Warm with Motor City Drum Ensemble @ Plastic People, Friday 16th Warm continue their exclusive monthly Plastic People residency on Friday April 16th with a special 4 hour set from Motor City Drum Ensemble!
Line Up
Motor City Drum Ensemble Warm Residents (Ali Tillett and Rob Summerhayes)
Time: 10:00pm - 4:00am Venue: Plastic People, 147-149 Curtain Road, Old Street, EC2A 3QE Cost: £8 in Advance / £10 on the door
Vita.Luna: A Noir Music Showcase & Cadenza's Mirko Loko @ Cable London, Saturday 17th April Line Up
Room 1 NOIR MUSIC SHOWCASE
NOIR SANTOS Cozzy D Dunkan K
Room 2
Mirko Loko, Daniel, Oli Forster & Aaron Ashley, Lee Brinx, Alexis Raphael
Time: 10pm until 6am Venue: Cable London, 33A Bermondsey Street, London, SE1 Cost: £8 early bird/ £12 Standard
DANCE FOR CHILE Supported By SOULHEAVEN, Saturday 17th April Line Up
MAIN ROOM " Deep & Soulful, Latin House music"
NEIL PIERCE (SoulHeaven ) BOOKER T (Kings Of Soul) BOPSTAR (Restless Soul/Soul Heaven ) JOSE CARRETAS (Restless Soul) SY SEZ (Aphrodiziacs/SoulHeaven) CARLOS FLOREZ (For The Love Of House) CROOKID (Ancestral Soul)
On Percussions SHEYI OLAGUNJI
THE LOFT Soulful Grooves
TOM BULWER (2Deep) JAY RUSSELL (Unknown FM) LYNDA PHOENIX (Shejay.net) PETER BORG (Simply Salacious Parties) JUSTIN CREDIBLE ( House FM) JO DEVIOUS (Smitten) STEVE FEELGOOD (Connoisseurs Of House)
On Percussion BONGO MAN FLEX
We have just had confirmation that Mr Bop Star and the RESTLESS SOUL camp, zara mcfarlane and baby sol will be doing a live P.A of his new tracks, captured', 'material thing' and 'desire'
Also Mistiter Tom Bulwer (Ministry radio and 2deep) will P.A'ing his new track too. Gonna keep this one under the hat tho.
"Hold Home" was one of the most charted tracks of 2009. Meet the Italian man whose technical skills got him involved with many artists. He's now working with Timo Maas as Mutant Clan. Sante Pucello aka Santos, Seventies disco fever was the first source of inspiration to Italian born producer Sante Pucello aka Santos. It took him 20 years before he set up a small studio together with a friend in 1992, where he used to spend lots of hours composing his music. Two years later Santos made his first record. A short glance at his Discogs page tells the story of what happened next. His productions and remixes in numerous music styles got support from DJs worldwide and so did his many collaborations. His technical skills got him involved with many artists including fellow Italian Alex Dolby who hired him to engineer his album "Psiko Garden". Just recently Santos' work with Timo Maas as Mutant Clan started making waves. Last year one of Santos' tracks stormed the charts. More than enough reasons to find out more about this talented producer. And we did :)
Your track "Hold Home" has been voted #1 at Resident Advisor and #5 at Beatport for most charted track of 2009. Now that's a great start of 2010!
"Ciao! Sure it's a good end of 2009 and a good start of 2010! I have been in this position a lot of times in my life :) I always feel very much concentrated on my work and on experimentation with sounds - but having a number one track is a great sensation each and every time."
What do you think makes "Hold Home" stand out from all the tracks that came out last year? What's more important to you - that your producer/dj peers like it, or that the fans like it?
