Friday, 29 October 2010

At One Makes It Onto Defected In The House – Tokyo ’11 Comp...


Studio Apartment and Rae compile and deliver mixes of quality, depth and personal flavor. DJ Masa of Studio Apartment features brand new releases from the likes Gregor Salto, DJ Gregory and Andre Torquato Project. But Masa isn’t just about the freshest music, here he includes tracks that have become anthems in the clubs of Tokyo; Martjin Ten Velden’s ‘Cowbell’, DJ T’s ‘Dis’ and ATFC’s ‘Guru’.

Rae makes her compilation debut with the second mix. Having to whittle down a whole heap of your favourite records past and present to just 15 tracks was not an easy task for Rae, wanting to make sure what she delivered what is a true reflection of her style, and she’s got it bang on! Perfectly combining the upfront tracks smashing her dancefloors, own productions and personal favourites; anyone wanting to get the perspective on what a Rae DJ / Performance set is like should look no further. Tensnake’s ‘Coma Cat’, the Daddy’s Groove mix of Louie Vega’s ‘Diamond Life’ and Riva Starr’s smash cut up of Butch’s ‘XTC’ are all on here before ending on one of Rae’s all time classics, G Club’s ‘Guitarra G’. This is a mix displaying her diversity and eclecticism as a house DJ.

Various Artists - Defected In The House Tokyo '11 - - the best House Music WAV and MP3 downloads

Defected Store - Defected In The House – Tokyo ’11

Disc 1
1-Your Words - Studio Apartment & Rae
2-Niente - Torquato, Andre Project
3-Nobody - Copyright & Imaani
4-Ashiha - At One
5-Your Friend - Salto, Gregor & Chappell
6-Savannah - Torquato, Andre Project & Ale Reis
7-Cowbell - Ten Velden, Martijn & Afroboogie
8-Slats - Groeneveld, Koen & Addy Van Der Zwan
9-Canoa - DJ Gregory & Gregor Salto
10-Guru - ATFC
11-Paris Luanda - DJ Gregory & Gregor Salto/Serafim Crew
12-Reelin' - Supernova
13-Dis - DJ T
14-Muchness - Tong & Spoon
15-Cry Out - Rune RK & Clara Sofie
16-Fearless - Kobayashi, Hideo & Lisa Shaw

Disc 2
1-Afrika/Can't Stop - Ceballos & DJ Chus/Kings Of Tomorrow & Rae
2-Coma Cat - Tensnake
3-Yesterday - Nunez, Jose & Shawnee Taylor
4-Bude Baun - Super Flu
5-Sunshine People - Penn, David & Rober Gaez
6-Diamond Life - Vega, Louie & Jay 'Sinister' Sealee/Julie McKnight
7-You Will Remember - Gray, Michael & Danism/Rae
8-Give It Back - Flores, Sergio & Joy Malcolm
9-Hide U - Rivera, Sandy & Rae
10-My Destiny - Bovie, Daniel & Roy Rox/Ricky Rivaro/Nelson
11-Sun Rising Up - Deux
12-Angola - Font, Alex
13-XTC - Butch
14-Vem Rebola (Oh Beat) - DJ Gregory & Gregor Salto/Dama Pancha/DJ Mankila
15-Guitarra G/Whatever - G Club & Banda Sonora/Sandy Rivera & Andy Daniell

Thursday, 28 October 2010

Technics 1200s & 1210s to Cease ???

Production of the Technics 1200 and 1210 turntables will cease permanently this year, according to a statement that reportedly came from the product's owners, Panasonic Japan.

Various blogs and websites have posted translations of the press release as of late, which was originally written in Japanese. Music technology website Audiobeef posted this version on Friday:

Regarding our analogue turntable products, we have to inform you of our decision to terminate the business within this year, regrettably. Here are the reasons which made us reach this conclusion.

1. Since beginning of last decade, our sales of turntables have been decreasing drastically. They're almost one-fifteenth of the sales 10 years

2. Many key parts are no longer available as some of our suppliers stopped production or discontinued their businesses. Also, there is the risk that some key parts' availabilities might stop suddenly, and these parts are only being produced for our turntables. In that case we cannot produce the products that we have taken orders for already.

