Kirk Degiorgio: Swarm (Applied Rhythmic Technology UK) 12"

December 2009


Review: Underground Quality & Deconstruct present The Club House

11/28/09: Love, NYC

[ Written for Resident Advisor ]

The black metal door next to the dry cleaner’s on MacDougal Street looked innocuous by day and unlicensed by night. Around eleven, black-clothed bouncers stood outside with a short velvet rope. New York was warm that night, two days after Thanksgiving, and the boroughs supplied recreation in plenty. The ardent heart of underground house fixated on Manhattan’s Love, behind the unmarked entrance; a destination for bass worship with a record collector’s rec-room for a dancefloor.

Inside, well-worn stairs led downward past a cashier’s cubbyhole to the front barroom bathed in red. Many people, black figures backlit by a counterfeit ice wall, appeared to know each other. And over the din, a wiry DJ played vinyl and never looked up for approval. The Shaft theme blared through the bathroom speakers as the color spectrum warped in and out. From the plush-lined VIP room, a Lewis Carroll-style holding tank (where Alice in the black bustier drank her share of potion), a Dutchman emerged and he noticed with curiosity, “I usually listen to faster house music.” Lips pursed and bottle hoisted, it was time to branch out.

“Welcome, welcome, welcome,” Jus-Ed announced in his seasoned radio voice, “After eight years we’ve finally made it to the next level!” Far from House-N-Home in Brooklyn, Love on Saturday night was the start of a new regular party for NYC labels Underground Quality and Deconstruct, called “The Club House.” The team: Jus-Ed (Underground Quality), Anthony Parasole (Deconstruct), DJ Qu (Strength Music), and Fred P (Black Jazz Consortium, Soul People Music). They worked the room with a certain ramshackle precision, in airbrushed t-shirts, and handed out the first Club House mix CDs, plus Underground Quality's Minimal Soul Part 2 on purple vinyl, and the latest scorching Deconstruct EP by DJ Qu, Party People Clap.

On the landing, a bleary-eyed DJ Qu socialized while he waited for the next rotation, easy to spot with his name in yellow and blue on the back of his Club House jersey. He took to the decks and plied those stuck to low-lying tables with the soul clangor of C.B. Funk’s “Subway To Cologne,” on the elusive German label Story. The room remained at a purposeful simmer for a while. Gradually, the Underground Quality All-Stars turned up the heat: Round Two's "New Day," the Main Street Records classic from '95, and Strictly Rhythm circa ’92 drew more people from the fringes to the floor. Spotlights beamed, metronomic, on dual disco balls to keep time for the dancers, and in the booth a rack of VU meters traveled from green to red. Through the clouds of machine smoke the lighting guy smiled, satisfied, in opaque shades and leather.

Jus-Ed reached for a white record sleeve that read "Yes – Hot!" in blue sharpie, and it was another deep dub house track, deeper and more in dub than the last, with an aching vocal that said "break your heart." "What is that track?" "It's this guy from New York - keep it in the family you know." Fred P's eyes got large as he took the night up a notch with his own "Blacklight," a thumping selection for the smoke and white shirts rendered purple. Parasole leaned forward into the delay, “However do you want me…” and flanged back, “However do you need me.” From the Soul II Soul vocal, altered to angelic effect, he mixed expediently back into his and Fred P’s remix of DJ Qu’s “Party People Clap.” Apropos to the title: That’s what happened.

The four of them played past 6:00 AM, a crossbred set that included some undeniably deep records from this year: Patrice Scott's low-end reveille "Excursions" on Sistrum Detroit, Argy’s perfect escape “Let Me Out,” and Resoe’s recent “Cosmic Blast” on Baum. One person enthused about the program’s healthy bass “like bfffffff…” and pushed his hands toward the ground. With a proper system and sensuous music, the first installment of The Club House had Parasole’s ideal “dope vibe and positive energy.” And as Jus-Ed put it on the mix: “Look we’re tryin’ to do this thing, and we’re doin’ the thing.”


Party People Clap They Hands

Just in time for the year-end lists:

DJ Qu: Party People Clap (Deconstruct NYC) 2x12" December 2009


Levon Vincent Remix !

Fred P & Anthony Parasole Mix !


