside Casino Times at London Fields Brewery on 22nd Nov.

Can’t say too much yet but I’ve also been kindly asked to help curate a new monthly night at Shapes in Hackney Wick that we’re very excited about – it kicks off in December, so pretty buzzing about that too. Looking forward!

https://www.facebook.com/annawallmusic
http://twitter.com/DJAnnaWall
http://www.residentadvisor.net/dj/annawall

https://www.facebook.com/TheBricksPR

ann

 

 

 

 

 

 

 

Photo by: Zoe Lower Photography

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Dos Palos Q&A

Posted: 29th October 2014 by gregfenton in Questions & Answers
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1411704714-dos-palos-boys-Who is Dos Palos?

R: Dos Palos are Ed Begley and myself (Robin Lee)

Your excellent new release ‘Lady of the Westway // I’ve Been Around’ on NuNorthern Soul Records sounds like all the best bits of American Rock combined with a Balearic feel for today. Can you talk us through how you produced one of the tracks?

R: Very kind and generous of you to say. You are right. All of those amazing rock bands from the USA have always been a big part of my listening experience whilst I was growing up. I’ve been used to working with Faze Action in the dance music area for a long time and although we did dabble in west coast psychedelic soul for our third album, entitled “Broad Souls”, people tend to associate Faze Action with disco. Which is good because I love disco too. But with Dos Palos, it’s good to be involved with something that isn’t so obviously dance orientated. With “Lady of the Westway”, I had been experimenting with song writing and ways to get the whole song writing ball rolling. I used to start with the music and then write the lyrics and melody, but I always found that it was easy to get a basic track going, but difficult to get the words and melody to work well with what I had started. So I decided to try it the other way around. I used the ‘cello to make some simple percussion sounds and worked the lyrics and melody to that. Without any other music getting in the way, I found it a lot easier to concentrate on the vocal. Once the vocal was written it was easier to build a room for it to exist in without getting in its way. I used a modular Moog for the bass sequence, classic Rhodes piano and ‘cello for the rest of arrangement. The idea was to use as few instruments as possible, so as to not get in the way of the vocal. That is when Ed came down to the studio to put his own personality and character to the record. Ed is amazing. He can match the speed of his vibrato to the BPM of the track, as well as other rather amazing vocal details, or not, depending on what you want to do.

released: November 10 http://www.juno.co.uk/products/dos-palos-lady-of-the-westway/551629-01/

Tell us about some of the influences that inspired you in the making of the single?

R: I think that the whole project is heavily inspired by The Eagles, The Beach Boys and Crosby, Stills, Nash and Young from the west coast vocal harmony side of things. Shuggie Otis, Ace, The Isley Brothers, Jan Hammer Group as well as ‘cello producing supremo Arthur Russell for general inspiration. I get a lot of ideas from producing Faze Action records. Sometimes I want to explore further and Dos Palos gives me the perfect opportunity to do exactly that.

NuNorthern Soul Session 71 – Dos Palos Inspirations by Nunorthern Soul on Mixcloud

How did your relationship with NuNorthern Soul Records come about?

R: I think I first met Phil Cooper on the beach at The Garden Festival, Croatia, about 6 or 7 years ago. He seemed like a fun chap to hang out with and we did sink a few drinks and generally bowl around having a good time. I kept bumping into him at various events. Greg Wilson at the old East Village, where Stuart Patterson was curating, is one that comes to mind. Anyway, we both like a wide variety of music and I suppose we sort of gravitated to each other. One day Phil emailed me out of the blue and asked if I had anything that might work on his NuNorthern Soul label. I had these demos, and promptly sent them over to him. In short, he asked and I just happened to have something to play to him.

dThe cover artwork is very striking. What’s the story behind it?

R: I think Phil is probably in a better position to give you the full story of the artwork. Generally, we all liked the imagery that might be associated with west coast bikers. Easy Rider and such like. There is a sort of underlying sense of adventure and freedom that is very attractive to us.

P: Having heard the music and the name from Robin it was clear in my mind this was a Merry Pranksters meets Easy Rider sound and that should be reflected in the artwork. Our in-house designer at NuNorthern Soul, Mr Vincent got it immediately and pretty well nailed it on his first designs…

How do you feel Dance music has evolved compared with when you first stared out, and do you think it’s in a positive place via the digital world?

