Yulia Niko Q&A

Hello and welcome to Magazine Sixty, Yulia. Let’s start by asking how living in and then moving between Russia, America, and Berlin has informed what you do in terms of sound and also your approach to life?

Hello Sixty, and thank you so much for having me. Always cool when a DJ can talk to people instead of just sharing music.

My favorite approach is thinking, “If you want be creative, you need to forget about all fears.” Meaning, fears about moving from place to place, or not being supported by people, or that your art is just not good enough. Just forget about all of it and try to do something. Sometimes it actually might not be good, but there is always time to improve, study, and learn from mistakes.

I’m girl from a very small town in the South of Russia, and somehow I was born with the brain of an international traveler. When I was seven years old and went to school, we had French class, and I loved it when the teacher would call me Juli, because I knew I’d become an adult and go travel around the world someday.

Anyway, music became a lever for my traveling and I made the decision to leave Russia after five years of DJ experience there. With very bad English and almost no savings in my account, I traveled across the ocean to New York, where I started to make serious changes in my life. I went to music production school and met the best artists and people from the industry.  Now I’m in Berlin and all of it is hitting me more and more. I always keep my funky housey sound, but I’m improving it with every move I make from country to country, because each has its own music history, which I study and learn a lot from.

Your excellent new single: Casa en el Agua for Rebellion (Crosstown Rebels) feels like an amalgamation of creative processes. Can you talk us through where the initial ideas came from and about how you then produced them as music, including any favourite pieces of software / hardware you like to refer to?

“Casa en el Agua” is actually a real place that exists in the middle of the Caribbean off of Colombia. It’s an incredibly unique place. I had the chance to be part of an evening with Archie Hamilton, Niklas Stadler, Serdal and many more DJs. We had to travel for three days to get there. I just recorded some sounds of birds during the night on my phone. I record a lot of stuff on my phone that I can sample afterwards and use as inspiration in my music. After almost a year I found this recording and was just playing around with it and some other samples I recorded from machines. It was all super quick. Maybe two hours and the track was finished. I’ve learned that if you sit down and make something quickly, it’s always the best idea. If you spend a lot of time and go back to process again and again, the track will never sound good or be released.

I’m very happy now about the new Ableton 10, still using a lot of Minilogue by Korg, Electron MKII, along with the perfect work of the Apollo interface — it all makes it sound very nice.

Yulia Niko – Casa En El Agua: Buy link https://lnk.to/RBL057

Who are your main influences both within and outside of the world of electronic music? Any particular writers, musicians, painters you admire?

I can’t mention artists like Michael Jackson or Madonna, actually inspiration for all the last tracks I’ve made for Crosstown and Hottrax. I really like to read Paulo Coelho, I do like modern, trippy art, but I can’t point to anyone in particular.

Listening to you DJ, you touch upon many different styles. Can you choose three tracks which highlight that variation for us?

Absolutely. These are three tracks I play all the time. You can see the transaction between disco, techno, and acid minimal. How about that?

  • Nick Minieri – Heat Index (Original Mix) [Soul Clap Records]
  • Moby – Porcelain (Alan Fitzpatrick Remix) [Drumcode]
  • Drose – Acid City [Cosenza]

How important do you think it is for a DJ to keep moving forward with new sounds? And how would you describe the way in which instrumentation is so prevalent now (and how people react to rhythms), as opposed to the song-based sets of the past?

Creating something new has always been important. Our ears react right away to new sounds. I think right now this is the main purpose of the DJ/producer. Before, we were only focused on new records, and making a perfect transition during the set. Now, we’re spending days at the studio trying to create something unique that will make us different from all the others and give us our own sound. Just now a Ukrainian producer, iO (Mulen), comes to mind. I’m so proud of Eastern European artists, and how many quality projects have been released in the last few years. This guy created his own sound and I’m sure everyone can recognize him right away.

You also have a track: Cheap Story forthcoming on Jamie Jones’ Hottrax. How important has it been for you to have music released on such prestigious labels? And can you tell us about how the track came to be signed, and about the Acid influence in there?