We cannot help discontinuing production in advance in order to avoid the worst case scenario. Word of the iconic turntable's demise first cropped up a year ago when a similar statement leaked from Panasonic, only to be retracted shortly after, a spokesperson from the company said there were "no current plans to discontinue the Technics brand and the production of Technics turntables." More info will be posted on this story as it becomes available.

Wednesday, 27 October 2010

This Weekends Activities


Line Up

SY SEZ (Soul Heaven/AphroDisiax)

DJ CROOKID (Unknown Fm)

KEV CHASE (Nu Wave Soul/ Nightlife People)

JASON SOL ( Select Uk/ De La Phunk)

PROLIFIC ( Soul Salvation)


RICHIE S (DirtyStopOuts)

THE SAXTON BROTHERS (Nightlife People)


NICKY M (Nightlife People)


DJ KELO (Select Uk)

Time: 9:30pm - 4:00am
Venue: 76 Westow Hill, Upper Norwood.

HOUSE DANCE UK - HALLOWEEN SPECIAL @ Madame Jo Jo's, Sunday 31st October.

There’ll be £300 cash prize plus a bag stuffed full of goodies up for grabs for the main House Dance battle, plus......
A special Michael Jackson ‘Thriller’ Dance Off! Top prize for the best MJ styled performance of Thriller!
& More...

Line Up

Jimbo (raw deal)

Afronaut (BugzInTheAttic).

Time: 9:00pm - 3:00am
Venue: Madame JoJo’s, 8-10 Brewer Street, Soho, London W1 0SE.
Cost: £8 All night

Tuesday, 26 October 2010

A Small Tribute To Gregory Isaacs

They called him "The Cool Ruler."

And reggae star Gregory Isaacs in his many incarnations through the years, did keep that cool no matter what. Like other singers he had his ups and downs, his comebacks and fade outs.

By the time he died yesterday morning in London at 59, after a long fight with cancer, he had released some 500 albums and also been arrested a dozen or so times. He also appeared on some big bills locally at the West Indian Club over the years, including a show with Mighty Sparrow and Frankie Paul in late 2001 and a date at the Sportsman's Club in 1992.

Friday, 22 October 2010

Phil Asher Video Interview....

When Phil speaks, I listen. My Advice is to look, listen and learn your Phlash history....

Go check it out.... by clicking the picture below...

restless soul Music by restless soul

Thursday, 21 October 2010

Atjazz Interview...

By Ape Mag

Don't label the Derby based Iveson too quickly as just another deephouse producer. Listening to Atjazz the soul and jazz are never far away, as well as the dubby sides from British dance music like broken beats and downtempo listening stuff. “I do understand why people think of me as merely a house music producer, it is the core of my productions. My first album (That Something, '99) immediately was very housey, deep and downbeat, but made from one thought. With my second album I tried a lot more; Labfunk ('01) was still about house music, but it had elements from broken beat and funk. I think it's important there are tracks with a certain hook, nothing should sound the same -rather too deep than uniformity.”

This probably has something to do with the game music Atjazz was also producing up till 2004. “Nice work in the 90's”, he says. “Back then there were not too many games around, you could put your own sound into each one. Nowadays it's become a serious business; each game has to be a triple A product, with the music getting far more serious as a result, you end up kinda part of company philosophy. For me that was the end of it, all though I did recently make something for a friend of mine who had created a nice game app. Yeah, that brought back a bit of that freedom from the early days.”

Beside this, Iveson focuses on his own productions, some theatre music and running his own imprint Atjazz Record Company. It’s a follow up to Mantis Recordings that closed its doors last year. “It was a successful label, but changes in music industry made it more difficult to keep hold of all the artists. As a result of closing it the attention shifted a bit more to me, and now I've been more busy than ever”, he says. He just released his third album Full Circle, did some extensive touring and will soon be leaving for some gigs in America. “An unfulfilled ambition, conquer America!”, he laughs. “But I think my music will fit perfectly over there.”

Atjazz knows a dj has to stay unique, especially in these days of digital sales and a faster flow of tracks. “It's a bit of a shame, music kinda lost its depth. A track's maybe a hit for a couple of weeks, being played by everyone, and then the attention is already shifting to another one. It's required some sort of different mindset, you have to come up with original stuff, as a producer and a dj.”

