Wednesday, 30 June 2010

This Weekends Activities

Skintite with Marcia Carr @ The Driver, Friday, July 2nd

Line Up

Marcia Carr (LadyBugz, Playback)
Larry Xavier

Time: 10pm - 4am
Venue: The Driver, 2-4 wharfdale road, kings cross N1 9RY
Cost: £5 before 11pm. £8 after

Kay Suzuki "CONSCIOUSNESS" Album Launch @ Life, Saturday, July 3rd

Line Up

Kay Suzuki
More TBC

Time: 9pm-2am
Venue: LIFE , 2-4 Old St, London, EC1V 9AA
Cost: Free before 10pm £5 after

Tuesday, 29 June 2010

Q&A with Dennis Ferrer

Q&A with Dennis Ferrer on

It is with great honour and privilege, the Deep House Page welcomes legendary
Grammy nominated producer, DJ and songwriter, DENNIS FERRER as a
master guest to answer questions about his creative process.

Running 4 weeks from June 28th, 2010 to July 26th, 2010, this will be
a unique opportunity for up and coming producers and DJs to ask Dennis
about his methods and inspirations, with an eye on passing wisdom to
the next generation of creators and performers. At the end of the
month, the forum will be archived as an online educational resource
for years to come.

With the success of the first instalment, we hope to bring many more
house legends to the DHP–making it the THE community for nurturing new
talent in the house scene!

To get involved in the conversation, please visit
and click on Producers Corner.

Monday, 28 June 2010

Review of restless soul @ East Village, 26th June

As usual, I pitch up around 11:30 and the upstairs bar was busy but not really booming and downstairs was pretty sparse. At this point, Luke McCarty was playing a nice warm up vibe, within about 10-15 mins the room was filling out as Luke was progressing through his mix.

Now In true restless fashion Luke was playing vintage & prototype house music with a crisp selection and mixes to boot, the crowd thoroughly enjoyed this part of their journey. An were well and truly warm for Sean McCabe.

I have to say big shouts to Luke I thought what he played was class.

Just before Sean there was an amazing live P.A. from Selina Campbell who has a truly amazing voice, she really got everyone hyped up (check the video of the whole thing below).

Sean Stepped up to play and really upped the tempo, he played a solid set with a good selection of house music right through to some disco edits and back. He kept the crowd bubbling through to the wee hours, when Phil came on an really hyped everything up but unfortunately the venue closed the party off early. But as you can see that turning the lights on didn't stop people from dancing at 3:30am.

Big up the restless crew as always a good solid party, looking forward to the next one.

Friday, 25 June 2010

Hot off the Press: Phlash And Friends - Jungle Orchid Ft Alma Horton

These days you don't press vinyl unless you got a serious track, an let me tell you two things:

1)This is a Serious Track!!
2)This is exclusive business..

Straight off the press let me show Phlash And Friends Jungle Orchid Ft Alma Horton, now we all know Phlash And Friends was a serious album and there were some hot hot hot tracks but Jungle Orchid has hot music an hot vocals from the talented Lady Alma. An for those of you who pay attention to detail should know as with all of Phlash bits that get pressed up, the vinyl mixes are always different hence "Alternative"... so get a copy while you still can.

Purchase from:
Jungle Orchidz at Juno Records

Phlash And Friends - Jungle Orchid Fyt Alma Horton

Thursday, 24 June 2010

Review: Castlebed feat Durand Ross - I Can Do Bad

01. Andy Ward Remix

02. Andy Ward District 9 Dub Rework

03. Original Extended Mix

04. Uncle Milty Lake Shore Drive Remix

05. Funkstramental Dub

06. Andy Ward Acapella

Released yesterday on Andy Wards label Sounds of the Booth, this six tracker is one to go get..... With a classic sound to all the tracks the Ep commands respect!!

Stand out track of the Ep for me is Andy's 'District 9 Dub Rework', as everyone knows I love a dub but this one is especially nice an gritty with a host of intricate sounds merged together and a stab that is potent. Im also feeling the "Extended Original Mix" hot stuff..... Also in there is Uncle Milty from the windy city Chicago, with a bass driven adaption from the original.

Castlebed is actually Rustin Davis, an experienced music man out of Florida who has several releases over the last decade under his belt, who has teamed up with vocalist Durand Ross who has a classic smooth sound about him.

Andy said "Durand Ross has been contacting me for a few years now, constantly sending me songs for consideration to work on a project with him.. as soon as I heard “I Can Do Bad” I knew this was the track for the label. A fantastic talent with a promising songwriting career ahead of him, he is a rare commodity who prefers to shun the limelight and let his words do the talking."

This Ep is definitely full drive an finesse and in my personal opinion it has a definite Mood ii Swing/K.O.T feel and will be receiving full support from myself and I'm sure a whole host of others.

Go get your copy now.........
Castlebed feat Durand Ross - I Can Do Bad (Inc Andy Ward and Uncle Milty Remixes) - - the best House Music WAV and MP3 downloads

Wednesday, 23 June 2010

This Weekends Activities

Blow Present A Journey with Osunlade @ Egg, Friday 25 June.

Line Up

Scott Cooper
Ben Osborne
DJ Sonny
Nic Liu

Time: 22:00:pm Onward
Venue: Egg, 200 York Way, Kings Cross. London. N1. England
Cost: Nus Free b4 11pm / £8 b4 12 / £12 after

Tribe @ Corsica Studios, Friday 25 June.

Line Up



Time: 11:00pm - 7am
Venue: Corsica Studios, 5 Elephant Road. London SE17 1LB
Cost: £10 early bird tickets from £15 on the door

Restless Soul @ East Village, Saturday 26 June.

Line Up

Downstairs :

Playing Deep House

Sean McCabe

Luke McCarty ( HHA / restless Soul)
Phil Asher (restless Soul)


Live PA from Selina Campbell -
singing A.C. Layne's "Addicted" on restless soul Music

Upstairs :

Playing Freshness & Block Party Classics

Dominic Jacobson ( Modaji /restless Soul)
Jose Carretas (Son Liva / restless soul)

Time: 9:00pm - 3:00am
Venue: East Village, 89 Great Eastern Street, Shoreditch, London, EC2
Cost: £8

Simply Salacious Parties with Neil Pierce and Sy Sez at Babalou, Saturday 26 June.