It was made together with “Casa en el Agua.” I had a break in January from everything and was just making a little album. Honestly, I sat down and asked myself who I wanted to send tracks to first, after I was done with it all. I was focused on Jamie and his sound, so in the end it was easy. I sent tracks to him and he picked two of them right away. I guess the key is to always focus on something and believe you can get it, no matter what.

I think now’s a time of a new wave of Acid basslines on tracks. I’m really enjoying it and just trying to use it as much as I can.

And finally, besides your busy touring schedule, what are you looking forward to for the remainder of this year and into next?

I’m excited for the little tour with Damian Lazarus for the Spirits 2 album on Crosstown Rebels in November. It will be my debut at Watergate and couple of places around Europe. Very nice EP “Acid Meow” on Get Physical by the end of the year. And I’m just going to spend most of my time at the studio in Berlin after a very intense summer season at Ibiza. Let’s see what happens for me and where my destiny brings me in the end.

https://www.facebook.com/yulianikomusic

https://twitter.com/julianikomusic

https://www.instagram.com/yulianiko

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David Berrie Q&A

Hello and welcome to Magazine Sixty David. Your latest release: A.D.D. EP is out now on Hottrax comprising of four equally energetic tracks. What elements are most vital to you as a producer? Do you think it is important to be seeking out new sounds as an artist or do the older ones still do it?

The bassline is usually the first element I start with as I think it’s the most vital element of a track. As for newer or older sounds it’s definitely a healthy mixture of both. I love my classic 909 hats and claps with futuristic spacey synth elements to compliment it.

Can you talk us though how you produced one of the tracks from the release. From where you get your inspiration from and how you then turn those ideas into an arrangement?

Usually when I start a new track the inspiration comes from a new machine or plugin that I just bought. For instance with A.D.D. i had just bought the TC Helicon Voice Live Touch 2 and used it with my voice to create the A.D.D. hook. This was the same case with Playing in Space. I put down the drums, a few elements, and then just improvise an arrangement on the fly recording in Ableton and tweak from there.

https://www.beatport.com/release/a-d-d-ep/2098106

How did you get together with the label? And how important is it to you to have your music signed to a certain label?

I passed some music to my long time friend from NY Lauren Lane, who passed it to Jamie, so shout out to Lauren for linking us together. I think its very important to have your music signed to a certain label, because everyone will associate you with it.

Listening to your DJ mixes it strikes me that you have a wealth of differing influences going on. Who has inspired you most both within and outside of electronic music?

Well I started out as an hip-hop/open format DJ so for many years I did all different types of events. From high fashion events to ghetto hip-hop, so growing up playing like this has kept me open-minded to play across the spectrum.

Tell us about life in New York and how Dance Music has evolved for you there? Do you have a favourite place you like to play at?

Life in NY is great, there’s so much energy and diversity, but the dance music scene has definitely changed. Seems like every year NY is getting stricter with codes, shutting down parties left and right. It’s a bit discouraging, but I hope this changes. As for places to play in NY, my favourite room at the moment would probably be the Panther Room for its intimacy.

What for you is expressed though rhythm (instrumentation) that isn’t expressed though words (song)?

The instrumentation for me ultimately expresses the mood of a track. Words just compliment it.

And finally what are your future plans for the remainder of 2017 and into 2018?

Will return back to my apartment in NY after a long first summer in Ibiza. Looking forward to spending most of the fall in the studio to finish some open projects and collabs I started. Have a few collaborations with Guti and a collab with Jessie Calloso that should be out on Cuttin Headz in October.

https://www.facebook.com/davidberrieofficial

https://twitter.com/dBerrieofficial

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David Berrie – A.D.D. EP – Hottrax

David Berrie’s four tracks amount to the sort of brutal intensity that sits easily on the hips. Shaking, grooving you while at times transporting you out of the building. The title track, A.D.D suggests all that plus more with its vocal refrain referencing: this is place where I wanna be, while serving up a course of unrelenting, fast beats and addictive Acid bass which you won’t forget in a rush. The cheekily titled Hands To Pants follows with big-time low-end sizzling across whirring keys and brisk drums, as Playing In Space suggests the future via a cryptic succession of electric’s. The heavy duty feeling Personal Opinion competes the message care off repeating, blistering rhythms that all at once leave you shaken, breathless with the emotional reward of not quite knowing what happened?