“Luckily I still get lots of good music from friends in America and Africa. For an example, my good friend Charles Webster and I exchange a lot of new stuff. So, globalization is a blessing in this case. Long live the worldwide communication!”

Wednesday, 20 October 2010

This Weekends Activities

Dj Sneak @ East Village, Friday 22nd.

Line Up

DJ Sneak (3 hour set )

Stuart Patterson

Junior Richards

Time: 9.30pm - 3.30am
Venue: East Village, 89 Great Eastern St, London, EC2A 3HX
Cost: £8 before 11pm, £10 after

We Fear Silence present Deviation 3rd Birthday Special Pt 2 @ Cable London, Saturday 23rd

Line Up

Theo Parrish
Benji B
Alexander Nut

Time: 10:00pm - 06:00am
Venue: Cable London, 33 Bermondsey St, London SE1 2EG
Cost: £8 Early Bird / £10 Advance & Students OTD / £13 OTD

Soul Heaven @ Ministry Of Sound, Saturday 23rd

Line Up

Kenny Dope Gonzalez
Phil Asher
Andy Ward

Frankie Feliciano
Neil Pierce
Sy Sez
Aaron Ross

Loft: The Mixshake Party
Moreno and Jose Luis
Bruce Wayne
Hugo & Kaan

Baby Box: Nu House
2 Good Souls
Matt Early & Tj (Live)
Mark Radford
Carlos Renn & Ryan P

Time: 23:00:pm
Venue: Ministry Of Sound, 103 Gaunt Street, Elephant & Castle, London, SE1 6DP
Cost: £20 Advance / £10 from 4am / Students £10 All Night

Tuesday, 19 October 2010

BlackCoffee Goes 60 Hours On The Decks For A World Record

Just incase you didnt hear......

DJ BlackCoffee, real name 'Nkosinathi Maphumulo'(34), spun records for 60 hours in a row in an attempt to break the world record at a charity event in Johannesburg, South Africa.
His hit release, “Turn Me On feat. Bucie" reached number 1 on downloads from January-February of 2009 and stayed on the number 1 spot for three weeks. The single also stayed on top of the charts for about 4 weeks on UK's leading and most popular urban radio station Choice Fm, and other notable house stations in the UK.

DJ BlackCoffee's "Turn Me On" and "Superman," dance tracks have earned him international recognition and have made him the biggest dance music export out of Africa to date.

The dance music DJ, who lost his left hand in an accident aged 13, hopes video footage of the event will win him a place in the Guinness Book of Records.

He said: "I stayed strong. The music kept me going. I'm going to be a better DJ as I was doing it for a greater reason. At some stage I held back tears."

Nkosinathi, who uses the stage name Black Coffee, started his record attempt in a shopping mall at midnight last Thursday. Under the rules of the record attempt he was allowed a 20 minute comfort break every four hours. But his manager told South Africa's Sowetan newspaper he finished in style by playing the final 15 hours without stopping at all.

Nkosinathi organised the unusual event to raise awareness for his charity, The Black Coffee Foundation, which raises money for people affected by disability. After finishing his marathon session yesterday he admitted: "I am exhausted. I am going to sleep."

Guinness World Record officials are expected to rule this month on whether the feat qualifies as an official world record.

Monday, 18 October 2010

Some Interesting stuff to watch.....

Christian Prommer and Jazzanova's Alexander Barck

Ahead of their first official show together next month, see Christian Prommer and Jazzanova's Alexander Barck rehearsing and performing together as Prommer & Barck at Berlin's Weekend club.

Prommer and Barck live @ Weekend Berlin , September 18th , 2010 from Christian Prommer on Vimeo.

Moog Music will release a new synth, the Slim Phatty, later this year.

The Slim Phatty boasts a 100% analog signal path, easy-to-use interface, USB and control voltage functionality, and at only 17-inches wide is naturally being aimed at the touring DJ and producer. The synth is in effect the younger sibling of Moog's Little Phatty, and includes the same sound engine and revered Moog Ladder Filter. The filter can also be used to process external audio, while its Control Voltage inputs open up the possibility of connecting modular-style to other Moog effects and synths. Among the Slim Phatty's two-oscillator design you'll also find features such as two ADSR envelopes, an arpeggiator and a modulation section containing a four waveform LFO as you'll see from the video below.