Line Up


Time: 10pm - 6am
Venue: Babalou/ The Crypt, St Matthews Church. Brixton. SW2 1JF
Cost: £8 tickets / £10 before 12 / £12 after

Tuesday, 22 June 2010

Compost launch disco sub-label

Munich's Compost will add a new subsidiary to their empire next month, which will focus on disco-influenced productions.

Entitled Compost Disco, the imprint will serve as a specific platform for producers who have found inspiration in the campier side of four-to-the-floor dance music. This isn't really new territory for Compost, as artists like Zwicker and Phreek Plus One have demonstrated on previous 12-inches for them, but Compost Disco will now act as a separate entity in order to group them together. Compost's long-term graphic designer Benjamin Roeder (who is part of Permanent Vacation's Spectacle with David Muallem) has come up with a brand new artwork concept for Compost Disco, with each release set to be adorned by various collages of disco-related images.

The subsidiary's inaugural release will be a modern take on Italo-disco called "Why Your Love" by Stefano e Bene, who have enlisted Italian native Hard Ton to help out on production duties. Hard Ton, Snuff Crew and Katzbatz (which is Stefano and Cologne-based DJ Catweasel's collaborative project) will all provide remixes on the package.

Compost Disco will release Stefano e Bene's Why Your Love on July 2nd, 2010.

Why Your Love EP (Compost Disco 001) by Stefano e Bene

Monday, 21 June 2010

Making Music with Kink

The surprising method behind the sound and style of Bulgarian producer, KiNK.

After plying his production trade out of Sofia, Bulgaria for the past ten years, it only took a couple of seconds for KiNK to go stellar. Although the producer, real name Strahil Velchev, had experienced reasonable amounts of success in tandem with UK producer Neville Watson and their releases for Rush Hour subsidiary Hour House Is Your Rush, it was (in my own mind at least) around the midpoint of his 2009-released track "Trevoga" that Velchev truly came into his own. As syncopated Todd Terry-esque snares buckled under strain of an interminable arpeggio line, there was a brief flash of stasis—as there is in all the best dance floor records—in which you didn't know what the fuck was going to happen next. The track sat alongside a further pair of wonderfully wayward house jams on the Psyche Funk EP for the Undertones label, although much of Velchev's prior and subsequent work has been an exploration of more traditional tropes.

Although by his own admission Velchev's output in 2010 has been on the heavy side, few would argue that the impact of his work has waned as a result. His name lit up January DJ charts as he and Neville Watson turned in an intrepid dance floor re-touch of DJ Sprinkles' "Masturjakor," while liebe*detail, Freerange, Pets Recordings and Get Physical have all since etched "KiNK" into their remix credits. Given his propensity for all things acid and old school, perhaps the least surprising of Velchev's numerous label homes was Josh Wink's Ovum. The Rachel EP was as sweaty and retrospective as anything the label has emitted in its 15-year history. So with all this retroactive noise circulating, you could very reasonably deduce that Velchev's classic sounds are mirrored in production process. Well, you'd be partially correct. I discovered that the truth was a little more intriguing than simply "hardware and analog" as I called up Velchev's Sofia studio.

You told me that you had a few issues with your gear when I saw you in Panorama Bar for your live show?

Yeah, unfortunately. I bought two new controllers for my live act, and I haven't got to test them enough in Sofia. I found out that there is some conflict between the two controllers. On the first track I tried to play, one of the controllers that is more important for the live act just stopped working, and I had to reset the software in order to activate the controller again. Then for the whole live set I was really careful, not doing much, just trying to keep the equipment going on. So I was not really happy, because I couldn't be as active as I would be if the gear was 100% working... In some parts towards the end I did some stuff that was completely live without any prepared loops, but I was afraid to do it any longer because I was afraid the system would crash.

What do you use for live jamming?

I have a couple of options. For this particular live [set] I had to use Ableton Live with controllers. I do different kinds of gigs: I DJ, I do a live PA for two hours and I have a combination of DJ sets together with a hardware live act. For this live act in Panorama Bar I had to play live for two hours, and the only chance was to use the computer, because I could play my whole tracks—the promoters expect to hear the productions—and the only opportunity to do this is to use the computer where everything is pre-arranged.

The other kind of live I do is with some drum machines like the Vermona DRM. It's not the new Vermona that's being produced lately, it's a very old drum machine with a TR-style sequencer that you can program some beats on in real time. So I usually bring this when I have a DJ set and when I have a chance to do a really short live set for 30 minutes. I also have a very small synthesizer called Nord Micro Modular, it can be assigned with the Vermona. Also I use a very funny Japanese toy called Gakken analog synthesizer.
What sort of sound do you get out of it?

It just has one waveform, which is a sawtooth waveform. I can actually switch it on. [demonstrates]

It sounds very 8-bit.

Yeah. It's just one oscillator with a sawtooth waveform. It has attached LFO to the pitch of the waveform; it has good resonance, that's it really. If you use it live together with some other basic setup it's pretty cool. But you can't really do a long live set with just with a simple drum machine and very basic synthesizers.

Do you actually enjoy playing live with Ableton?

I'm not really into the Live thing, because first of all I don't use Ableton for production, and I'm not that familiar with the software. Of course, it's very basic and very easy software to learn, but I don't feel that free with Ableton compared to other guys who are using it all the time. Also, my tracks, the way I produce music is different. I run my tracks through tape, and I do some processing on the whole mix. It's very hard for me to distribute the track on channels or loops. For other guys it's very easy to render tracks on channels and put them on Ableton, or just use their Ableton project. For me, it's really hard work to adapt every track for a live act.

I have to take it from my other software which is called Jeskola Buzz. It's very strange modular software. It doesn't have an option to render, you have to record. It doesn't have offline export. So I have to record every channel one by one. Also there is some bug in the software. When you export something, the software adds some air in the beginning of the sample. And every time you export something, the air, this space is different. If you have all the channels, and you just place them on the software, they are not going to be in time, they are not going to be in sync... For me, preparing a full track for Ableton is a nightmare.