Release: September 15

https://www.facebook.com/davidberrieofficial
https://www.facebook.com/hottraxlabel
http://hotcreations.com

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Davina Moss Q&A

Hello and welcome to Magazine Sixty Davina. Tell us about where the inspiration came from for your new single for Hot Creations: Oh Mama?

Hi ! Thank you for asking. The inspiration came from attending last summer’s Ibiza season. After listening to so many different styles of music and watching countless amazing artists perform, I decided to make something special for the upcoming season.

Can you talk us through how you produced the track, including any favourite things you like to use in production?

I made this track in my studio in Ibiza using lots of internal plugs and I recorded my friend Isabelle in there, using her vocals on top of a melody I had composed for her. I was really excited as I’d gotten a brand new microphone u87 from Neumann and was eager to use for the first time in my studio.

‘Oh Mama’ features the emotive vocals of Issa Elle. How did you get to know her and ask about doing the vocal?

I’ve known Isabelle from quite a long time. She sang on my first album back in the days, in 2003 precisely. We stayed friends throughout the years; and when she told me she was coming to Ibiza for a few days during the season I immediately felt the need to include her back in my music. I’ve always loved her vocals and magical ideas.

What importance would you place on vocals/ song writing in Dance music today?

Well it all depends on the kind of dance music you write. If it’s like a fully commercial song or a pop piece, where the vocals are the main instrument, then by definition they are totally necessary. In underground music, there aren’t usually so much vocals, though once more it all depends on your tastes and inspiration of the day. Maybe the vocals in underground tech house tracks could become the main instrument as well!

Can you tell us about your background and which DJ’s/ Clubs inspired you to become a DJ/ Producer?

I started to make music in 2000 and made about 11 albums and a bit more than 350 tracks under different names. It was a totally different genre of music back then. What I am making now is inspired by Ibiza and all the people you meet there throughout the year. Everybody is an artist here, almost everyone is a DJ, and we are lucky to have a huge range of top artists coming over here, and who inspire you to produce music. I can proudly say that Jamie Jones and the Paradise parties have had a big influence on me since day 1.

What inspires you outside of the world of House and Techno?

Everything inspires me. From a water drop falling into a river to the sound of the wind. I used to be a dance and sports teacher so any good rhythm actually does the job and makes me wanna dance and re-create the beautiful sounds I listen to all day thanks to Mother Earth.

Do politics and Dance Music mix? What do you feel are the politics of Club Culture at the moment?

Well for me they don’t …. In my opinion they are as starkly opposed as the Yin and The Yang .

Love the cover art for Oh Mama. Can you tell us where it came from?

I love it as well. It’s by Mikey Brain, the Hot Creations illustrator based in London. He listened to my music and offered a few ideas but the both of us fell in love with the actual cover. It was just obvious that it would perfectly fit.

Can you tell us about Hola Sundays! And how is life on Ibiza this year?

Hola Sundays is the weekly Sunday winter social party organized by the magazine Fiesta and Bullshit. It takes place every Sunday at Ocean Drive in Ibiza. It’s a really friendly environment where we play and live stream it for our friends around the world. Life in Ibiza … This year has so far been very much like last year, just truly amazing !

https://www.facebook.com/davinamossmusic

 

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Mineo (Hot Creations) Q&A

minCan you tell us about the background to forming Mineo and where the name originated from?

The background to Mineo is a lot of work and a few years’ isolation making and making and making tracks. The name (with 10 minutes to a print deadline) was a quick clash of minds. It was born and it just sounded good. And I can see it at the top of a flyer… Or…  e-flyer, or facebook event invite probably, as it’s not 2001 anymore and diesel jeans have almost disappeared.

Your new single: Turn Out The Lights is out now on Hot Creations. How did your relationship with the label come about?

I sent Jamie the track sometime in august just on email I think and a few hours later it was getting played at his paradise party at dc10 for the first time and that was it..

Can you talk us through the process of producing the track?