R: Dance music is way easier to make these days than it used to be. Technology has given everyone the chance to express themselves. So there are an awful lot of people vying for position and trying to get heard. The overwhelming majority of established DJs and producers are finding it harder to be heard and often talk about being swamped by the white noise of digital releases. But, dance music is a positive thing. It has to be. People have been getting together and dancing ever since time began. There isn’t a culture on earth that doesn’t have some form of social dance gathering. There is plenty of dance music to fuel that need and also plenty of places and events where that need can be met. Things have changed a lot over the years. People aren’t doing as well financially as they used to, because there is less money to be made in the digital realm. At the end of the day though, a great event that brings people together is going to be far more rewarding.

The music has a very organic feel to it. Any plans to play it out live, or for recording an album?

R: Yes. I love the whole live experience and we are looking forward to taking the whole project out on the road. We are also writing a Dos Palos album as we speak and hope to get that finished early next year.

https://www.facebook.com/dospalosofficial
https://twitter.com/DosPalos1
http://www.nunorthernsoul.co.uk/index.php

dos

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Single of the Week

Neil Parkes
Me & You EP
Leftroom Limited

Hats off to Neil Parkes for delivering such an exciting production which doesn’t follow the rule book, consequently sounding rather spectacular. Me & You is the led track and combines a distinctive, undulating synth line along with brooding chords and suitably leftfield vocals. A great remix comes from Richy Ahmed who punctuates it with Chicago styled vocal stabs and Detroit synthesizers augmenting the certainly tough bassline. Dixon, then sees the producer in deeper territory with moody atmospheres and shuffling percussion again delivering singular results. The excellent, ‘You Were’ ends on a high with provocative basslines amid weirdly addictive vocals and further tech keyboards that feel uniquely soulful.

release: November 10

https://www.facebook.com/neilparkesmusic
http://www.leftroom.com

Karizma
Beats & Bobs Vol.2
R2 Records

I did mean to bring you this a couple of weeks ago but circumstances got in the way. Never-the-less the sumptuous Klearkut chimes with the current vogue for shimmering, marimba styled keys underscored by tough beats, which is in this case superbly highlighted by an extra layer of percussion and subtle synths at mid-point. Great track, for sure. However, it’s to the timeless quality of Earth These Beats that attention turns. Replaying the Beats version of the 1990 classic Earth People ‘Dance’ and extending it out to ten minutes is tempting on paper but played loud releases all that funky energy at full blast.

http://www.traxsource.com/title/376724/beats-and-bobs-vol-2

http://www.r2records.com
https://www.facebook.com/karizma.kaytronik
https://twitter.com/KAYTRONIK

Max Chapman & Kieran Andrews
The Factory EP
Lost Records

We’re just about to hit November and already there’s a great list of music in store.  Following neatly on from their Temperature EP for the label comes this blistering, bassline infused production in the shape of Factory 7. It’s all thumping beats, crisps sounding snares and atmospheric noises swirling round the ether, and it’s positively nasty. Philip Bader’s remix drops the loser funkier vibe of the original in favour of more attacking House beats surrounded by a pulsating vocal stabs and a creative selection of sounds for high impact. Leaving, Loving Arms to feel more emotive with hooky vocal loops and driving rhythms to end the show.

release: November 17

https://www.facebook.com/Chapman.Max
https://www.facebook.com/kieran.andrews.58
https://www.facebook.com/LostRecordsUK

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Single of the Week

Play003Just Be
The Magic Rock
Play It Say It

The Magic Rock kicks off this release with an addictive 70’s styled drum machine repeating into oblivion, but which is soon accompanied by whirring synth notes and arpeggios that successfully seek to maximise the hypnotic nature of the track. It’s expansive too clocking in at almost ten minutes but worth every second of its twisted elegance. Next, The Early Years clashes Detroit stabs together with vocal weirdness and, what sounds like, a ghostly flute penetrating the airwaves as both these distinctive and imaginative productions sit neatly on Seth Troxler’s one of three imprints.

release: October 27

https://www.facebook.com/justbeofficial
https://www.facebook.com/sethtroxlerofficial

DesiresGiorgia Angiuli
Desires
KMS Records

Striking a chord as the nights draw in the excellent original version of Desires does so with deliciously haunting atmospheres and Giorgia Angiuli’s spine-tingling, breathy vocal delivery. What’s also dramatic about this production is the dark combination of provocative bass and treatments of the voice rendering it an extra instrument. Beckwith provide a tougher, trackier remix dropping the main vocal, while both: Dharkfunkh and Kasbah Zoo/ OniWax rework it for theirs. The former expanding the bass, and the latter picking up the pace with intense percussion rounding off this first rate release from Kevin Saunderon’s long time label, KMS.