Bump It

(Paul) Cottam: Cottam 1 [Cottam UK] September 2009

Erykah Badu re-edit, full vocal begins at 05:30


7even Drops The 'F' Bomb

The temperate city of Nantes, France is home to 7even Recordings. From an island in the Loire River, the techno-leaning dubstep label has produced nine releases since 2008. Three of those, including this year's Epilogue, belong to Frenchman Florent Aupetit. According to 'F,' his debut album Energy Distortion will arrive in 2010 as a CD, two vinyl double packs and a title track EP featuring the "big" and "sexy" Untold remix (as described on London's Rinse FM.)

Previous F productions, melodic depth clothed in breakbeats, indicate Energy Distortion will knead the brain and bass bins. See for yourself: Several selections from the upcoming album aired in March on DJ Flight's The Next Chapter, now a regular program on Rinse FM. Click here to stream the episode.

Intro / Shift / Poka / Energy Distortion / Another Place / 0907 / See The Light / Forever / Hologram / On The Corner / Chillin' / Spacewalker / Perspectives

Listen to F Live at Tresor, Berlin.


Ecstasy & Friends

Lone: Ecstasy & Friends (Werk Discs) CD
November 2009


Review: Lee Curtiss - The Black Door EP

[ Written for Resident Advisor ]

Expect libidinous tech funk from Lee Curtiss, whose desert island album is Prince’s “Purple Rain.” Past EPs like “Smut” and “Sexy Dancer” could be buzzing neon signs in an alley. The new Spectral 12” opts for a more discreet locale. “Behind the black door,” in Curtiss’ words, “lies a land of pleasure, pain and wonderment,” a vivid scenario for his first Detroit on Detroit experience. Formerly known as Lee Meyers, Curtiss has a curious sound palette, but “The Black Door EP” is appealing because he succumbs to the influence of 80s pop and disco.

Black Door Beauty” is a confident groove that wastes no time exposing its parts: Dark kick immediately threads with quick gasps, shrieks and a Michael Hutchence in the hall of mirrors vocal, “You make me-…You make me feel…” It unfolds predictably with claps, subtle conga and shaker. One bass note throbs insistently to reinforce the words; a sawtooth bass pushes a devilish diminished chord. With the lightness of water vapor from the ceiling, high phasing synth provides harmonic relief.

Dyed Soundorum leads “Black Door Beauty” across a moving floor and the “Afraid Of The Ghost Remix” emerges with a crunk swagger. He pitches up and down in favor of the funhouse approach, dropping snare accents and disco bombs. “You make me feel…” becomes “I want you.” For this reason the bass line gets more action, and the diminished interval or tri-tone moves to the percussion.

Smoking Mirrors” is a breathy disco dub, the leftover “pleasure” and “wonderment” of after hours. Delayed and rhythmic strings wander and eventually coax patrons toward the exit. Just interesting enough to entertain and not to overwhelm, the “Black Door” has an ideal hypnotic quality that can transform the shy onlookers into cocksure participants.


Wheels In Motion

Orlando B: Wheels In Motion (Finest Blend Sweden) 12"
May 2009


Video: Satoshi Isn't In Ibiza Anymore

Recorded 9/17/09 at Underbar, Boston

"This is a club, not a rave."
- Some overpumped dude threatened by any display of enthusiasm



Recorded 9/6/09 at Machine, Boston


Deep Fundamentals

Delano Smith: Deep Fundamentals (Mixmode Detroit) 12"

September 2009


This Feeling

RIBN [Manuel Tur & Langenberg]: This Feeling / Rapidsnare Mix
(Mild Pitch Germany) 12"
September 2009


Daly Dose

John Daly: Aurora / Equinox (International Records Recordings) 12"

November 8th, Daly plays Sunday Best at The Bell House, Brooklyn.



Reade Truth: Soundwav / Always (White Label) NYC 12"
August 2009


Mr. Cloudy's Different Lives (Extended Version)

Revised 8/25/09
Written for Resident Advisor

Nighttime on the western border of the vast Russian Federation finds Sergey Barkalov eager to set his mind and machines adrift. His desire to recreate the deep dub climate keeps him awake after a day of work. He answers e-mails sent from across the world to his production alias “Mr. Cloudy,” who appears online as a series of guileless black and white photos and metaphysical phrases: “only that music which goes from soul instead of mind.” Leave it to dub techno producers to make networking pages look tranquil.