It can start from anything, could be a beat, a vocal idea, a sample, just got a new plug in or bought a new synth or toy… that’s what I love about it. It’s like every time you sit down to make a track, it’s like there is a hit in there, it’s hiding from you until you convince it to come and hang. It’s just about being inspired, and well, that there is a separate thing and the biggest mystery of it all.  That’s when you start to really respect those producers and artists who are prolific, and don’t stop being inspired and even if you don’t love their music, you have to admire that. Coz when you’re not inspired you can have all the kit in the world plugged into an ssl desk but you won’t make a thing… the days you wake up and feel inspiration…  get the laptop out, do anything quickly, coz it might be gone in an hour….

Buy: http://www.beatport.com/track/turn-out-the-lights-original-mix/4770378

How did you first get into Dj’ing, who initially influenced you?

I first got into it when I was 15. I saw the silver Technics 1200’s at my mates house and would go round most days, I’d even go round when he wasn’t in coz I knew the family and would mix drum and bass and early house music straight out the record shops in Kingston, which is where I grew up. White labels with just a phone number on… I just loved it…and my decks are set up again in my home. They are iconic forever and look dope in the flat too. The actual aesthetic of the Technics was a part of it as well for me, it’s the same with my Akai MPC, it just looks nice, someone designed it with care and love and a vision and sadly that is something we lost for a while. They disappeared out of clubs and as much as I use them and love them for what they do and how well they actually do it, cdj’s don’t look as nice do they. Technics once made a cd player that looked like a mini 1200 deck. They just didn’t work that well though. It’s such a shame… but you can’t mess with a having usb stick as a record collection. Although it takes a certain mind to be able to memorize the contents of a usb by name, its not easy and I forget to play tracks. You know, a complete banger that I just don’t know the name of yet. When you’ve got a box of records, you can see them by their sleeves, the colours and the names, it’s much easier, and it’s better, let’s face it..

Do you think that Dance Music should always look forward – what are your thoughts on Disco re-edits and current vogue for the early House sounds?

There’s something innovative about making something sound authentic and retro in a nice way at the right time. Although you get bored of hearing your own stuff after a while. The moment of creating something and for one moment if you can capture it and do it with a confidence and a purpose that the listener can feel..that’s kind of it I guess.  If you wanna make garage that sounds like the 90’s again or do a re-edit, go for it just do it well, take a good sample, not a shit one. And make the beat skip right.

mineoCan you describe your studio set-up and any favourite piece of equipment?

I’ve got nice synths I’ve collected over the years and thankfully never sold any… from Korg to Rolands to Oberheim ob8 (always needs a service but is off the chain) I’ve even got a Wasp…. stop showing off!!  But really now it’s all pretty much based around my laptop as I’m sure is the case for most. I have an Akai MPC 3000 which is the first thing I bought and I dip in and out of using, don’t know why though. I turned it on yesterday and listened to a two bar loop I made for about two and a half hours with no stopping. It’s a little hypnotic the way it does that. When you get a beat sitting right, you can listen to it for hours. I do treasure that machine. It’s how I started making music and I’ll have it forever…

What piece of music has been most inspiring you recently?

Artie Shaw- Nightmare. Someone really special to me showed me it a year ago. It’s dope from 1938. and just people who make stuff with character…tempting to list a load of people but the question was one so i’ll leave it there..

Where can people see you play?

Mineo 5 year world tour starts now… Just played first set as Mineo at Fabric last week which was really good after years of not going there. Doing something at showcase Barcelona for Fact who do great parties on Nov 23 and something in London end of November for Space Cowboys at Cuckoo Club which looks like a lot of fun too… It will all get posted on facebook and very soon a website for all that info at www.mineo.co.uk

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Buckley (Hot Waves/ Extended Play, Back to Basics)

buckley B‘Back To The Tower’ is your new single for Jamie Jones & Lee Foss’s Hot Waves. How did your relationship with the label come about?

I have known Jamie for I guess around 6 years or so now. We met really through Jamie doing regular guest slots for us at Back to Basics and I first met lee about 3 years ago in Leeds when some friends brought him to play a house party for their birthday. Also it was round that time that Jamie had remixed a track that I made with Jon Woodall called Kitsch n Sync, which was the 1st release on the Basics label that had started up again after 15 years. Although, I had already sent Jamie and Lee some tracks that they were digging and interested in for Hot Creations but then they chose this for Hot Waves – even though I already had the connection with the guys it was really Richie Ahmed who made sure they heard it.