"Hold home was produced in March 2008 but it got released in June 2009 because it was very hard to find a label ready to release something different. Doing my job in the studio I'm always concentrating on the crowd - my target was to have a totally different track to be played in face of people by DJs around. This is my motivation and push. Fans and DJs maybe know me from 15 years of my music. I never repeat myself and release different sounds track by track - waiting for the next one." SANTOS HOLD HOME by santositaly
You've been around for quite some time and your list of productions is as endless as it is diverse: house music, breakbeat and techno. What's your preference?
"I'm just attracted by something I don't know - so I spent years in the 90's around dirty house music and techno. Then I touched electonica and breakbeat for the next four years, just because I was totally bored to produce 4/4 music. I just changed kick drum programming and was tagged under breakbeat or alternative - whatever you want! Following my emotion in the studio, I then again came back on 4/4.
"That it's the reason of it all. Emotion-adrenalin-trip!"
Tell us more about your favorite music. Who are your musical heroes?
"This always is a hard question! Hmm, a lot actually - from Mozart to Moroder to Chemical Brothers to Johnny Cash to Radiohead to Orb to David Bowie to Kraftwerk to Romantony, and more. There are a lot of Heroes in my background. I love music at 360 degrees and I take in my soul just those tracks that are good to give to me an adrenaline-emotion-trip :)"
What role played Italy in the music you're producing at the moment?
"That's a funny question, because for 16 months I'm living in Germany on the country side, 20 meters from Timo Maas' house - so I actually don't know about the role of Italy in my recent music :) I don't like living in the middle of chaos, so no big city for me. I love staying secured in my bubble to record my emotion - and then try to sell it. But I love to go to Italy to play gigs and talk Italian :) and for sure I love the good food!"
You've collaborated with a lot of people in the studio over the years. What's the reason you're working with others?
"Just to be clear, I love working alone for 90% of the time - but sometimes collaborations are interesting. I don't work with anyone before I understand the trip between me and the person sitting close to me. It's essential. If the trip is the same, the collaboration comes in naturally - any other way is impossible. But when it's well done it's like an orgasm! Two or three people having the same trip is the best pleasure."
You and Timo Maas are on fire lately! All the Mutant Clan tracks have these amazing grooves, elements of percussion and it keeps building and building! Which part of the tracks is your input and which part is typically something Timo brings in?
"Timo is the sort of person I just described. We share the same trip and same vision of sound. We work together - talking, listening and eating music every minute possible. Mostly, my job is doing all the programming, equalization, mixing sounds and other technical work, but I know we have the same trip and it's therefore very easy to do. For example, if I have in mind to change the snare - before I start to move the mouse, Timo says, 'Hey we have to change the snare.' So perfect! We have two studios - one for production and one for listening. With Funktion One system and 7500 watt of Club sound, hehehe."
How do you experience working on the Mutant Clan project in general? How are you guys performing live?
"You can consider the Mutant Clan project just a baby right now, we have more and more in mind for the near future. For the moment we're doing danceable experimentation with it - and live, we play together with two mixers and eight CD players creating a fucking amazing trip I have to say :) "Next future: You'll see!"
If you had to pick one remix that you're really proud of which one should that be?
"Emhh ... remix? "Drop The Hate" by Fatboy Slim - my mouse was shaking all the time during the work!
What kind of equipment do you work with in the studio? Any tips and tricks you can share with our readers? (such as your favorite VST plugins for example).
"I use two software platforms: Cubase 5 on PC and Logic 8 on Mac. The first for audio work and the second for midi work. I love real machines so I don't use a lot of VST plugins. I use them occasionally, so I don't have any favs. But I can say Moog Voyager, Juno 60, Supernova2, both Korg MS-200 and MS-2000 are my favorite machines."
What are your plans for this year? Any new collaborations? Any new tracks coming up?
"Full of plans :) Collaboration for sure with Timo Maas and friends and the label Rockets And Ponies finally starts! More gigs too - so it will be more easy to go listen Santos this year.