release: November 3

http://www.giorgiaangiuli.com
http://www.kmsrecordsus.com

Paolo Leary
Overhand
Quanticman Records

Three tracks comprise Paolo Leary’s latest and opening with Overhand you quickly get the picture: tough, sometimes unforgiving, repetitive rhythms that work their way into mind and body. Combining pulsing beats and tricky snares alongside shimmering stabs and ‘Work That’ vocal lines this effortlessly becomes a hypnotic listen. Duties, follows a similar path, although this time with brighter undulating synths, leaving Route to feel warmer with atmospheric pads accompanied by yet more playful percussion.

release: October 29

https://www.facebook.com/quanticmanrecords

cover_dep0221Paul Rudder
No Good
Depaart

No Good reflects the detuned (familiar) vocal sample that runs throughout the original version of Paul Rudder’s gritty stab infused workout, which hits hard with a defiantly funky punch. The accompanying Refix version then replays the same elements including those deliriously sassy hi-hats to maximum effect. Leaving the second track to hint at the 90’s via uplifting synth stabs, crunchy drums and attitude proving How Do You Do to be anything but polite.

release: November 3

https://www.facebook.com/PaulRudderProducer
https://depaart.com

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When does the world tour: Tour à Tour Start?Apollonia50

It starts in October with a New York show. Dates can be found on our facebook – /ApolloniaMusic

You have described yourselves as, “black music and white soul”. What does this statement mean for you?

That means that there is different influences, with some black music, new wave, funk, pop, a mixture of cultures… Early house. This is what we mean.

Your excellent debut album: ‘Tour à Tour’ is due to be released October 20. Can you talk us through how you produced one of the tracks on it – Do you each have a defined role in the studio, or is more simply a team effort?

The way we work is, we are sitting the three of us together. We record a live session all together, and there is no  us each doing different parts in different places and sending files to each other. When we do a track, we are always the three of us together. We can sometimes start with a sample, or Dan can play the mpc, Shonky can jam on the drum machine, Dyed make a bass. It depends. The most important thing is we are all working together and we see how the energy takes us.

https://itunes.apple.com/us/album/tour-a-tour/id913621514

Haight Street, is one of the most atmospheric tracks on the album. Where did the influence behind that come from?

San Francisco 90s house music, I (Dan) was living in San Diego in the 90s. I would bring back a lot of music from there, it is one of the main influences and Dyed and Shonky were probably one of the first guys who had been touched by this music.

What do you look for in signing a track to your label?

Great music, music that we like and music that represents who we are, this is the goal of Apollonia. We go from new artists, our own productions and some represses of music that really influenced us. Because today to have a label is more to show who we are, than a business.

How would you compare Paris to Berlin?

Nothing compares. Berlin is very peaceful, has a high level of intellectual music and great clubs, but food is not very important. Paris has a different vibe, it is stressful city, but quality is at every corner. Music is great too, but the vibe is different.

Can you tell us about your main influences, either in Dance music or outside of it?

We have many – Prince being the obvious one.

http://www.lola-ed.com/labels/apollonia
https://www.facebook.com/ApolloniaMusic
http://instagram.com/Apolloniamusic
https://twitter.com/ApolloniaMusic

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ZDS
Sacred Heart
This And That

You can’t help but be drawn into Zombie Disco Squad’s world and twisted way of viewing things. Four tracks of unrepentant Dance music seeks to unnerve and excite you via the distinctly genre busting grooves, which sound all the more powerful for it. Rude Girl opens with taught basslines and crunchy drums that deliver an epic punch offset by whirring synths and vibrant fx. Commited, continues to feed the intensity with unsettling rhythms and voices, while Back 4 Real strips it all down to Jackin’ percussion alongside the addictive vocals. Leaving, the throbbing bass tones of Basement Trax to complete this challenging release of sound from Davide Squillace’s hot label.

release: October 19

http://thezds.com
http://thisandthatlab.com

Mountal
Gold Digger EP
Lost My Dog

Returning for their second outing on Lost My Dog Mountal feature three new tracks alongside remixes from Mr V. For me, it’s the punchy, stab driven Nothing To Undo and the gritty Masterkill that work best here, both sounding tailor made for the imprint – tough and provocative for the dancefloor. Mr. V then provides two great versions of Gold Digger with the perky, organ punctuated SOLE Channel Mix, plus the first rate 2 am mix that takes it deeper with thumping kick drums and reverberating effects feeling tastefully late night.