The track features the vocal of Ives St Ange. How did you meet and can you tell us about what the words mean to you?

I 1st met Ives in the summer of 89, we were both 18 and in Bridewell police station, which is closed now, but used to be underneath the Leeds town hall. We had both been arrested for nonpayment of some stupid fine which we had both managed to pick up along the way for some nonsense or other, and that was really the 1st encounter. But by the end of that same summer we were pretty much hanging 24/ 7. A big group of us would travel to Manchester every Friday for the Hacienda and then pretty much crash at Ives place all week, which was a block of high rise flats in the Little London area of Leeds, called Lovel Park Towers. Which is why I called it: Back to the tower, as in back to them times.
At the time though when this was going on they were a crew who we were friends with, who used to rap and write rhymes round at Ives place, and of course Ives was one of them. Fast forward 20 years and there I am, I haven’t seen or heard from Ives in maybe 10 years (and before that another 5) so basically twice or so in 15 years. Anyway, I was making what started out as an album at the time and I found myself well out of what was then my comfort zone. All of a sudden I was working with singers, writing/recording lyrics, bringing in sax players, pianists and while all this was happening I randomly seen that Ives was on facebook. And, as I’m in the studio I said ‘hey do you want to?’, actually what I really said in a jokey way because it had been so long, and thought it maybe a funny ice breaker was: ‘Yo! Are you still spitting rhymes’ like I was all down and ghetto! By time I got him down to the studio I already had the basis for the track written and laid down with the bassline on it. I suggested that it might be cool to rap about what we did back then in a kinda tongue ‘n’ cheek way and touch on where we were when we didn’t see each other too much, then bringing it back to today and where we are now, and what we are doing. He totally 110% nailed it for me. It was the most fun and easy track I’ve ever made. I wasn’t even thinking about anyone liking it let alone signing it. It really did just come from the heart; I wasn’t putting any limitations on it. I just went with the flow and that’s how it turned out.

Can you give us an insight into the process of producing Back To The Tower?

I laid down the kick at 115 BPM as I knew he would come and rap over it. So didn’t want it too fast, this is all in my head at this point as he’s on his way to the studio. I already had the big clap which I wanted to use so played that over the beat, loop-edit and then played the bassline over it and that was all I needed for that point. We recorded the vocal then Ives left and I worked with it, as in putting some arrangement on it, getting a nice feel to it and it was there. It was like it wrote itself, as in it was easy to hear what I needed to do next. It was a great experience and being back with Ives after all this time, just for that project and then pretty much back off our separate ways we went. I loved it.

When/ where did you first begin to DJ and who initially inspired you to do so?

I bought my 1st pair of Technique 12.10s in 1990 from Sasha. The speed pitch was knackered at a certain point and the arm on one of the decks was bent, he had me over bless him. It took me about a year to realize it was the deck and not me! The story though, was that Sasha had been dj’ing at an 808 State gig and they fell off the stage, and that’s why it was broke. So I thought that was a quite funny history to have behind the decks, but it was 2 years later in 92 that I started to play clubs and was lucky as my 1st residency was at Renaissance, and by 93 the Hacienda so I had the best training ground ever to DJ. But without doubt my biggest DJ influences at that time were Mike Pickering and Graeme Park

Buckley 001From your perspective how would you say Dance (House) Music has evolved from the 90’s until now?

Its evolved in the way that technology is now available to make music on, which is much more out there, but I would say there have been many styles and fads that have come and gone, and still continue to do so, but for me the roots of it all are House. And even at the time when it looked like House was having trouble staying for good, it didn’t and it’s still here. But I do think the spirit of House Music from the 90′s to now is still the same…

You can hear a range of influences when listening to your productions. Can you tell us about some of the most significant to you?

That’s a tuff question really because I feel those influences are just in me naturally from years of playing and listening to music. It’s not like I’m always trying to do an old-school flavour or anything like that, or thinking I’m going to make a track like something that is a direct result of wanting to make a certain type of record. They just come out the way they do, but mainly always with moving the dance floor at the forefront of my mind.