"Some of my recent tracks are "San Fransisco/Burner King" (January, Noir Music), "Rom Controll/Metal Boogaloo" (February, Saved Records) and a remix for Steve Mac on that same label. Mutant Clan released "Back to the Old School" in February on Figure Records and Timo Maas will release "Kick 1, Kick3" on Rockets and Ponies this year."
Next Girl DJ Competition Next Girl DJ is a new Pan-European contest that aims to discover the hottest girl DJ around and propel her into dance music superstardom. Audio giants JBL and sportswear aficionados ROXY are two credible brands synonymous with music and female culture, and are the brains behind this aspirational contest.
Next Girl DJ is not about slinging male talent to one side, but is about providing a space where girls can showcase their skills. More females are needed to exhibit their talent in what is, still, a male dominated environment. Next Girl DJ is aiming to provide one girl a life-changing opportunity (see Prizes), whilst changing the face of dance music history in the process - in the recent DJ Top 100, not one woman was represented.
So are you passionate, ambitious and know how to throw down some tunes? Then what are you waiting for? From thousands of competitors in the Next Girl DJ contest only 20 will remain for the live finals, which will be running in Paris, London, Berlin and Brussels, throughout May. Watch this space for announcements.
Thomas Koch, known to the record buying public as DJ T., drew many pats on the back in 2009 with The Inner Jukebox, an album which showed tech house pretenders how things should be done. This year he’s followed that up with the 51st instalment of the Fabric mix series. It’s a big task, not just becasue of his own superlative mixes in the past (most notably the 2006 Body Language compilation), but also because the previous Fabric mix, curated by Dutch producer Martyn, was widely hailed as the most groundbreaking Fabric CD in years. Flora Wong spoke to the Get Physical boss about his disparate musical influences, the pitfalls of running a label and how touring the world inspired his new mix. How did you feel about doing the next Fabric mix?
I am very happy to be part of this prestigious series. Some of the previous editions are among the best DJ mixes ever released on CD. For me, it was a matter of perfect timing; I had never felt more prepared – in the preceding months, during my global tour, I had collected a lot of music I wouldn’t necessarily play in a club, but stuff better suited for listening-oriented mixes and podcasts. It’s a great way to show people where I am heading musically right now, including the work on my upcoming album, because when I am in the studio I want to express something that is new and different from what I have been known for over the last two years.
Did you approach this differently than you would when preparing tracks for a big gig?
Yes, for the first time ever it was less about representing my DJ sets and a lot more about expressing my preferences and emotions in a listening-oriented mix. During my global tour I played many gigs in South America, Mexico and Australia and when I compiled the Fabric mix, the vibe of those weeks was still resonating with me. In addition, I wanted to convey a specific and very deep musical vibe – somebody at Fabric actually called it “cinematic” and I really liked that characterisation. Style-wise, I am rediscovering my early disco, soul and funk roots and it is very exciting to see the brand new shapes I can give those elements today.
Do you feel more like a DJ or a producer?
I have been DJing for 23 years now and only producing for 10 years, so DJing has always been the “mother” of my other musical activities and remains the most important thing for me. Also, I don’t feel like a producer 100% because I always involve engineers in the process despite being very musical, knowing a lot about musical theory and knowing my way around the studio. But – step by step and with every release – I take a stronger part in the production process, so I should be able to take my own template and rough mix to others for finalisation and maybe even go one step further in the near future.
Do you think that they inherently overlap or can still exist as separate jobs?
Of course they can. But over the past 15 years or so it has been getting progressively harder for DJs to establish an international profile if that’s all they do. Right now, there are very few DJs left who don’t have studio ambitions. Still, the opposite set-up – producers without any DJ skills – is still quite common.
“Style-wise, I am rediscovering my early disco, soul and funk roots and it is very exciting to see the brand new shapes I can give those elements today”
What is your production process with Thomas Schumacher like?