Could you explain how Buzz works to people who maybe aren't familiar with it?

Let's say it's a kind of modular software. It's kind of related to programmes like Reaktor, or Max/MSP. But it's not as complex as those programmes. It doesn't emulate a real hardware studio. You don't have to use a mixer; you don't have this interface that emulates the real machines. You just have simple blocks. In one of the views of this programme, you just have to imagine that you're looking at the studio from the roof. You see some blue blocks that in the programme are called generators. Those blue blocks are, let's say, the machines that are making the sound, synthesizers, samplers. There are other blocks that are pink, they are called effects, and they are effects like reverb, delay, equalization, dynamics effects, everything that you put the signal through.

Beside the modular fashion of the machine routing there is another interesting thing: Buzz is a "multiple pattern sequencer tracker" which means that the interface is very numeric. You add notes through the computer keyboard. You type commands to call effects or to control some kind of parameters using the hexadecimal numeral system. You don't draw automation with your mouse, all you see in the Pattern/Sequencer views is points and numbers. And you type commands.

How do you find its sound quality?

I'm not sure if the sound quality of Buzz is good. For me it was always a problem to have a solid low end in the tracks... In my productions the sound quality is not the leading thing. The idea and the character, the design is most important for me. If I manage to transfer a great idea into an audio file, and if I manage to make a recording with special sound, I don't care if the track is too quiet, the bass is too much or the hi-hats are too loud in some parts. I would sacrifice a good mix-down for a special sound.

When did you first start using it?

I started to use it in 1999, just because at that time I was struggling to start making music. I didn't have money to buy hardware. Also, in Bulgaria, in our music stores we haven't got those popular samplers or drum machines that are the basics for electronic music. So the only option for me was to start using a computer. In 1999 my first computer was a really basic machine, it was like 133 MHz. It was really slow. 16 MB of RAM. So I needed good software which I would be able to operate in real time, but at the same time I needed light software without big requirements. Buzz was this thing. It was very light, the interface was very ugly. It doesn't need much RAM memory to calculate. That was the only reason to start with Buzz.

I later realized how powerful a platform it is. In 2002, I tried other programmes like Reason and Cubase. Later I tried Ableton when it wasn't as advanced as it is now. And I just didn't feel comfortable with having connections into the mixer that are not in front of my eyes.

Do you feel like having used Buzz for all these years has affected your sound?

I don't think it affected my production, because the process I learned to make music was just to listen to my favourite music, and try and learn how to make it with Buzz. It definitely gave me freedom compared to the programmes which were available ten years ago when I started to spend more time in music production. So no, I think this software just gave me the freedom to make what was already in my mind.

I've seen the video you've put online of you and Neville Watson jamming. Is this an approach you often take to your tracks?

No, definitely not. That's why when I gave you this gear list [pre-interview] I told you that I have an inspirational part of the studio which I use to enjoy when I make some sounds. And the other part of the studio is just my computer with the software.

Let's say when I want to make a track, I think of the track when I am out with friends, or in bed when I am about to fall asleep. When I sit at the computer I already have some idea what I am going to do. I sit there, and I start to programme. It is a very cold process; it's not really impulsive and emotional. The emotional process is before, when I walk outside and think about projects, or when I listen to other people's music and like some sound.

So something like the Vermona drum machine will never feature in your tracks?

No, I've never used any hardware on my tracks. I learn what the behaviour of the hardware is. Later, on the computer, I emulate the behaviour. But I don't go with the hardware and tweak live and record. That's probably something I would like to do in the future, because the more I travel I have the chance to visit some great shops. For example when I was in Berlin I was in a very great shop called Schneider's Buero, and I bought a very cool small analog synthesizer called MFB Synth II.

I'll probably think of a separate project, which will be made totally live with this gear. But it's for the future. So far for my production it's thinking before and then sitting at a computer doing it with a clean mind—without being affected by something, without emotion in the moment when I am writing the tracks.

Basically how I make music: if it's going to be a dance track I make the basic loop with all the elements. I make a loop which I imagine is the stronger part of the track. Then I just copy the loop in the sequencer, and start to remove some elements. So when I have this strong loop I stand up and imagine that I am in the club. I start to tweak the controllers and do this live thing. I dance a little bit, and I try to feel the track—does it work on me? It's after I have this basic idea, I try to test this track on myself. I try to imagine if the people are going to dance to it.

Let's talk about your work with Neville Watson. Do you work face to face?

No. It's a very interesting project. Actually we've worked together for two years and we hadn't met for all this time. It's very funny. When I released my first record on vinyl in 2005, I noticed he was playing it. I already knew of him as a DJ and a producer. A friend of mine from France booked him, and I saw a picture of him playing my first record. I thought it's cool to send him an email to say thank you for the support. So we found that we had a passion of the old school sound, we thought it would be cool to make a track together.

So he sent a couple of sounds. I put the sounds into my software, added a bassline and a beat, and developed a track with his sounds. At that time we didn't use Skype, we just used email to send the loops and discuss the music. We did this first track just as a joke. I put the track on MySpace, I didn't offer it to any labels. And one day I added Rush Hour label on MySpace even though I hadn't mailed them. I just added them as a friend. And half an hour later I had an email from them: "this first track on your player: is it available?" That's how everything started.

You've talked before about how you and Neville have a shared appreciation of old school house sounds. What do you think it is about these productions that excites you so much?

I've listened to house and techno since late '91. So this specific sound is very deep in my heart. I was 12 years old when I started to listen to that kind of music, and it left a very big mark on me. I guess it's very different if you start to listen to any kind of music when you are 20, or 18, and when you're younger. I guess if I'd had the opportunity to make music or DJ at that age, I'd probably get over the old school sound and look for the new thing. But now I have the chance to release music, and I want to incorporate this music that I loved in the past and didn't have the chance to make and to play in the past.

I wanted to talk a bit about your output over the past two years as you seem to put out a lot of records. Have you been inspired more over the past two years? Do you make a lot of music that isn't released?

No, I don't have anything lying on my hard drive. For the past two years, everything I have produced has been released. The thing is, I've been listening to electronic music for quite a long time, and I was struggling to start making music. Then I started to make music in 1999 or 2000. It took five years from the moment I had already completed production for release until I released my first record. So I was really struggling to get my music out. When I had some connections with smaller labels, I just had the desire to put out more and more music because I hadn't had the chance to do it for so many years.