Music Machine

Felix's Machines from Felix Thorn on Vimeo.

Thursday, 14 October 2010

Moog Music Make Filtatron An iPhone App....

Moog Music, they of the normally analog-only gear, have built their first iOS application.

The application, Filtatron, hasn’t yet been announced. There’s no information on pricing or availability, accordingly.

Divided onto several pages (see screenshots), it represents a set of modules for recording, sampling, effects, and filtering. The controls are cleanly laid-out, and everything makes some sound, making it familiar and fun for people who know how to use it but very “tweakable” for someone who’s never touched something like this before. (There’s no question this could be a gateway drug to Moog’s genuine analog gear for the mass market on iOS.)

What it does:

Filter + LFO
Amp (drive) + feedback for distortion
Adjustable, time-syncable delay
Sampler with adjustable playback speed, loop points, and live recording
X/Y pads for tweaking and performance, plus preset sharing.

You can actually use the app without any input, by transferring files from your computer or another application (with AudioCopy supprot). But connect a mic or line input (or use the internal mic on a device like the iPhone), and the Filtatron turns your device into a live filtering unit.

Wednesday, 13 October 2010

This Weekends Activities

C Deep presents Osunlade @ The Den & Centro, Saturday 16th.

Line Up

Osunlade (Yoruba Records)
Wbeeza (Third Ear)
Mark Force (Bugz in the Attic)
Mark Radford

Time: 10.00pm - 6.00am
Venue: The Den & Centro, 18a West Central Street, WC1A 1JJ
Cost: Tickets £15 from / £20 on the door

Tribe Fela Kuti Tribute Party @ Drop East, Saturday 16th.

Line Up


Time: 10:00pm - 6:00am
Venue: Drop East, 54 Commercial Street
Cost: £8 early bird tickets from More on the door

Digdeep @ The Brickhouse, Saturday 16th.

Line Up

Pablo Martinez
Joseph Hines
Chris Samba

Time: 10.30pm till 3am
Venue: The Brickhouse, 152c Brick Lane, Shoreditch E1 6RU
Cost: £8 door / email: for £5 concs list

Dj Spen & Miss Divine @ Broke London, Saturday 16th.

Line Up

Main Room:

Ben Phelps
The Smith Brothers

Room 2 Hosted By Technique:

Danny Bailey
Harry Matisse
+ Guests

Time: 21:00:pm
Venue: Broke London/ 562 Mile End Road E3 4PH
Cost: £10 Advance £15 on the door

Altered State EP Launch Party @ Secret Location, Saturday 16th.

Line Up

Kay Suzuki (Round in Motion)
Christo (Superficially Deep)
Mr Beatnick (Don't Be Afraid)
Adrian Hylton (Soul Sanctuary)
with special guest singers and musician

Time: 10pm-4am,
Venue: 121 Stoke Newington Road London N16 8B
Cost: £5 all night

Tuesday, 12 October 2010

Groove Armada See White Light.....

Celebrated UK duo Groove Armada are set to release a new full-length this month, entitled White Light.

As its title suggests, the record presents an alternate version of Black Light, an introspective long player that group member Tom Findlay described as showing "the darker side of Groove Armada." In the time since that album's release this past winter, the duo have played a series of huge festivals across Europe, prompting them to rearrange each track for better effect on stage. According to Findlay, the tunes were "recut, reworked and enlarged for a festival season that began at Glastonbury, crossed Europe, took in Japan and ended in Moscow." In addition to new versions of old tracks, White Light will feature one entirely new song, entitled "1980." The pair will continue touring right up to the album's release date, with shows still to come in Bristol, Birmingham and London.

01. Warsaw
02. Time & Space
03. History
04. Not Forgotten
05. I Won't Kneel
06. Look Me In The Eye Sister
07. Paper Romance
08. 1980
09. History (Love Mix)

Cooking Vinyl will release Groove Armada's White Light on October 18th, 2010.

Monday, 11 October 2010

Karizma Interview....

Saw this in XLR8 and thought I should relay......