Where you are currently Dj’ing? And what are your forthcoming plans for 2013?

As well as regular guest slots up and down the country, as well as around the world, I would like to play at DC 10 again and at as many festivals. I’m also resident at Back to Basics which I’ve held for over 10 years now. This year I intend to release more music and I have an EP coming out on Future Boogie around April time, plus I have a couple of irons in the fire that are yet to be unleashed! More tracks also for Extended Play – I have already released 5 tracks with them last year through a sampler and on my own EP.
I’m also really looking forward to working closely with the Blueprint Artist Agency who Ive recently signed to. So all that combined with as many holidays and staying happy, and healthy, and true to myself…..that’s my plans for 2013.

https://soundcloud.com/hot-creations/hwt004-a1-buckley-feat-ives-st?in=hot-creations/sets/hot-waves-sampler-volume-4

https://soundcloud.com/buckley

http://www.mixcloud.com/buckley-boland

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reviews:53

fabric 64: Guy Gerber
fabric

Sixteen new productions from Guy Gerber go make up this latest compilation in the fabric series totalling 64. And as you have come to expect from the producer this is another selection of exquisite resonating music that reaches way beyond your imagination. Always spirited, yet incisive and experimental, this effortlessly deep compilation of sounds are as invigorating first thing in the morning as there are very late at night. Weaving between haunting vocals and cinematic instrumentals this once again highlights Guy Gerber as one of the world’s finest in this field of electronic music. Every track stands out in its own right and it would almost be pointless in suggesting particular highlights, but here goes anyway: the completely infectious One Day In May loops heavenly ambience into dancefloor nirvana, while the opening Store-House Consciousness and The Golden Sun And The Silver Moon sound as blissful as the title suggests. The music plays between dancefloor and horizontal listening with consummate ease, with number 64 proving yet another to be a winning formula.

release: June 25

http://www.fabriclondon.com

https://www.facebook.com/guygerber

http://twitter.com/#!/guygerber

http://soundcloud.com/guygerber

 

Jamie Jones
Tracks From The Crypt
Crosstown Rebels

Jamie Jones second album for Crosstown Rebels sees two of the world’s most significant players combine forces again successfully, after the DJ’s string of awards plus the labels succession of killer releases. The collection features unreleased tracks – although heaven knows why – alongside new productions, and if you’ve witnessed Jamie play live then Somewhere, Paradise and Frequencies may already be well known to you. But waiting eagerly to get out there too is the equally fresh future-funk of Mari 2D Underground and the uneasy edge belonging to Tonight In Tokyo feat. Luca C. Also make sure you listen out for the sinister bass experience that is Over Each Other with Livia Giammaria’s vocal sounding tastefully bitter in the process too. All the signature sounds are present, with those defining original House influences playing their part to reinforce what is undoubtedly another essential in the canon.

release: June 25

http://www.crosstownrebels.com

https://www.facebook.com/jamiejonesmusic

http://soundcloud.com/jamie-jones

 

Remi Mazet
Le Kiff
La Vie En Rose

The fifth release from the label sees Remi Mazet deliver breezy summer sounds to quench your thirst for all things funky. Playing with a hint of Gwen Guthrie in the air, the punchy bassline buzzes over introspective Rhodes chords and technological synths on the Original version to great effect. Boris Horel then provides the remix of Le Kiff with bouncy European bass and perky percussion, leaving second track Are you There feat. Mr.Matlar completing the picture with more easily accessible grooves backed up by intriguing voices and frisky snares. Good release.

release: June 25

http://soundcloud.com/lvrose/sets/remi-mazet-le-kiff/

http://lvrose.fr/

https://www.facebook.com/LAVIEENROSELEKIFF

 

NTFO, Karmon, Betoko
Wowshit EP
Diynamic music

This three track EP marks the labels 58th and presents their trademark style perfectly. Opening with NTFO & Karmon ‘Nobody Else’ and its punchy melodic bassline, which plays against snare rushes and atmospheric touches, this neatly infuses together a thoughtful production with dancefloor sensibilities. The title track is then provided by Karmon who works moody bass over sharp percussion and classic early-eighties keys, and this again proves to be easy to fall for. Betoko’s, Raining Again provides a potential anthem for the North of England with shuffling synthetic rhythms and detuned vocals intoning the wet stuff.