For the first couple of years I was producing, no one wanted to release my music. When I started making some connections, I promised everyone "yes, I am going to make a release for you." At some point I gave so many promises, I had to catch up with it. I did too many tracks, I was too generous maybe. I wish I would make less, I wish I would spend more time with the production. That's what I'm going to do from now on. Since I released my first records, it was never like I had ten tracks on the hard drive thinking who to sign the tracks [to]. There were always many labels asking me if I had a track. Since I made my first release I haven't had a track standing on my hard drive.

I saw on your MySpace you were having some problems with your hearing. How is it at the moment?

Unfortunately it never got better, I have tinnitus. It's ringing in my right ear. Fortunately, it's very quiet, and it's not a problem for my production or DJing. I only hear it in the evening when the computer is switched off, for example when I am in the bathroom and everything is quiet. But it's a signal that something is very wrong with my ears. I've been to 20 doctors; I did some hearing tests that showed that my hearing is quite good for my age. But I have to be very careful from now on. I haven't DJed for ten months. Now I'm DJing with custom-made earplugs.

How did you sustain the damage do you think?

I used to produce music on headphones. It's completely wrong. It's not good for the mixes; it's not good for the ears. I knew it. But in the beginning when I started to make music, I didn't have the money to buy normal speakers. I got used to making music on headphones. Later I had some monitors, but I hadn't got used to making music on speakers. I continued to make music on headphones for ten years. I think that's the reason.

One night I was finalizing a track, running it through a tape recorder. I wanted to hear the typical tape distortion on the hi-hats, which is the most harmful frequency for your ears. I was listening to those hi-hats for like two hours, just enjoying the great effect of the tape recording. And when I removed the headphones I heard this noise. It was horrible. But there is always something positive. Yes, I have this problem, and it will probably last forever. But from that point I stopped using headphones, I started to DJ with earplugs, and my ears are still in very good condition. The doctor said that I don't have any hearing loss. So this condition I have will make me more careful, and keep my ears in better condition for longer.

Friday, 18 June 2010

Serial Vendetta from Altered Natives

The new album comes hot on the the heels of last month's "Tenement Yard Volume One", on which Danny managed to bring a techno aesthetic to his frenetic broken drums. This time round Danny will focuses mostly on broken beat, but judging from the crossover success of last year's "Rass Out," which was played by DJs all across the UK "hardcore continuum," he's likely to blur the boundaries once more. Talking about his music, Danny recently explained: "Life and the world in general is restricted by so many rules, I've spent my life breaking rules and paying. So really you could say my sound is the sound of rule breaking."

01. Mother
02. Cut_Slash_Mutilate
03. Eating Drinking Fucking Suckin
04. Cold Shower
05. Skankyset Riddim
06. Fuck Your Couch
07. Out of Existence
08. Distances
09. Immortality
10. The Claaart
11. Shankle
12. Mothership
13. 5 Deadly Venoms

Eye4Eye will release Serial Vendetta on July 2nd, 2010.

Congratulations to Rinse Fm .......

Yesterday it was publicly announced that Rinse had been awarded an FM radio Licence. An I would like to congratulate them, I think the work done by Geeneus an cohorts has been instrumental in creating todays now household names and is a better representation of a radio station than most commercial radio. So once again congrats...

Rinse Said in a Press Release..

"Rinse FM are proud to officially announce that we have been awarded an FM radio licence. Established as an unlicenced station in 1994, we have always taken great pride in the music that we promote and broadcast at Rinse. Moving forward, the licence will allow us to continue our mission, broadcasting in the pirate format that we and our listeners know and love. We'd like to say a huge thank you to all our listeners and supporters past and present."

"Rinse FM is uniquely placed at the hub of the Capitalʼs thriving British underground music community, demonstrating throughout 16 years of broadcasting that we provide a vital, unique and exceptionally successful, grass-roots gateway into broadcast radio and the wider music industry. Our DJ's and MC's have won Mercury Music Prize awards and nominations for numerous others, gold discs in recognition of sales, and widespread criticalacclaim."

"In stark contrast to the homogenized radio landscape Rinse FM seeks to champion the diverse needs of young London and those passionate about youth-orientated music culture, showcasing genres typically referred to as urban and/or dance while interacting with and influencing those scenes. Our fiercely grass-roots broadcasting ethos engages massively underrepresented communities."

Thursday, 17 June 2010

Beat Fleet - New Vinyl Gaming....

Now as a music lover/artist kinda lol.... I saw this and was highly intrigued as to how something like this might work and what the principles of it were and having watched this teaser footage I can tell you, it looks like a cross between 80's gaming and that Dj hero thingy lol. But its actually very cool and I think that it could really work, all bar the horrible and slightly jarring noise of scratching the right hand deck to move... (you'll see what I mean)

Although details surrounding it are scant, take a look at this intriguing video showing music game Beat Fleet, which was created by a Zürich arts student and is controlled by time-coded vinyl.

Wednesday, 16 June 2010

This Weekends Activities

Ancestral Soul 1st Birthday Party! @ The Driver, Friday June 18th.

Line Up

Mathew Bandy (Limestone Recordings)
Manio (House Hunting)
John May (Assumption)
Nick Doe

Time: 10:00pm - 6:00am
Venue: The Driver/ 2-4 wharfdale road, kings cross N1 9RY
Cost: Free B4 11PM £5 After

Sambalanco presents Altered Natives @ The Rest Is Noise, Saturday 19 June.

Line Up

Altered Natives
Dave Blackgrove,
Si Tubby

Time: 9 - 2am
Venue: The Rest Is Noise/ 442 Brixton Road, Brixton, London, SW9 8BH
Cost: £3

Tuesday, 15 June 2010

Making money from music???

Now we all know a broke musician (Including me lol) but seriously I have found an article that highlights what we know already as an artist but some of you may not....... Below I have taken some shots of the big or should I say little money equation....