“Bewitched,” and “dissolved” in Rhythm & Sound and Deepchord, Mr. Cloudy produced his first self-titled EP for Kyoto_Digital in 2005. Under a Creative Commons license, the files were free yet limited. The Denmark net-label was an important channel for Mr. Cloudy and Daniel Stefanik among others, but had a short life. And for three years after the Mr. Cloudy EP, Sergey was discouraged and somewhat inactive. At times he wonders what he did during those years. To answer, his sound developed “slowly and not forcedly.”

Sergey contributed “Smoke Spring” to Instabil’s “We Are Back” EP in 2008. This was a return to the public domain for Mr. Cloudy and the first commercial release for the Statik Entertainment sub-label. (Earlier Instabil EPs are open source and still available for download.) He also produced two more free digital releases: “Kogda Net / Kogda Est” on Enypnion and the “Long Wandering EP” for cism. However, Sergey sought to substantiate and improve the sound quality of his efforts. So this year, in addition to ZeECc's somber “Sleepy Vigil,” Mr. Cloudy has graduated from MP3 format to CD and vinyl.

Mr. Cloudy’s “Different Lives” is the eighth CD-R from Shoreless Recordings, Nürnberg. The label has also featured Brendon Moeller, bvdub and founder Quantec. Each "strictly limited" release has the magnetism of a white label record. “Different Lives” comes in a neutral metal case with little graphic adornment, which suggests the music must speak for itself. And it does. With relaxed continuity, the nine versions allude to the Model 500 “Starlight Remixes” on Echospace.

1 Different Lives
2 Different Lives (Grad_U Remix)
3 Different Lives (March Snow Dub)
4 Different Lives (Space Dub)
5 Different Lives (Grad_U Dub)
6 Different Lives (Silent Dub)
7 Different Lives (Chorus Love Version)
8 Different Lives (Morning Light Version)
9 Different Lives (Sraunus Pinery Version)

“It is deep in subconsciousness,” Sergey says of the title. Over ventilating phase noise, the tonal sweeps of “Different Lives” focus on one musical interval: the third. Oscillation and long delay allow the simple two-note framework a multitude of harmonic possibilities. The album shifts between dynamic and more expansive versions of the original. Most potent is the Silent Dub, clear and bright with stabs and rolling percussion. A combination of deep round kick and a walking bassline, the Space Dub approaches darker dancefloors with the synth figure pitched down, more texture than melody.

The Morning Light Version is true to the descriptor, diffuse and half the tempo of the original. Descending pitches that rattle the lower register assume the pulse. Delay is in constant use, and particularly apparent in the March Snow Dub, as echoes fall into chest cavity bass drum. For three of the mixes Sergey enlisted friends Grad_U and Sraunus of Lithuania. The Grad_U Remix is the fastest at 126 BPM, and tonally dense to the brink of dissonance, while the Grad_U Dub is the most voluminous, exploring the spatial dimensions with a quiet syncopated beat. Sraunus’ reverberant Pinery Version concludes “Different Lives” with distant Lithuanian speech.

Mr. Cloudy’s first album benefits from sameness and intuitive composition. Sergey Barkalov is not overly ambitious, and has never formally studied music. When asked what he’d like to do in the future, he said “I will search for that sound in which I first of all am dissolved.” Mr. Cloudy has several upcoming releases, including two 12”s for Millions Of Moments and a lo-fi album called “Recluse.” For him the scale of the audience is secondary to communication: “Let it be 2-3 persons who feel it also as I.”


Firecracker Freakshow

Recorded 7/3/09 at Hammerstein Ballroom, NYC


Mass ART

Kirk Degiorgio: Mass (Applied Rhythmic Technology) July 2009


New Sublabel: Clone Basement Series

Click photos for audio

Mike Dehnert:
Umlaut2, Levon Vincent Remix
(Clone Basement Series 01) August 2009