release: June 25

http://soundcloud.com/karmonmusik/karmon-wowshit

http://soundcloud.com/ntfo

http://soundcloud.com/betoko

http://www.diynamic.com

 
Amirali
Just An Illusion
Crosstown Rebels

If you haven’t already checked Amirali’s beautifully crafted album for Crosstown Rebels then you’re missing out on an experience. In the meantime here is the chance to love the hauntingly atmospheric new single which also come s with some great remixes. Such as, Franck Roger who expertly builds the tension by adding fresh chords and drums to re imagine the vocal, while the MK version surpasses the remit with typically classy bass and beats feeling totally big-time. Appleblim’s aptly titled Black Mirrorball Mix then twists the elements over throbbing kicks into something altogether more space aged, making his statement loud and clear.

release: July 2

http://soundcloud.com/amiraliofficial/sets/amirali-just-an-illusion-ep/

https://www.facebook.com/#!/AmiraliOfficial

http://soundcloud.com/djfranckroger

http://soundcloud.com/marckinchen

http://soundcloud.com/appleblim

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Ahmet Sisman
Dance With The White Rabbit EP
Culprit

Love this production from Ahmet Sisman whose Dance With The White Rabbit feels all at once like a party in your head. Impressive sound fx and dubbed vocal treatments give the track a very big feel indeed, but it’s also the combination of differing styles that give it all such a unique edge. Nico Lahs provides the remix with funkier bass and a deeper mood, while Audiofly cleverly break up the beats on their abstracted version. Meanwhile, Hello To Alice continues the Wonderland theme with more expressive voices and dark electronics to finish.

release: July 4

http://soundcloud.com/ahmet-sisman

https://www.facebook.com/ahmetsisman1

http://soundcloud.com/audiofly

http://soundcloud.com/nico-lahs

https://www.facebook.com/CulpritLA

 

Wasabi
Money On U
Arthouse

This is the second release on Artform’s sister imprint, Arthouse and comes from Erase Records’ Dimos Stamatelos. The Original version sets a punchy tempo against cool Rhodes chords, a taught tech bassline and with hard hitting vocal snippets this is set to induce frantic head nodding. The effective Frogs and Socks remix then teases extra tension from its undulating synth and smart dancefloor arrangement, while label head Jamie Anderson’s Latin Hustle version introduces the chords to warmer possibilities with the intensely funky percussion giving it all a precise edge.

release: June 18 as a Beatport exclusive for 4 weeks. July 16 general release.

https://www.facebook.com/artformrecords

http://twitter.com/#!/djjamieanderson

http://soundcloud.com/jamieanderson

 

Chateau Flight
Kounka
Versatile Records

If you like to think outside the box then this will most definitely tempt you. It’s distinctly impossible to categorise but then that is precisely its charm. Sometimes House-ish, sometimes Techno-esque, other times sounding like Pink Floyd through a Dance blender, this isn’t always a comfortable ride but is a rewarding one. One half of Zombi, Steve Moore supplies the remix in two parts with his ‘remix’ making some sense of the madness by building layers of arpeggios over a steady kick drum, as the ‘Off-World’ version provides more of an ethereal landscape by gently playing with voices and pulsating rhythms over an epic feeling eight minutes.

release: June 25

http://versatilerecords.com/release/chateau-flight-kounka-ep-incl-steve-moore-remixes/

https://www.facebook.com/versatilerec

http://twitter.com/#!/versatile_rec

 

Jerome Derradji Presents: 122 BPM
The Birth Of House Music – Mitchbal Records & Chicago Connection Records
Still Music

This three CD set from the early to late Eighties catalogues of Mitchbal Records and its subsidiary Chicago Connection Records is pretty much indispensible listening if you’re in any way interested in the history of Chicago House Music. Mitchbal Records was founded by Nemiah Mitchell Jr and released their first influential 12” single by Z Factor aka Vince Lawrence (before starting the infamous Trax Records) I Like to Do It in Fast Cars in 1983 (hear below). The selection also includes music from Mr Lee and Libra Libra, and joins together the diverse set of influences that went to make up what became known as House Music: from UK New Wave/ Synthpop and European/Italian dance all the way through to the soulful end of American Disco. The CD comes with invaluable extras such as a 28 page booklet on the labels’ history plus mix from Still Music’s Jerome Derradji, and also features one of Frankie Knuckles rarest remixes: Unfinished Business.