Wham City and club music aside, Baltimore is still a place where you can roll up to a red light and hear deep house thumping from a car window, or find a "House Music Lives" sticker plastered on an alley door. Before club music, house was the dance music of the city—and its old-school residents remember it fondly. Right as Baltimore club exploded into the world's DJ crates, Karizma (a.k.a. Chris Clayton) got into the studio with the Basement Boys team of DJ Spen and Teddy Douglas, and learned how to make house music. After a baffling amount of remix work, and a well-received leap into solo production, Karizma is keeping the house music faith alive. On a stifling early-Summer day in Baltimore, we caught up with the producer and DJ on a brief stop back in his hometown to talk about learning from the masters.

What are some of the biggest things you learned from working in the studio with the Basement Boys?

Karizma: How to structure a song. And, from Spen, I learned engineering and the technical aspects of the studio. It's a big part of everything I do now. Unruly [Records] was different—[I] pretty much made the Baltimore [club] tracks and that was it. This was a whole different meal. I learned song structure, how to make drama in a song, how to make something happen when there is nothin' happening with voices and stuff. I don't think I would be half of what I am without that experience.

Why did you move from making club music to house tracks?

It was what I wanted to do with music anyway. I had this Baltimore record that was nine minutes long—the longest club record ever. It took a year for anyone to play it. They was just used to three- or four-minute songs playing the same thing over and over. I used to tell the DJ, 'You gotta play for at least five or six minutes. It does different things.' When I saw that happenin', that they didn't want to let the song do anything, that's when I became discouraged and decided to move on. I thought the music should always grow and develop into something else. Moving to the Basement Boys was a breath of fresh of air. I was constantly doing remixes, constantly doing something different drumwise—which doesn't apply to Baltimore club. I never used the same drums at Basement Boys, and that was something I promised I would never do.

When you hear a track, what tells you whether or not it's something you can work with as a remix?

If I think I can take it a different way, or it's a good song—hopefully both. If I just hear, like, a chant in the song I think I can work with. Or, the third thing is just something completely different that would give me a challenge. How can I make it way different than what it was, hopefully to make it a better track? I always try to throw different things into the circle so people don't become bored with what I do.

Where do you start in the studio?

[It] depends. Sometimes the [Ensoniq] ASR-10, because that's what I use for drums. For years, that's all I used. I never even used to use computers in my stuff. I was just too scared. I like the sound, the dirtiness of the stuff that's analog. I kind of do a little bit of both now—call it digi-log. I take stuff from the ASR or the MPC and then dump it into Logic. The majority of the time, it starts out with my drums. And then keys or synth.

Why did you decide it was cool to start using a computer?

It just seemed like the right move. Some of my friends were just killing it on Logic. I used to use a PC, which is really cheap and you can get everything cracked—but it's not the most stable thing. Viruses come, and then you lost your song. 95% of my friends use Logic and a Mac, so that's how I ended up making the move. [Live], I still use [Pioneer] CDJs. I still don't have enough trust in the computer.

What piece of gear do you covet?

An original Moog synthesizer. I wish I had one of those.

What production technique or style are you just sick of hearing?

Right now, I guess a lot of the big-room stuff I really don't like because it's just all the same and there's nothing different. Like, you can expect that 16 or 32 bars will be filtered down and come back up. When I can figure a record out two or three minutes in, those are the types of records I can't stand. I like records that take me somewhere else or throw me [for] a loop. Predictability in a track is what turns me off the most.

RootMusic BandPage by KaytroniK

Thursday, 7 October 2010

Still beating on the Motor City Drum.... Interview & Mix

So, it's a pretty boring question, but with a name like Motor City Drum Ensemble there must be a really interesting reason behind it?

Stuttgart and the surrounding area largely depend on the automobile industry, with Porsche and Mercedes Benz situated in the city and the automobile being invented here as well. Everybody here knows somebody that works in car industry; it’s the biggest economic factor in the area. Stuttgart has therefore always had the nickname of the "motor city" of Germany, and in the nineties the first techno parties I visited picked up that name, also in reference to the great music coming out of Detroit that was played on these parties. The drum ensemble stands for the concept of having a large section of drum machines that form the "ensemble" with me as a narrator.

At the age of six you started playing drums at school, looking back do you think it was inevitable you'd end up making beats?