A Made Up Sound [2562]: Archive
(Clone Basement Series 02) August 2009

Vinyl at clone.nl / Download on whatpeopleplay.com



Various Artists: And Suddenly It's Morning (Smallville Records) CD

Listen: Julius Steinhoff - Something Like Wonderful / Christopher Rau - Childhood / Lowtec - meandyou.dub / Steinhoff & Hammouda with Dionne - Touch / Move D & Benjamin Brunn - In the Beginning / Sven Tasnadi - Winter / Bon & Rau - Cloverleaf Days / Lawrence - Don't Forget / Dimi Angelis & Jeroen Search - Our Live With The Wave / STL - Neurotransmitting Clouds on the Secret Freeway


Mr. Cloudy's Different Lives

Click here for audio samples

Mr. Cloudy is Sergey Barkalov from Russia and his "Different Lives" is the eighth exquisite CD from Shoreless Recordings, Germany. The deep ambient and dub techno label has featured Quantec, Brendon Moeller, and bvdub. One of the lesser known characters from the Shoreless roster, Mr. Cloudy's discography consists mostly of limited digital releases on free netlabels: cism, Enypnion, ZeECc, and Instabil.

"Different Lives" is currently available from Clone Records and, along with the previously listed netlabels, is highly recommended!

Mr. Cloudy's upcoming releases include "Cloudy Tracks," an EP for Millions of Moments and an album called "Recluse" for a label yet to be determined.


Review: Ramadanman Versus DJ Harvey

Boston: 7/24 Ramadanman at Good Life -
7/25 DJ Harvey at Dancing On The Charles

Young, pale and anxious, Fruity Loops champion Ramadanman, or Dan Kennedy, unplugged a Macbook in favor of his Vaio, only to experience constant and then intermittent interruptions in sound. The melange of bootie-thrusting college students and ganja-smoking professionals initially heckled the buffering problem with "Ohhh!"s and "Nooo!"s, but they were committed to the freshly remodeled Good Life. Kennedy flinched and haphazardly tweaked nobs, uneasy until the final twenty minutes of his set, at which point he settled into a funky glitch-free groove.

Thanks to progressive and artist-breaking releases on his label Hessle Audio, and in part to Ricardo Villalobos dropping his tracks at techno festivals, Ramadanman's reputation precedes him. When asked about his production style, he told Media Contender: "I see it as another mutation of garage and it all fits into the history of new UK music, and I think rather than a change of direction, it just fits what we enjoy! I think variety is very important." Like a lot of producers who find themselves suddenly in the limelight and touring, Kennedy came across as unassuming and modest. He likes to drink milk and chat with fellow artists about EQ-ing woodblock.

The next night DJ Harvey, accustomed to touring the crazy nations of the world, raised his eyebrows and grinned when attempted crowd-surfing shook the booth. Dancing On The Charles, fueled by Red Bull, picnic food and various beers you can count on for the long haul, took place at an American Legion outpost on the Cambridge side of the river. Beneath the tent illuminated by visuals an official photographer roved around and asked, "Can I get a picture of you drinking that Red Bull?" Meanwhile the unflappably hip and casually legendary Harvey Bassett won over scenesters and academics, who hoped their lives would only go so well.

"It's weird to be really famous and poor at the same time," DJ Harvey commented at the after party. He wore an unseasonable black leather jacket and relaxed against the wall. A long-haired girl wearing a "FUCK WAR" t-shirt came over and straddled his leg; he asked her if she was going to give him a knee massage. She turned out to be an acupuncturist. Another panting fan asked him about reel-to-reel tape machines. DJ Harvey was amused at the adoration and although more in demand than ever, claimed he looks forward to disco being unpopular again. These days the mastermind of Black Cock records, and former resident of super clubs such as Ministry of Sound, lives and throws parties in Hawaii and LA, recently got married, and enjoys being selective about gigs. "I've gotten a bit lazy," he said.

DJ Harvey and Ramadanman recently played New York City's club Love, to give away Boston's scheduling strategy. A more puzzling part of the strategy was the presence of three or more opening DJs at both Good Life and Dancing On The Charles. As Boston residents are well aware, most sanctioned events are over before they begin, at 1:00 or 2:00 AM; public transportation shuts down shortly after midnight. Within the time allotted by the city, haste is inevitable. Though despite this situation, area promoters remain determined in booking big names. It's difficult to truly pass judgment. However, it would have been great to hear the influential guests from across the pond for longer than an hour and a half each.