release: October 20

https://www.facebook.com/mountalmusic
https://twitter.com/mountalmusic
http://www.lostmydog.net

Dan Noel
Sad Ballerine EP
Maison D’Etre

coverGorgeous production by Dan Noel whose lush soundscapes are adorned with rich atmospheres coupled by unnerving undercurrents. The stunning, Follow Me plugs you straight into the currency of deep, throbbing rhythms alongside an engaging array of sound effects bouncing around the stereo, while Katy Blue’s breathy words only add to the experience. The remix comes from Anthony Middleton vs Dance Spirit who beef-up the drums with added Toms plus extra bass, synths and tweaked vocals all adding another dimension. Remaining tracks, Nocturne gets tougher as the title track itself ends with emotive strains of music evolving across the arrangement. PS Brenda Leon Atrip’s artwork too!

release: October 27

https://www.facebook.com/dannoelmusic
https://www.facebook.com/MaisonDEtreOfficial

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Chicco Giuliani
Don’t Clean It Up
Sound Division

Great production from Italy’s Chicco Giuliani who isn’t afraid to blend moods and beats together in a more imaginative way than the usual clichés demand. Fusing Detroit bass along with punchy House drums and then offsetting the arrangement by delving deeper into warm pads and Flute, taking their cue from F.K’s The Whistle Song, gives this time and space to let feelings fly. Plus the fact that there is only the one distinctive mix which still packs it all into a neat 5 minutes containing vocal hooks care of Filippo Tirincanti and impactful breakdowns says it all.

release date: October 13

https://www.facebook.com/ChiccoGiulianiDj
https://twitter.com/ChiccoGiuliani
http://www.moltorecordings.com

Nature Of Music
Profound Satisfaction
Sudbeat

Now that summer has passed by again and lazily adding the label Deep House to everything seems like a distant memory we get to concentrate on quality and quantity. DJ’s plus also live act Nature of Music aka Maziar and Kian deliver their own take on richly atmospheric that does a whole lot more than just engage your body on the dancefloor. Transcending genres the aptly titled, Profound Satisfaction combines Balearic ambience via swirling pads and gentile acoustic guitar alongside punchy beats and breathy vocals creating a landscape of some beauty. Martin Roth’s excellent remix then transforms the serene sense of bliss into a different direction with tougher drums and attitude lending this a sense of danger that you can’t escape from. Remaining tracks, ‘Shomal’ and ‘Why’ both continue to explore atmosphere’s, moods and colour with flair and imagination projecting forwards.

release: October 13

https://www.facebook.com/natureofmusic
https://twitter.com/natureofmusic
https://instagram.com/natureofmusic
https://www.facebook.com/sudbeatmusic

Sahar Z & Chicola
They Made Me do It/Smooth Melody
Lost & Found

Another great production this week comes via Guy J’s Lost & Found imprint. There is something slightly perfect about the way Smooth Melody constructs its jazz like Bassline and crunchy drums against the array of shimmering synths that works a real treat here. And at over ten minutes long I guess it needs to be. They Made Me do It, again extends a killer rhythm although this time much tougher over its distinctly funky arrangement. Either way, two striking pieces of music.

release: October 6

https://www.facebook.com/pages/Sahar-Z/227121677365914?sk=timeline
https://www.facebook.com/djchicola
https://www.facebook.com/guyjlostandfoundrecords

JOHN KONGOSJohn Kongos
Kongos
Esoteric Recordings

If like me you first came across John Kongos in the very early nineties after hearing the Happy Mondays cover of He’s Gonna Step On You Again then this re release via Esoteric is well worth the wait. Originally released back in 1972 this now freshly remasterd version (which also includes bonus tracks) is very much of its time set in the singer/ songwriter mode that flicks between folkier, acoustic moments such as on ‘Lift Me From The Ground’ to the addictive straight-up Rock of ‘Tokoloshe Man’ which the album begins with. At times you can hear the same Country influences the Stones shared with the odd blast of funky Congo lending the likes of Weekend Lady a real swing. But it’s a sheer pleasure to hear just how different the original of He’s Gonna Step On You Again now sounds.

http://www.cherryred.co.uk/shopexd.asp?id=4809
http://www.johnkongos.com/main.htm

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