Our workflow on the The Inner Jukebox album wasn’t so different from my collaborations with other producers. Generally speaking, I am very clear and determined when it comes to the basic aesthetics of my music: I spend a lot of effort on the right preparations before a day in the studio, select a lot of samples and other sounds, and this allows us to bash out the basic grooves and lines really fast. I also contribute my own sequences, loops, riffs etc. On the other hand, my producers help a lot with the arrangement, which isn’t exactly my strong point.
Your last album was really enjoyable and had a lot of themes that seemed to run through – anything in particular inspired the sounds in it?
Not really, it was just my definition of how proper house and tech house should’ve sounded at that particular moment in time.
Who have you found to be influential to you as a producer?
Too many to mention them all! I take bits and pieces of inspiration from producers of many different genres, even from some who are not into electronic music. At the moment, there is a lot of soulful, fresh sounding slow motion house and nu-disco around.
How do you think your sound has changed over the years?
People always tell me that they recognise the way I programme my grooves and beats, although the latest stuff sounds quite different from my earlier releases on Get Physical 4-6 years ago. When the label started out, I really had to work on my own definition of my style and influences. Once this chapter had been closed, the 70s and 80s retro elements more or less vanished and made room for a more contemporary and stripped down sound. Currently, I am reverting to my very early roots, but in a way that is very different from previous endeavours.
“Over the past few years, I listened to almost no electronic music in private situations. And then, during recent months, the club-related stuff started to grow on me again because there is a lot more song-oriented music around that I really appreciate”
How is Get Physical going? Are you working a lot on the label or more on your own stuff?
Just like everybody else we are struggling a bit and had to trim the fat, but we are still doing well. After putting more energy into the company than into DJing and productions for many years, I recently withdrew from the business side of things to focus more on my work as an artist. At the moment, I mainly contribute a few bits and pieces to the label’s A&R.
What do you listen to in your own time? Dance music? Or do you find it becomes too much?
Over the past few years, I listened to almost no electronic music in private situations. And then, during recent months, the club-related stuff started to grow on me again because there is a lot of more musical and song-oriented stuff around that I really appreciate.
As I always say I dont do this Tracktor business but I know for some its a way of life lolol.... so I bring you a Free Tracktor lololololol
"TRAKTOR PRO sets the standard for power, reliability, and creativity in DJing. The culmination of a decade of DJ software development, TRAKTOR PRO perfectly meets pro DJs’ needs. With streamlined industry-standard workflows, 24 creative new effects, pre-assigned yet flexible MIDI mapping of all major controllers, premium sound quality and up to four playback decks, TRAKTOR PRO is in a class of its own." (Quote from them not me lol)
Tracklist Sandi and Mutues – The World (Part 1) - Jazzman Coultrain – Balancing Act – Record Breaking Sandra St Victor – Cosmos (Souled Remix) – CDR Anthony Nicholson – Black Galaxy Suite – Circular Motion Shimmy Sham Sham – vol 1 – Shimmy Sham Sham Beware and Motorpitch – El Toro – Man Recordings Basement Freaks – Road Trip To Lagos Art of Tones – The Argument – Room With a view Reuben Wilson – Got to get your own (Domu Edit) – CDR King Onkyo – One – NYC Sound Pirahnahead and Clara Hill – Badly (Simbad’s Motorcity remix) – CDR Falty DL – All in the place – Rush Hour Ilija Rudman – Whos Crying now – Wolf Music Colonel Red – Holla (Om Unit Remix) – Ruff Language CDR James Johnston – Slow Dance and Romance – 4Lux CDR
Amp Fiddler and Alton Miller @ East Village, Friday 9th April
Amp makes a rare London appearance (his first since 2007) with a 45 minute live PA mixing up his classics with forthcoming material from his album plus his forthcoming collaboration 'When the morning comes' with Detroit dj Alton Miller.
Line Up
Amp Fiddler Alton Miller Stuart Patterson Toni Blackbeard Jimbo
Time: 9.00pm 3.30 am Venue: East Village, 89 Great Eastern Street, Shoreditch, London, EC2 Cost: £6 - £8
Robert Dietz, Damian Schwarz, Steve Bug @ fabric, Saturday 10th April
Line Up
ROOM ONE:
Craig Richards, Steve Bug, Robert Dietz
ROOM TWO:
Terry Francis
OSLO RECORDS...