Absolutely! I was always thinking in grooves, drum breaks, and would not really read notes (I could though) and practice playing techniques that much. Pretty much a kids move - these days I regret that I didn’t get deeper into the stuff that takes a little more patience, but rewards you with more playing possibilities.

You carved out a successful career with Joachim Tobias in the broken beat world as Inverse Cinematics - what made you return back to house music and the MCDE?

I constantly did techno and house stuff through all these years, it was just that the Inverse Cinematics project and the labels we would release on weren’t really feeling the more electronic stuff. I don’t think I really changed my musical perspective - I still love lots of this stuff and can also imagine doing some more jazz-rhythm inspired stuff again.

But as a DJ I would always find broken beat and phusion to be not the easiest music to play out - and the beats got weirder and weirder, the basslines sounding like drum and bass all over again, that wasn’t really what I wanted to dance to, so I would always play more house, disco – but on the other hand there are still some really great tracks from the broken beat era that I play out regularly.

Your 'RawCuts' series is no doubt familiar to the majority of people in the house and techno scene, did the success take you by surprise?

Yes, at the time I started to do these old school sample-based house tracks I felt like I was the only person on the planet still playing them. I wasn’t touring that much and I would never hear a Pal Joey or Sneak track in Stuttgart or Berlin. Plus most of the heads I knew in the broken beat scene didn’t really care about that stuff all that much - at least here in Germany - so when we pressed up that first MCDE record and it ended up being sold out in 2 weeks I was like WTF??

I’m glad you can hear some more edgy and soulful music in clubs again, but also a lot of it sounds like deep house lite - you can hear if somebody really cares about music and its history or just listens to what’s happening in electronic music these days.

'RawCuts' spawned from your own MCDE imprint, is there plans to develop the label more or will it just be home to the 'RawCuts' series?

There will definitely be more releases on MCDE. I see the label as the home for the sample-based, rougher stuff - although I don’t want the ‘Raw Cuts’ series to go on forever. Maybe there will be a new themed series… we will see.

The most important thing is quality control for me. We got a lot of demos, some also quite good, but I have a very distinct idea, a distinct sound, and rather than exploiting the hype there is around MCDE these days I want to be sure to provide something substantial without any pressure from distributors etc. When you look at classic, collectable labels like Prescription, you’ll find that each release just fitted perfectly and was sort of a statement. That’s a high goal and I don’t want to compare MCDE to that now, but it’s good to have a clear vision.

Your sound is certainly representative of the Deep House scene at the moment, there seems to be a convergence of more soulful analogue music clashing with house and techno - why do you think this is and is
there anyone else you particularly enjoying hearing at the moment?

Music goes through constant changes and throwbacks - after years of rather machine-sounding, dark, soul-less minimal music it was only natural that disco and house would make a comeback. On the other hand I can already see a new darker sound approaching, think of Ostgut Ton, Sandwell District & some more techno inspired dubstep. I really like this kind of stuff as well!

There can be "soul" in just a handclap sound or a bassdrum, but the generic, flat ableton sound that ruled the clubs for the past five years is definitely passé in most of the genre-defining clubs.

Finally, tell us all... what have you got coming up that you can let us know about?

I am moving cities and setting up a new studio, massively improved, with a big analogue mixing desk and most important, more space to move. Once this is done I will start working on new stuff, I really want to do an album for next year. Also, I’m positive there is going to be another release on MCDE this year. It will feature a track that was formerly only available on the "Raw Cuts vol.1" CD - a really beautiful remix by John Roberts and probably 1 or 2 more tracks.

Download: Motor City Drum Ensemble – fabric Promo Mix

Wednesday, 6 October 2010

This Weekends Activities

Deep Cover: Sy Sez, Simon Boi, Blueboy @ The Gramaphone, Saturday 9th.

Line Up

Sy Sez (Soulheaven)
Simon Boi (DeepCover)
Blueboy (DeepCover)

Time: 9pm - 3.30am
Venue: The Gramaphone, 60-62 Commercial St, London, E1 6LT, UK
Cost: £3 badgeholders, £7 door.

R2 Records & Atjazz Record Company Present.... Undergrounded @ Life, Saturday 9th.