Take a look at the original

Monday, 14 June 2010

June Top Ten 10 from At One

1) Someone - Phil Asher and Kai Alce feat. Kayenne
"This is a summer anthem for me"

2) Little Bird - Matthew Bandy & Aphrodisiax feat Adeola Ranson (Vocal Mix)
"Gotta get this heat in your bag"

3) Music - Kay Suzuki feat. Babacarr Dieng & Jally Kebba Susso (Atjazz Astro Dub)
"Loved this since the first time I heard it"

4) You - El Provost feat. jannae Choose (Wbeeza Remix)

5) Restless Native - Altered Natives
"Always loved this one, biggles"

6) So Astounded - DJ Le Roi feat. Lady Bird (Halo & Atjazz CityDeep Dub)
"Big up Henry @ Foliage, coming on strong with constant hits"

7) Poison - D-Malice feat. Rebecca Knight (Bopstar Vudoo Remix)
"Bigup to Malice & Rebecca love it, an Bop with this killer mix"

8) Dragons End - Culoe De Song feat. Fatima
"Wait till this one comes out, pure pressure"

9) Morning rain - Chocolate Puma (Naut Edit)
"Afronaut Killin the edit duties, again"

10) Fiori - Ame (Dixon Beat Edit)
"Tight Drumz"

Most tracks will be available from:
Traxsource or Juno

Saturday, 12 June 2010

Mr. G's first solo album on Rekids + New Atjazz..

UK-based house producer Mr. G will release his debut album, Still Here (Get On Down), next month through Rekids.

Known to his friends at Colin McBean, Mr. G has been an active producer for roughly 20 years, starting out in the DJ trio KCC, then playing as half of The Advent later in the '90s. He went solo around the turn of the millennium and has since released records mostly on Phoenix G (his own label), Oproof and Rekids. "I had known Matt (Radio Slave) for years, via mutual respect for each-others' music, so it was great to work with him," says McBean. "I truly feel that the Rekids crew do it right, which made me feel for the first time to do my first solo long player with people I loved and trust..."

Still Here (Get On Down) boasts nine new tracks inspired by a variety of McBean's personal experiences, including his love of fine rum ("I'm a rum master"), racist artwork he saw on jazz record sleeves in Paris, and a former tennis partner named Ceza who introduced him to the texts of Plato. In terms of sound, the album has the same rough-edged, analog feel that characterizes many of Mr. G's productions.

01. Blessed
02. Firewater
03. Dark Town Orchestra
04. Platonic Solid No.5
05. Get On Down
06. Space Bassed
07. Lord Have Mercy
08. Light n' Shade
09. Stolen Momentz

Rekids will release Mr G's Still Here (Get On Down) in July 2010.

Atjazz - Full Circle (Unreleased Songs & Versions)

Atjazz - Full Circle (Unreleased Songs & Versions) by Atjazz

A selection of the finest unreleased songs and versions from the excellent album 'Full Circle'. This album contains never before heard versions of 'Parallels', 'I Forgot You', 'Together', 'Underlined' & 'With You', not forgetting the unreleased songs 'This and That', 'Short Changed', & the epic 'Undergrounded'.

The album 'Full Circle' took four full years to come together from June 2004 - June 2008 and these tracks are just a handful of the finished unreleased works from that time frame. We feel this album holds many emotions from the creative processes behind the works of Atjazz leading up to the release of the album. Martin wrote these pieces around sunset and in the dark of night to create a deep and coherent collection of musical styles.

Friday, 11 June 2010

Matthew Bandy & Aphrodisiax feat Adeola Ranson Little Bird (DJ Spinna Remixes)

Love this record, killer track with amazing vocals from Adeola, alongside the production of Matt & The AphroDisiax equals a hit record!! Trust me this is a must have for you record/cd box!!

Tribe are proud to present an exciting new collaboration, Matthew Bandy & The AphroDisiax have teamed up to deliver an awesome single 'Little Bird', full off life and energy.

The track features the vocals of rising star and vocalist, Adeola Ranson who has really started to make a name for herself following recent releases ‘Work Me Over’ on Bigspin Music and Little More Love' with Sean McCabe on Soul Heaven. Adeola delivers a strong vocal, over some deadly drums wonderfully crafted by the boys. Add to that, some supersonic synths from the majestic Kaidi Tatham of Bugz in the Attic fame and you’ve definitely got a floor filler on your hands. The package is made even more complete with three stunning remixes from New York legend DJ Spinna who spices things up in true Spinna style using his charististic bouncy beats, mesmerizing keys and magical Moog taking the track on a new dimension.

Matthew Bandy has been producing quality house music for over ten years, and you won’t come across a more impressive discography. After living his whole life in the States Matthew made the decision to move to London last year and the move has been justified allowing him to further his creative vision. Matthew meet the AphroDisiax (Sy Sz and Gavin Peters) last year as they use the same studio and the rest they say is history.

AphroDisiax are a DJ / production collective hailing from West London, UK. With a style fused between deep, soulful, tech, broken beat house music. Consisting of members - Sy Sez, Gavin Peters they’ve been making a lot of noise in the last 12 months with releases so far on Soul Heaven, Jus House plus many others.

Little Bird received heavy support at this year’s WMC in Miami from the likes of Timmy Regisford, Louie Vega, DJ Spinna, Danny Krivit plus many others.

Matthew Bandy & Aphrodisiax feat Adeola Ranson - Little Bird (DJ Spinna Remixes) - - the best House Music WAV and MP3 downloads

Thursday, 10 June 2010

Kem is back with "Intimacy"

I see this and it got me excited, dun know Kem can throw a vocal down........ An lets hope we get some great house mixes out of it aswell....

Universal Motown Records singer-songwriter-producer KEM has announced that he will release his third album, Intimacy, in July 2010, preceded by a series of online promotional videos that will reintroduce him to the marketplace by offering an intimate preview of what's to come. The new CD is the Detroit native's long awaited follow-up to his critically acclaimed and certified gold 2005 disc, KEM Album II.