Federico Molinari, Damián Schwartz (LIVE), Nekes
ROOM THREE:
Optimo
Time: 11.00pm - 8.00am Venue: fabric, 77a Charterhouse St, Clerkenwell, EC1M 3HN Cost: £18/14 (Students/fabricfirst); £8 for all from 4am, £5 from 5am.
The world of complex rhythm architecture will soon come to the album format; Frankfurt's Reboot will release Shunyata in June.
The beatmaker has often described his work in the aforementioned terms, and Shunyata is no different. While there are unexpected moments like the sedate opener "Uruana" and the sampled guitar that appears on "Sanchez Says" throughout the album, Reboot's core sound remains intact. Percussion is the major focus, with a strong emphasis put on the power of shifting rhythmic elements within each song. Nonetheless, the way that Reboot has crafted these sounds is new--for him, at least. The album represents the first full-scale experiments with his modular synth set-up, echoing the record's title, which as the press release tells us is loosely translated from its Buddhist origins as "emptiness. But not just in the negative sense: it speaks also to impermanence, a state of constant flux."
The album is Reboot's first and will appear on Cadenza Records. It follows singles on labels such as Defected, Cocoon and Below, as well as a mix CD for Cecille last year. Cadenza will release Reboot's Shunyata on May 16, 2010.
Tracklist 01. Uruana 02. Me Show 03. We Only Just 04. Dreilach 05. Save Me 06. Shunyata 07. Hermano 08. Down Pantha 09. Rambon 10. Sanchez Says
Today i come to you with freshness as always this week there has been alot of free music giveaways.... An today is no different.... So with that being said I will let the music do the talking.....
1) Your running theme is based on a strong old school vibe, chopping your sound up with plenty of classic soul, even your website talks of the ‘golden age’ when songwriting had more quality; what do you think has been lost with modern music and do you see it coming back into the mainstream any time soon?
I DON’T THINK ALL IS LOST BUT THE MAJORITY IS IN TERMS OF THE GENRE DEEP HOUSE, WE HAVE OUR SINGERS BUT I DON’T THINK WE HAVE ENOUGH STRONG SONG WRITERS AND WHAT I MEAN BY THAT IS SONGS WRITTEN THAT MANY CAN RELEATE TO RIGHT NOW , NOT THE SAME OL’ “I LOVE YOU…” “I’M FALLIN’ IN LOVE…” ETC. ETC. STYLE, I THINK WE ALL BEEN THERE AND DONE THAT, I DON’T WANT IT TO STOP JUST SAYING THERE’S TO MUCH OF IT.
I’M HOPING MORE AND MORE ARTIST AND SINGERS LIKE: MONIQUE BINGHAM, PEVEN EVERETT, MYSELF ETC. ETC. WHO WRITE MUSIC THAT PEOPLE CAN RELEATE TO AND IS FRESH, TO CONTINUE TO WRITE THIS WAY AND HOPEFULLY INSPIRE THE NEXT WRITER TO STEP UP.
2) How did you manage to be playing sets by the ripe old age of 14 and how soon did you feel that you were taken seriously as a DJ?
WELL I STARTED PLAYING AT 16 NOT 14 AND IT WAS ALL A JOKE FOR ME, IT WAS AT A FRIENDS PLACE, HE GOT HIS EQUIPMENT FOR HIS BIRTHDAY AND I WAS ALWAYS BLOWN AWAY BY BEING ABLE TO BLEND MUSIC..I DON’T KNOW WHY, IT WAS IN MY LATER YEARS AROUND 22 WERE I STARTED TO TAKE DJING SERIOUSLY.
3) If you had to play someone a set who had never heard music before, where would you start and what would you finish with?