Purple Love

Click track titles for audio

Silkie vs. Mizz Beats: Purple Love / Test (Deep Medi Musik UK) July 2009


Traditions & Concepts

Click titles for audio

Los Hermanos: Traditions & Concepts EP (Submerge) 12"
August 2008


The Lost Tribe Of Techno

Click here for audio

Various Artists:

The Lost Tribe Of Techno

(Subject Detroit) CD

June 2009

Read a recent interview with DJ Bone.


Space Ex

Click photo for audio
Blue Daisy: Space Ex, The Fall (Black Acre UK) blue 10" July 2009


Review: Firecracker at Hammerstein Ballroom

Line-up: Steve Lawler, Hercules & Love Affair, Tiefschwarz, Victor Calderone, Damian Lazarus, Audiofly

My review will also be featured on Resident Advisor with additional photos.

At 7:00 AM, July 4th, young party people ambled out of Manhattan Center into pale light already wearing sunglasses, and it wasn't freedom ringing in their ears. For ten hours, inside the 20,000 square foot ballroom, miscalibrated bass punched their cochleas until vertigo and they drank high dollar from plastic cups. Billed as the event to "pop off" before fireworks over the Hudson, over a thousand had waited patiently for someone to light the fuse.

Some watched from balconies and side boxes as the DJs raised their arms above a wall of LEDs and smoke, swallowed by the Live Nation and Area Event giantess. A mothership rig of swiveling projectors beamed down streams of light from seventy-five feet overhead; long paper lanterns flashed with color and crackled with strobe. In Hammerstein tradition of days gone by and imitation of the Cocoon freak show, a bevy of vaudevillian characters writhed center stage, tossed feathers: A chicken man in stars and stripes kilt, the golden buddha, a homemade robot, the art students in black skivvies, Satan with his boombox, someone covered in shaving cream and glitter, and a partially mummified man baby kept the digital camera wielding masses entertained. Musically, the mothership never landed.

The programming was unimaginative and oddly restrained considering the holiday excitement and bigger than big room venue. After a few hours of tech house warm-up sets, the headliners sank into dark and drugged tribal techno anonymity. Steve Lawler played a diluted version of his May Essential Mix for BBC Radio 1. The voice of Roland Clark urged "all you hip hoppers, you do-woppers, name droppers, you pill poppers: Come into our house, to get deep." Nevertheless the material coasted, the most dynamic moment a total outage that sounded like a flipped switch on the power strip. After a crew replaced Serato with Traktor, Victor Calderone vacantly followed with wailing siren synth, delayed Spanish talk and a single shout from an air horn.

Despite sound and stage, it was up to the DJs to forget business and elevate the room. They failed to truly engage the receptive audience or even distinguish themselves from one another. A visual spectacle, yet a misdirected marathon with a corporate aftertaste, Firecracker never went off. That was left to six barges floating in the Hudson River the following night.

Below deck there was an unannounced second party near the bathrooms, where the 18+ crowd preened amidst urns and marble, and a handful of people hopped around the bright red carpet to piercing highs. Posted by the staircase was a photocopied DJ schedule that included Hercules & Love Affair, represented by one member, and the absent Damian Lazarus. Firecracker's tickets reached $55, so until sunrise the venue remained full of those hopeful, those reluctant, and those strung out enough to be satisfied.



Audision: Surface To Surface (&nd)

Click here for audio

The album is already available for download at whatpeopleplay.com.


The Test Of Time

Click photo for audio

Various Artists: Trelik Volume 1 (Trelik UK) CD 1996

A superior techno compilation featuring Minimal Man (label owner Peter Ford aka Baby Ford), Tan-Ru and R.Rash (Ian Loveday 1954-2009), and Deepah (Thomas Melchior & Tim Hutton).


Magic Feet

Click titles for audio

Mike Dunn: Magic Feet Remixes (Djax Up Beats, Netherlands) 12" 1992


Review: Satoshi Tomiie in New York

Click here to see my review on residentadvisor.net

On the night of Satoshi Tomiie's return to New York City, Sullivan Room pulsed with simple red and blue LEDs. Past the lamplit checkpoint table was a dark den, a former meat freezer, thick with incense and underground music. Mixer Assassin opened with deep vocal house, an indirect homage to Satoshi's early career remixing the likes of Ultra Naté, leaving Taisun to lead the room towards the dark progressive sound characteristic of Tomiie's SAW imprint.