Intimacy was inspired by KEM's deeply personal lessons on intimacy and it will allow fans to experience him unlike ever before musically, lyrically, and visually. For the first time in his career, KEM will lay all of his cards on the table and grant fans the opportunity to get up close and personal while delivering a 10-song collection of timeless music for the grown and sexy. Intimacy features vocal and production collaborations with the likes of Grammy-winning soul diva Jill Scott and the late Motown legend David J. Van dePitt, who famously produced Marvin Gaye's 1971 masterpiece, What's Going On. Scott delivers enchanting verses of spoken word in "Golden Days," while Van dePitt arranged the Detroit Symphony Orchestra's string section on the first single, a gorgeous ballad called "Why Would You Stay."

Los Angeles producer Rex Rideout (Luther Vandross, Angie Stone) also joined KEM in the studio to help round out the Intimacy listening experience. The result is a richer sound buttressed by classical instruments and a greater range of musical styles that will certainly expand KEM's audience by garnering success across multiple formats, including pop, R&B, and urban adult contemporary.

The first online video to be released offers a revealing behind the scenes look of the making of a promotional commercial for the new album that was filmed at the MGM Grand in Detroit ( The second clip will be the actual promotional commercial, which depicts a night in the life of KEM, partying with friends at Detroit's MGM Grand and breaking out in an impromptu performance at the club. It serves as a formal introduction of the new album and KEM's understanding of intimacy. "The moment you realize you're not alone is your finest hour," he says at the start of the commercial. "When you can finally allow yourself to be seen as you truly are-that's what intimacy is to me." Smooth grooves, powerful vocals, heartfelt lyrics, and just plain feel-good music best describe KEM's instantly recognizable sound.

In 2002, the self-taught musician wrote and produced his critically acclaimed debut solo album, Kemistry, which spawned the hit single "Love Calls." The classic track went on to break records for longevity on the Urban A/C chart while the disc achieved gold-plus status and solidified KEM's position as a leading man in the world of jazz-influenced R&B music. The success of his gold certified follow-up CD, 2005's KEM Album II-which debuted at an impressive No. 5 on Billboard's all-important Top 200 Chart-proved KEM's staying power in the very competitive world of R&B.

Now with the release of Intimacy, KEM is opening up to reveal the elusive man behind the voice. In fact, working on this project not only led KEM, a proud father of two daughters who self-produced his first two albums, to a deeper understanding of the true meaning of intimacy, but it also helped him achieve a greater appreciation for the significance of intimacy in all aspects of his life beyond romantic relationships. "I've spent the past five years working on this project in the midst of many personal trials, which caused me to pause and take a more introspective look at myself, my family relationships, my walk with God, and even how I relate to my music," said KEM. "What I found was that giving each more time and attention is essential."

My Fav track off Kem Album II, closely followed by heaven.....

Wednesday, 9 June 2010

This Weekends Activities

This weekend set to be quiet..... but I guess we do have the football to keep us entertained.

Also don't forget to check out:
The restless soul radio show: Friday 11th june at 6pm (gmt) - Spread the word!

Hosted by Phil Asher who will be playing all spectrums of house music and beyond, expect lots of good music, Prototype & Vintage.

ALL BACK TO OURS @ THE BRICKHOUSE with Neil Pierce, Saturday June 12th

Line Up





Time:10:30PM - 3AM
Venue: THE BRICKHOUSE, BRICK LANE, Shoreditch, United Kingdom
Cost: £10.00 / £12.00

Monday, 7 June 2010

Review of Deep Cover @ Dex Club, Sat 5th June

Well oooook, this weekend was freakish!! It was so HOT then came the tropical rain (you know that chubby warm rain) but it was still so muggy and hot....... So glad Sunday was cooler...

Now with that in mind lets begin, Deep Cover on Sat was set to be a stonker and in alot of ways it was but as with all good parties a problem with the venue can mess with your mojo!!! Now I pitched up at 12 on the dot and gosh it was stifling inside Dex club. Simon boi was pitching some warm up grooves, fixing for Groove Assassain to come on an tear up the place.

Now before I forget Paris Cesvette let me just say although I missed your set I have it on good word that you played a blinder and let off some hot exclusives of your own.

Now the problem with Dex club on Sat was the HEAT, Jeeez. If you stood still you were sweating!! An this was making it hard for people to get their swerve on but as with all good crowds they did a good job of soldiering on!! Many took it as shift work to go between the dancefloor and the upstairs roof terrace.

Now Once Groove Assassin stepped on the party stepped up a notch playing deep soulful and dubby with the occasional sprinkle of outright soulful slammers, we were on our way to a monster jam but after a while unfortunately the heat started getting the better of everyone, which lead to an increase in the upstairs downstairs migration! But Groove defo did his job and got the party ready for Neil Pierce then to step up.

Neil then persisted to bang out tune after tune for his whole set, now for those loyal readers you will know we expect nothing less from him!!! Check the brief video for proof lol. Now don't be disheartened cause the only half the crowd lol the rest of em are upstairs trying to cool down lolol. Also a big shout goes out to Blue Boy who drove it home till gone 5am and werent having none of the bouncers sh1t about stop the music...... Go on my son :-)

As always big up the Deep Cover boys, I hear a venue change is on the cards but whatever happens boys you got a good party, great crowd, always on point with the line up, so KEEP IT UP.

Friday, 4 June 2010

Support Good Music....

Phil Asher and Kai Alce - Someone feat. Kayenne

01 Vocal (8:47)
02 Inst (8:53)
03 Reprise (5:56)
04 Version (8:09)
05 Original Demo (6:46)
06 Beats (4:04)

This tune is F**KING hot, a summer time scorcher, make sure you get this. Biggups to the restless family on this here a summer anthem.

Purchase & Listen Links

Phil Asher and Kai Alce - Someone feat. Kayenne - - the best House Music WAV and MP3 downloads

Track 2 on the mix.....
Has Your House Got Soul? Mixed by At One (May 2010) by At One

ALTERED NATIVES - Tenement Yard Volume One

01 Blackvibes (Original) (6:06)
02 Body Gal (Original) (5:48)
03 Afterlife Riddim (Original) (5:13)
04 Oh My Zipper (Original) (6:27)
05 Boneyard (Original) (6:26)
06 What Life Once Was (Original) (5:22)
07 I'm Sexy!!! (Original) (4:47)
08 Splintered (Original) (6:13)
09 I'm Just A Crush (Original) (6:22)
10 Restless Native (Original) (7:12)
11 In My House (Original) (6:03)
12 God Made Me (Original) (5:39)
13 4Four (Original) (5:39)
14 Rage Of Aquarius (Original) (5:25)

Quality album from da yard :-) My personal fav has always been 'restless native' but by the same token I love all these tracks, other tracks to note are definitely 'boneyard', 'I'm just a crush', 'In my house' & 'God made me'

Purchase & Listen Links
Altered Natives - Tenement Yard Volume One - - the best House Music WAV and MP3 downloads

juno download: ALTERED NATIVES - Tenement Yard Volume One

This one will always be my favourite from this new yard.....