Line Up

Resident DJs:
Atjazz (Atjazz Record Co.)
Kyri (R2 Records)

Special Guest:
Rap Saunders (Soulmates)

Time: 9pm - 2.00am
Venue: Life, 2-4 Old St. EC1, UK
Cost: £3 / £5 door.

Tuesday, 5 October 2010

Review of Mahon & Bara Bröst....

Ok so I have been blessed with some promos y'all should know about, tip top music either out or soon to be delivered to market....

First up we have R2 Records bringing to the fore ‘Human’ – the debut EP from transatlantic soul duo, Mahon.

A collaboration between Irish singer, Fiona Mahon, and Jamaican-American producer, Trevor Goodchilde, Mahon follow in the tradition of classic dance music partnerships like Inner City and Everything but the Girl, mixing an electronic sensibility with influences from pioneering artists like Prince, Grace Jones, Arthur Russell and Bjork.

The package contains a soulful house track of ‘Closer’, a future-disco rework of Lou Rawls classic ‘You’ll never find another love’, Human blends a sound that is as organic as it is electronic.

Plus two dope remixes from Baltimore's own, Karizma, and you’ve got a record that draws on soul and dance music’s rich past to create something that’s truly future.

This is due to drop on the 11th of October, make sure you go cop that.

Closer (snippet) by Mahon

BBE are also pushing out some dope bits like Bara Bröst.

In September 2010 Bara Bröst dropped their debut album "ELEPHANCYCLE" and it landed on BBE Records.
The album was put together to paint a picture of a night at the circus. The whole album is filled with a somewhat experimental deep house sound, which is a refreshing blast to the ear. BBE point out "There is for example the marvelous "Madame Mila", who heats up the circus tent with her brass band or the fabled "Zebril" - an African crocodile that has swallowed a zebra and finally the star of the show, the little lost-looking elephant Pete doing his tricks on his all too small bicycle, called "Elephancycle"."

The album is their very own take on Deep - and Tech-House paired with catchy and at the same time advanced sounds perfectly suited for the out-door raves this summer, as well as crisp hooks for your innovative prime-time set. “Musical variety was given priority in all phases of our work.

To Listen or Buy go to

Elephancycle Album {extract} by Bara Bröst

Monday, 4 October 2010

Diplo = Wesley, Wesley = Major Lazer..

Now I love house but I follow many genres... and somebody I have followed on his musical journey is Diplo, with his original Baltimore Esq sound which has moved in many directions, including into the Major Lazer movement. I saw this doc on the Mad Decent man as he prepares for, then plays, Major Lazer Soundsystem's block party gig in Philadelphia and thought you guys should check it...

Friday, 1 October 2010

Wbeeza set to release Void.....

Caught wind of this on RA and thought y'all should support this new homegrown talent...

London-based house artist Wbeeza has unveiled details for his first full-length, Void, slated for release this fall on Third Ear.

The album comes just two years after Wbeeza's debut EP, Heavystuff, which cemented the young producer's reputation with the underground house hit "Disco Dayz." In the meantime he's put out two more 12-inches, New Skank and City Shuffle, the latter of which has gotten loads of club play thanks to the stripped-down drum workout "A116." Void consists of entirely unreleased material, though none of it was recorded for the album specifically. "I didn't sit down and make this album," Wbeeza explains. "These are just a few tracks that sounded nice when were were compiling the album."

This off-the-cuff approach extends to his productions as well. "I'm just making music," he says. "I'm not trying to make slower tracks and faster tracks or hip- hop or house. I grew up as a kid with hip-hop, beatboxing rather than making beats, and those beats are in my blood. When I make a track I just start out with how I'm feeling or with an inspiration; an idea or a sample, and that's where I finish as well. I'm making all kinds of sounds." Void will see release on CD and digitally as a single mix or split into separate tracks.

01. Blunted
02. Day by Day
03. Shangri la
04. Sharar
05. Beaver Skin
06. Manual Mode
07. Tru My Veins
08. Beyond Question
09. The World Is Yourz
10. Southern Girl
11. Hang On
12. Why
13. Let Me Know
14. Variations
15. My Mistake
16. Take Em Out
17. 2Nite

Third Ear will release Void on November 22nd, 2010.