By midnight a distinct tick tock had taken over the club, as proud New Yorkers, wide-eyed travellers and partygoers who refused to wait in line elsewhere spilled onto the dance floor. Invariably the guy wearing flashing glasses became the life of his section of the party, handing the accessory to different girls to try on. All of the sudden the room was hot, and lasers kicked in. The bartenders, like everyone else, danced and posed for photos. And, of course, there was somebody who asked, "Does this get any louder?"

During the AM hours in a dark basement club, the ability to suspend time is invaluable. Satoshi Tomiie is a DJ who can make you forget the individuality of tracks and mixes. There were few peaks and valleys; the set was fluid. According to Satoshi, that is his aesthetic: "I try to make the night into a journey...one long track." The textural overlap of fragmented house vocals, alternately sinuous and punctuated bass, and throaty monologues were streamlined to the point that one ceased to speculate about unreleased material or technique. The middle of the room became a rippling blue sheen of skin, while multicolored balloons hugged the ceiling.

Immersed in the world of in-ear monitoring, Satoshi casually danced and sipped Heineken in the glow of Serato and Pioneer. After 4 AM he added Claude Debussy's "Claire de Lune" to the mix, hinting at his ten years of classical piano training. He let the piece play to its own climax and then gave the appreciative crowd a percussive workout. Watching Satoshi shake hands over the booth partition, someone commented, "Dude, he's a legend."


New Release Rundown

Blasta: Incredible Adventures... Sampler #1 (Argon US) 12"
Three smooth and funky garage tracks from Russia's Blasta that will appear on his upcoming album for Argon, "Incredible Adventure Of Kenzolika And Quetzalcoatl Among The Air Castles."

Various Artists: The Owl In Daylight (Frigio Spain) 12"
An eerie tour of the analog galaxy, this three track EP is the first vinyl release for Madrid based label Frigio, named for the Phrygian mode in music (Juan Pablo's "Play Error" is actually composed in the mode).

Mano Le Tough: Warhorn / Halve A Sun (Internasjonal Norway) 12"
An introspective and versatile offering from Prins Thomas' label, these harmony driven tracks evoke the moment light floods the dancefloor.

Peter Van Hoesen: Face Of Smoke / Continued Care (Komisch UK) 12"
For the debut release of Komisch, Belgian producer and Time To Express label owner Van Hoesen provides deep and murky, yet also groovy and sophisticated techno.

Dirt Crew: Blow (Mood Music Germany) CD
The second full length from Peter Gijselaers (Break 3000) and Felix Eder (James Flavour) is a German perfectionist take on house music. Awash in warm bass and synth, this album is consistent evening mood music with broad appeal.

Millie & Andrea: Temper Tantrum / Vigilance (Daphne UK) 12"
A new standout in the techno inspired deep end of dubstep comes from Modern Love sublabel Daphne.

Tin Man: Cool Wave (Cheap Austria) 12"
Loungey and mercurial, the sound of "Cool Wave" is difficult to classify. Ex-Californian Johannes Auvinen aka Tin Man, whose vocals are featured throughout, focuses on making interesting electronic music rather than following a particular genre formula. Listen to the Tin Man's ACID MIX

1 School: Tribute To Lessons Of Life (Future Visions US) 12"
The seductive vocal house of "How Do You Love" is the main attraction on the A side of this EP from Ron Trent's Future Visions.

Cloaks: Versus Grain (3BY3 UK) CD
Complex, screeching dubstep that is engrossing and decidedly ambivalent to the dancefloor. "Rust On Metal," from the the first 12" single, expounds the noisy metallic intent of the album.

More recent full length releases worth checking out:

Tokyo Black Star: Black Ships (Innervisions Germany)
Various Artists:
My Favorite Things Volume 2 (Mule Electronic Japan)
Various Artists:
Tectonic Plates Volume 2 (Tectonic UK)



Click photo for audio

Omar S: Sidetrakx Volume #2 (FXHE Detroit) December 2008


Video: Satoshi Tomiie Returns To NYC

Recorded 6/14/09 at Sullivan Room, NYC

Coming soon: My review of the night for residentadvisor.net.