release: June 2012

http://soundcloud.com/stillmusic

http://www.piccadillyrecords.com/products/UnfinishedBusinessOmni-OutOfMyHands(LovesTakenOver)-StillMusic-84047.html

interview at http://timeoutchicago.com/music-nightlife/clubs/15409691/the-untold-story-of-the-family-that-helped-found-house-music

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reviews:46

 

Jamie Jones
feat. Art Department
Our Time In Liberty
Crosstown Rebels

What else needs to be said of Jamie Jones meteoric rise? Nothing, apart from that you need to listen to this. Powered by dark, brooding stabs this pulls no punches whatsoever combining not only a sense of urgency via Kenny Glasgow’s hot vocal: I Know It’s The time, but also by a devastating succession of deep, pulsating beats and rumbling basslines which make it feel never less than anthemic. In one word then: HUGE. Russ Yallop continues the prediction by running the classic chord progression over yet more outstanding atmospheres, which only serve to enhance the experience still further. In other words: equally HUGE. 9

release: April 30

http://soundcloud.com/jamie-jones

http://soundcloud.com/russ-yallop

http://www.crosstownrebels.com/

 

Dog Days
Dog Days EP
Gruuv Records

Great release from Audiojacks’ Gruuv Records however I’ll try to spare you the references as the first track is called, 92. Of course it’s time related but who cares – that much – as this has a funky JB snare break sounding irresistible over fuzzy pads and timely voices. Uplifting, and yet very tastefully deep. Pol_On provides the Edit with an impressive alternative take on the bass plus thumping toms coupled with inspired cinematic strings, and with such an unhinged arrangement this can really only be described as excellent. Next is the fiery, Mia which lifts the tempo and atmosphere while hitting more 90’s notes in the course of refocusing your memory to youthful times – see jealous. Rodriguez Jr. provides exemplary remixes that only heighten the dancefloor appeal with excellent percussion fuelled by big-time keys and MK styled vocals. Perfect. 9

release: May 1

http://soundcloud.com/gruuv/sets/gruuv-016-ep-dog-days-pol_on/

http://www.facebook.com/gruuv

 

Jay Bliss
The Art Of Doing Nothing
Initials

Alex Jones and Ste Roberts (also of Hypercolour) along with Dave Elkabas have formed the Initials imprint and the deceptive, The Art Of Doing Nothing is their second release. Jay Bliss, having previously released on Bang Bang and Dynamic, gets straight down to business with low-slung bass and old school sensibilities pitted against moody organ and an edgy vocal loop. An easy formula for sure but one that works a treat – the bassline is extremely hypnotic. Second track, X continues the text with deeper tones and evolving keys feel just that bit more poignant. Petre Inspirescu then reinterprets X over the course of fourteen minutes and astonishingly there is never a dull moment in all of its electronic sequence. Added to the digital release is bonus, Atonement which isn’t as sombre as it suggests and certainly re invigorates you with pulsating rhythms and excitable keys. 8

release: April 26

http://soundcloud.com/initials-1/sets/initials002-jay-bliss-the-art/

https://www.facebook.com/#!/pages/Initials/277052469028075

 

Dan Ghenacia & Shonky
Close To The Edge
Apollonia

The labels second release from two of its talking heads’ is somewhat of a killer combining energised dancefloor sensibilities with breezy melodic appeal. It’s all about the drums, the bass and the voice here, and this cool combination of all three feels instantly infectious along with a hefty sprinkling of funky guitar – indeed, you can just picture the smiling faces on the dancefloor. The Mole then turns it all upside down with a feverish remix transforming the elements into something moodier, darker but no less intoxicating. 8

release:  April 30

http://www.lola-ed.com/artists/dan-ghenacia

http://www.lola-ed.com/artists/shonky

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