DJ Le Roi feat. Lady Bird - So Astounded

01 Halo & Atjazz CityDeep Dub (8:19)
02 Halo & Atjazz CityDeep Dubstrumental (8:19)
03 Black Coffee Remix (7:14)

All i'm gonna say is Atjazz is a sick man.... lol

Purchase & Listen Links

DJ Le Roi feat. Lady Bird - So Astounded (Incl. Black Coffee, Halo & Atjazz Mixes) - - the best House Music WAV and MP3 downloads

Thursday, 3 June 2010

The End of The London Club Scene....? No Matter??

Well this has been going on for a while now and has hit us all hard in some way or another. First up we started losing venues like Herbal then recently we have Lost Plastic People & Matter, now Fabric has just gone into administration??? An the battle for Ministry of Sound is still underway......

Well after the rumours were confirmed today about Fabric, I just sat and thought to myself, is this the end for us in London as a clubbing Mecca for the UK. I mean our clubs are known worldwide, you can go to the furthest regions of the world and Im sure someone will know Fabric, Matter or Ministry.

So ok, we would be losing our trademarks but on the other hand there still are thousands of other clubs/parties going on that we have been going to for years, I know its not the same and definitely not the same in terms of capacity but I don't think its game over.

If you look at it from this perspective (Im an artist) now over the years the internet has had its advantages and disadvantages. With myspace and soundcloud you can be heard by a new audience and maybe get a deal? but with filesharing you can be illegally downloaded, now filesharing is a whole different ball game dont get me started!! But playing devils advocate there could be a plus side of filesharing, certain artist that people wouldnt buy or take time to hear, their music maybe downloaded on a whim and off the back of that the consumer would go to their concert/gig or by their next album, hence the money still comes in?? JUST TO BE CLEAR I DO NOT ENDORSE THIS IN ANYWAY, SAY NO TO FILESHARING, SUPPORT ARTISTS, WE GOTTA EAT TOO. Now the long winded reason for the above paragraph is, in some ways something good can always come from a bad situation so long as you look for a positive.

On this blog i try and promote good nights, for you to go to on over the weekend and you know what?? Alot of them are small nights, where the vibe is better the people are good and most important, the MUSIC TUMPS etc etc Take restless souls nights, Deep Cover, House Dance or Tribe...

I dont know everything and Im sure you guys have big views, SO FEEL FREE TO COMMENT BENEATH OR IN THE COMMENT BOX SECTION, I would love to know your views and interact...

Peace an Blessins

At One

Wednesday, 2 June 2010

Soul Heaven & House Dance Review

Ok So where do I start, first off I am overly pissed off with Imovie & youtube hence the lateness of the review but what I will say is I had a wicked weekend and really had fun..... :-)

Soul Heaven Review

Right so I pitch up at ministry around half 12 - 1 ish and everything is in full flow, as I enter in the bar you had Dj Garphie heating things up and Neil Pierce in the main room warming the crowd for Joey Negro and Louie Vega. Now usually I would go into detail about each person etcetera etcetera but today I am just going to give you the notetables and the low down.... Why because I wasn't overly impressed with it!

First person on the list was Neil Pierce who played a blinder of a set, a perfect warming vibe showing true knowledge of house music so props to him (p.s happy birthday lol). Next Andy Ward, who also played very well, keeping the bar bubbling and vibe rolling through.

Now unfortunately the crowd didn't really understand or get what Joey Negro was doing with the house and disco edits but I thought he played very well none the less.

Where as again I was unimpressed by Louie Vega, I though he could have done alot better and this was reflected in the fact that the crowd upped an left!! Not to go home though, they were in the bar where Sy Sez was playing, who had the the crowd eating out of his hands, playing alot of deeper/soulful/techy grooves that kept the crowd bubbling and wanting more (full props to Sy a very good set). Now to mine and the crowds disgust they closed the bar early to get people back in the main room to listen to Louie, nuff said....

House Dance Review

Now this is a party for everyone to enjoy, I only found out about it recently and this was my second time going to this weekly event but boy was it a good night, if you like House and dancing this is the one for you, big up Jimbo Robins and Phil Asher for showing me the light on this one.

I got there early doors with the mrs, about 11 and just bubbled all night You had Jimbo and Bopstar throwing down grooves, plus a surprise PA from Zara McFarlane and some wicked dancers in, Shay Normann, also two of Japan’s rising stars in the Jazz Dance world Maki & Tamayo, London’s very own Diva La Funk bringing you a Freestyle Vogue & Wacking performance.

I dont need to say anymore check out these videos and see for yourself.

This Weekends Activities

Newfamily Dance Club @ The Drop, Friday 4th June

Line Up

(Third Ear)


Time: 10:00pm - 4:00am
Venue: The Drop, Three Crowns Basement, 175 Stoke Newington High Street, London, N16 0LH
Cost: £5

Round In Motion - Label & Ep Launch Party - Kay Suzuki @ Visions Video Bar, Sat 5th June

Line Up

Kay Suzuki (round in motion/bipolar)
Atjazz (
Adrian Hylton (Soul Sanctuary)
Koichi Sakai (Afrobeat Vibration)
Monk (Goodnoyz)
Jally Kebba Susso - Live Kora & Percussion -
Duchy - Live Vocals - (Goodnoyz)

Time: 10pm - 6am
Venue: Visions Video Bar/ 588 Kingsland Road, Dalston, E8 4AH
Cost: £5 before midnight £7 after - *Email your full name to info(at) for £4 guestlist*

DeepCover presents Neil Pierce, Groove Assassin @ Dex Club, Sat 5th June

Line Up


Time: 10pm - 6am
Venue: Dex Club in Brixton, 467 - 468 Brixton Road, London, SW9 8HH

Tuesday, 1 June 2010

New music + DirtyBird Review

My reviews of Soul Heaven and House Dance are on the way.... Blame my Mac for the delay, its having abit of a moment!!!