Minimal Nation

Click title for audio

This newly remastered and redesigned special edition of Robert Hood's 1994 album includes a mixed bonus disc, plus the previously unreleased and the rare: 'SH-101' and 'Self-Powered.' Relentlessly funky and riding the high hat towards 140 beats per minute and beyond, "Minimal Nation" is rejuvenating in 2009. Tracks such as "Sleep Cycles" offer an interesting contrast to the current sound of minimal techno. The triple white vinyl edition is available from Clone Records.

The USA re-release party for "Minimal Nation" is on July 4th at Water Taxi Beach, NYC.



The Moritz von Oswald Trio: Vertical Ascent

Listen to Pattern 1 / 2 / 3 / 4

Moritz von Oswald (Basic Channel, Rhythm & Sound): Synthesizers, samplers, percussion

Sasu Ripatti (Luomo, Vladislav Delay): Drums, percussion

Max Loderbauer (Non Standard Institut, Sun Electric): Synthesizers

Click here for an aural guide to Moritz von Oswald's productions with commentary by von Oswald.


Solemn Days

Click on photo for audio
Levon Vincent: Solemn Days EP (Deconstruct NYC) 12" May 2009



Click on the new release titles and artists for audio

Danny Howells: Laid Out, Fully Horizontal Mix / Tom Budden Mix (Dig Deeper UK) 12"

Chez Damier: Time Visions 1 (Mojuba Germany) 12"

Kuba: Message From Earth (Matrix US) 12"

Patrice Scott: Excursions EP (Sistrum US) 12"

Delgui / Bernd Maus: Deepentertained (Statik Entertainment Germany) 12"

Oliver Deustchmann: Lisboa (Vidab Germany) 12"

Solab: Distant Galaxy (Lifeworld Scotland) 12"


Jeff Mills & Purpose Maker In 2009

Founded in 1995, Purpose Maker is a tribal techno offshoot of Mills' Axis Records. As of April 2009, tracks such as "Sugar Is Sweeter" from his 1997 EP "Our Man In Havana" (pictured above) became available digitally on Beatport. Also, many of the Purpose Maker 12"s are currently available at Hard Wax.

Mills told Beatportal, "To date, only about 1/4 of all Purpose Maker tracks have been officially released. In the archive, we have remixes of tracks from artists like Basic Channel, DJ Hell, Josh Wink and Fumiya Tanaka that were never released...All these works are being reviewed for possible digital releases.”

This is ironic in the best possible way: The runout of Side A on 2006's "Natural World" announces "NEVER PLAN THE FUTURE BY THE PAST."


Video: Paul Oakenfold's Big Room Drama

Recorded 6/5/09 at The Roxy, Boston


Video: Raster-Noton's Alva Noto

Recorded 6/4/09 at The Middlesex Lounge in Cambridge, MA


Techno Skank

"Techno Skank," the title of the latest EP on Halo Beats, can aptly describe the recent influx of techno/dubstep crossover and collaboration, the main difference between the genres being subdivision of the beat. That is, whether you want to dance atop the beat or dubstep around it, and how fast. Some may question the longevity of the marriage, but right now it seems to be working for producers such as Ramadanman, Appleblim and Martyn:

Ramadanman: Revenue / Revenue, Untold Remix (2nd Drop UK) 6-09

Appleblim & Ramadanman, Martyn, Pearson Sound: Sous Le Sable /
For Lost Relatives / Indelible (Aus Germany) 6-09

Efdemin: Acid Bells, Martyn's Bittersweet Mix (Curle Belgium) 6-09

Appleblim & Peverelist: Over Here, Brendon Moeller Remix /

Ghostleigh: Dleep On / Dleep Off (Ghostleighdubz UK)

Ghostleigh: Places (Ghostleighdubz)

Likhan': Redlight / Quiet Riot (7even UK)



Brock Van Wey: White Clouds Drift On And On (Echospace) 2CD

Click photo for audio

Stream: Brock Van Wey (aka bvdub) "Faded Truths" techno mix from '99



Click on photo for audio
Tina Valen: Colors (Young Society Germany) May 2009 12"


Emphasis On Wax

Listen to "Air" from Electronic Sound Of Milano's "Life Form" on Chicago label Emphasis. This is the ninth and most recent EP. To view and listen to the label's catalog visit www.emphasisrecordings.com.