DEPENDS….I WOULD FIRST LIKE TO KNOW WHAT THEY ARE INTO CURRENTLY AND THEN I WOULD TAKE IT FROM THERE.
4) Your history of success has a rather large Louie Vega reference to it and his influence obviously had a marked effect on your career’s direction; how did you move from watching his set from a dance floor to having his devoted attention as your mentor?
PRODUCTION STARTED IT, NOT DJING, DJING COMES DIME A DOZEN WHERE WE ARE FROM BUT IT MAINLY STARTED FROM SHOWING HIM MY DEMO’S AND WHAT TYPE OF MUSICAL DIRECTION I WAS COMING FROM AND PRODUCING.
5) If you had to list three main points that you learned from Louie, what would they be?
CROWD READING [DJING], MUSICAL CHANGES [PRODUCTION], PRESENTATION [DJING]. 6) Now that you are 20 years into a successful life of music making yourself, what are three things that you would teach someone were you now the mentor?
PRESENTATION [DJING] IS #1 YOU HAVE TO HAVE THE IDEAL SET UP YOU ARE COMFORTABLE WITH AND THE PROPER SOUND THAT WILL MAKE YOU COMFORTABLE NO MATTER WHERE YOU ARE, IT HAS TO MAKE PEOPLE REMEMBER THE NIGHT BECAUSE OF THE MUSIC AND SOUND.
THICK SKIN, MANY UPON MANY WILL CRITIQUE YOUR MUSIC OR DJING, JUST KNOW THAT NOT EVERYONE IS GONNA LIKE WHAT YOU DO BUT IF YOUR HAPPY AND YOUR FANS ARE HAPPY THEN WHO CARES BUT JUST EXPECT IT.
THIS IS A BUSINESS FIRST BEFORE IT IS A HOBBY OR FUN THING TO DO, YOU HAVE TO KNOW PUBLISHING, ROYALTY STATEMENTS AND SUCH, YOU MUST KNOW THE BUSINESS YOUR GETTING INTO BEFORE YOU TAKE YOUR CHANCE IN IT.
7) When do you feel you have taken the biggest risks to develop your career? Launching Sole Channel Music? Releasing your debut album?
WELL I NEVER TOOK RISK, I ALWAYS FELT GOOD ABOUT WHAT I DO AND WHAT I PUT OUT, I RESEARCH CURRENT TRENDS AND SEE HOW I CAN APPLY IT TO WHAT I’M DOING, RISK COME WITH EVERYTHING, YOU CAN BE CAREFUL BUT YOU HAVE TO DO YOUR HOMEWORK BEFORE YOU CAN TAKE SUCH RISK.
8) Any old classics that you’ve just cottoned onto as great crowd pleasers in the middle of a set?
RECENTLY I DUG OUT M-PEOPLE – “MOVIN’ ON UP” [MK DUB] AND IT STILL GET’S PEOPLE AMPED.
9) What has been your biggest challenge for you over the last year or so?
BEING A FATHER TO AN ADORABLE BABY GIRL.
10) Projects of the near future that have you hyped?
TALES FROM THE DEEPSIDE 3 [THE FINAL CHAPTER], WELCOME BACK [MY SECOND ALBUM], THE INTRO [MISS PATTY’S DEBUT ALBUM]
11) Any personal predictions for some new up and comers?
WATCH OUT FOR THE AFRO HOUSE SOUND AND THE MINIMAL TECH SOUND, GREAT STUFF COMING FROM THESE 2 GENRE’S.
12) Last words?
PAY ME A VISIT: www.solechannelmusic.com DOWNLOAD US FOR FREE: http://itunes.apple.com/podcast/the-sole-channel-cafe-mr-v/id345960513 FACEBOOK: www.facebook.com/solechannelmusic – TWITTER: www.twitter.com/sole_channel SOUNDCLOUD: www.soundcloud.com/solechannelmusic