For now some music and a review of DirtyBird....

DSoH #331 1st hour by Lars Behrenroth

Time Flys [Reelsoul REWORK] by solechannelmusic

Five Years of Dirtybird
In some senses it can be easy to confuse John Tejada and his Palette imprint with Claude VonStroke and the Dirtybird crew's releases. The two have helped define Californian tech-house over the past decade and recorded mixes for Fabric, with similar aims almost back-to-back last year. Aesthetically speaking, though, they're miles apart: Whereas Tejada's productions are sleek, cold and modern in grain, CVS seems more in synch with the festive and upbeat approach to house music epitomized by people like The Detroit Grand Pubahs or Green Velvet. As a way to showcase the Dirtybird peeps' contribution to contemporary house music over the past five years, CVS has just released Five Years of Dirtybird, a three CD compilation that stands as an impressive testament to his truly distinctive vision.

CD1 chronicles the label's key releases in unmixed format, while CD2 takes more or less the same ones and has Justin Martin segue them together next to newer or rarer tracks. In both cases, the striking thing is the congeniality of it all: Cuts like "Southern Draw" (the label's very first release from Justin Martin & Sammy D that has a kooky vocal inciting you to "smile at your partner while passing gas" with accompanying sonic exemplification) and CVS' own "Deep Throat," "The Whistler," "Chimps" (with, you guessed it, more accompanying sonic exemplification) and the complex and prismatic "Vocal Chords" all place an emphasis on quirky, organic samples.

It might have seemed stupid at first, but having someone whistle or recording someone else's borborygmic burp has been an innovative move. Then there is the ever amazing "Who's Afraid of Detroit" the CVS track that brought the label massive acclaim and is fully deserving of modern-day classic status; its soft-spoken pads and intricate dynamics have helped it age very, very well. Comparatively, Style of Eye's "The Big Kazoo" feels like electro-house-by-numbers at first, but it also redeems itself by the use of, well, a peculiar kazoo-sounding sample. Hats off, too, to "The Greasy Beat," appearing here in its Robag Wruhme vs. J. Philip guise, which is sweet, like Plaid at their most vulnerable, yet has plenty of funk, courtesy of the understated presence of Bootsy Collins.

CD3 is less heavy on the authoritative moments. Older friends such as The Martin Brothers show a bumpier, more crowd-pleasing approach to production, as the current single "Robot Romance" masterfully demonstrates. But it is the label's recent recruits like Worthy & Yankee Zulu ("Humble Mumble"), Talal & Zoi ("Silky King") and Hickup ("Hickup Theme") that bode well for the future of the imprint.

With an array of producers all dedicated to hunting for unusual and sometimes wacky sounds with which to pepper their tracks, Dirtybird has become the home of a truly distinctive voice. In fact, rarely has dance music been able to inscribe its main concern—the body and its inputs, its actions, its reactions—into the very core of its fabric so effectively and with such conviction. On the basis of Five Years of Dirtybird, Claude VonStroke really has something to be proud of, no matter how ridiculous he looks with a bird nest on his head.

Tracklist: Various Artists - Five Years of Dirtybird
CD One: The Past
01. Christian Martin & Claude VonStroke - The Capacitron
02. Justin Martin & Sammy D - Southern Draw
03. Claude VonStroke - Deep Throat
04. The Martin Brothers - Stoopit
05. Solo - Conogloid
06. Justin Martin - Cicada (Claude VonStroke Remix)
07. Sascha Braemer - Some Sweat
08. Claude VonStroke - Who's Afraid of Detroit?
09. Style of Eye - The Big Kazoo
10. Tim Green - Revox (Justin Martin Remix)
11. The Martin Brothers - Full Moon
12. Claude VonStroke - The Whistler
13. Christian Martin & Claude VonStroke - Groundhog Day

CD Two: The Present: Justin Martin's 5 Year Dirtybird Mix
01. Intro (A Phone Call From the Boss)
02. Justin Martin & Sammy D - The Southern Draw / Justin Martin & Tanner Ross - Breff
03. Julio Bashmore - World Peace
04. The Martin Brothers - Duckface
05. Justin Martin & Claude VonStroke - Beat That Bird (Acapella)
06. Claude VonStroke - Vocal Chords (Voodeux's Grumbly Mix)
07. Claude VonStroke - The Greasy Beat feat. Bootsy Collins (Robag Wruhme Mother Jones Mix vs J. Philip Mix)
08. Sascha Braemer - Some Sweat
09. Justin Martin & Sammy Dee - I Miss You... Please Call Me Back Someday
10. Mike Monday - Grace (Justin Martin Remix)
11. ICS - Espagnol / Edu K - Dos Gusanos
12. Tim Green - Revox (Justin Martin Remix)
13. Iz & Diz - Magnificent (Justin Martin's No Heart & Soul Mix)
14. Justin Martin - Robot Romance
15. Claude VonStroke - Deep Throat (Just Martin Remix) / Claude VonStroke - The Whistler
16. Claude VonStroke - Twang Chung
17. Claude VonStroke - Chimps
18. Justin Martin - Cicada (Claude VonStroke's 17yr. Mix)
19. Christian Martin & Claude VonStroke - Groundhog Day
20. Claude VonStroke - Who's Afraid of Detroit? / The Martin Brothers - Stoopit

CD Three: The Future
01. Edu K - Dos Gusanos
02. The Martin Brothers - Duck Face
03. Claude VonStroke - Dood
04. Kink - Elevator
05. Justin Martin - Robot Romance
06. Hickup - Hickup Theme
07. Talal & Zoi - Silky King
08. Worthy & Yankee Zulu - Humble Mumble
09. Donk Boys - Hehu
10. Christian Martin - Polar Bear
11. Sascha Braemer - Club Foot
12. J Phlip - Droppin Bombz on Yer Momz
13. Jacob Seville - Groovin