Returning to Beats in Space after their debut 12″ (and the label’s debut release) in the fall of 2011, Paradis offers “Hémisphère” and “Je m’ennuie”, another pair of sophisticatedly crafted, noir-pop songs from the young Parisian duo.
 
On the two tracks of their second 12″, Paradis self-reflect to find an escape hatch away from themselves. The A-Side, “Hémisphère”, a macabre story of a lonely guest of life determined to leave everything behind, defies the narrative’s convention and captivates with pop melodies and up beats abound.
 
On the B-Side, “Je M’ennuie”, lovers settle into late-night melancholic routines soundtracked by a brooding bass line, an achingly affective synth lead, and vocals that grin behind the disaffected front. Ultimately, hope prevails as both tracks beg the listener to leave their headphones behind for the global village’s dance floor. From Paris to Cologne, from Buenos Aires to New York, in the words of Michel Polnareff, “On ira tous au Paradis.”
 
Each 12″ from Beats in Space features original artwork in considerate & serial form. The first 12″ features artwork by Denise Kupferschmidt, a Brooklyn-based artist finding inner / outer space in the movement of line and assemblage of color. The 12″ packaging constructed by Will Work For Good features a vinyl BIS logo cling.
 
The 12″ will be available on May 22nd, 2012 from fine retailers worldwide. The digital version will be available May 29th, 2012 from the drab internet universe.
 
Released by: Beats In Space Records
Release/catalogue number: BIS003
Release date: May 22, 2012
 
Paradis “Hémisphère” – BIS Records 003 by timsweeney
 
Pre-order your copy now here.

Moodmusic label head Klas Sasse Lindblad is to deliver his 3rd album on Moodmusic Records during the summer of 2012. “Third Encounter LP” will be out on double vinyl and CD on June 18th and digitally on July 9th. While we all await for the release, give a listen to “Der Groove” a trippy analogue deep house tune, included on Sasse’s forthcoming album. More information to follow soon…
 

A new digital release is as good an excuse as any for a reappraisal of the glorious sound of Metro Area. With the first four EPs taking a lot of the limelight for comprising the MA album, 5 and 6 in the 12″ series are well-deserving of a second outing. As with all their output, Morgan Geist and Jesrani craft immaculate, warm and heartfelt disco-house nuggets devoid of any of the negative association that genre tag might imply. “Nerves” is a masterclass in uplifting but sorrowful strings, while “Proton Candy” is all quirky Italo flavour. “Honey Circuit” meanwhile sports a punchier electro strut, and “Things Fall” shows the modern contingent how to really do analogue deep house.
 


 
Available now at:

 
In other news, the next Storm Queen release, Let’s Make Mistakes (ENV037), is now complete and awaiting a mid-July release to take the summer by Storm… Queen…

Unlike rock bands, dance acts tend to go for the remix collection over the live album when they want to wring out their back catalogue. And, despite the name, Ame’s Live is much more in the former mould. Although comprised of live recordings from the past two years, Live is very much a studio creation, with reworked versions of their own “greatest hits” and remixes for the likes of UNKLE and Underworld compressed into one continuous set. It’s also ostensibly a celebration of Frank Wiedemann and Kristian Beyer’s first decade together, but while the form might be fresh, you suspect the motives behind putting it out might be more stale. After all, while their touring schedule is hardly slothful, it has been eight years since their eponymous debut on Sonar Kollektiv and their own productions and remixes have been more a trickle than a stream recently.
 
If Live serves the purpose of bridging a gap in the release schedule, it also follows the traditional structure of a rock set: building right up to the big tune for its climax. The darting bleeps of “Rej” are the equivalent of Deep Purple’s “Smoke On The Water” riff, the trademark moment that everyone’s there to hear. The opening remix of Roy Ayers’ “Tarzan” introduces many of Ame’s signature sounds; the stabbing orchestral strings, the supple tech house beats, the melodic fragments at once warm, poignant and minatory. It’s a style distinctive but never restrictive, allowing them to descend from the peaktime heights of tribal techno chant “Ku Kanjani” to the lower dub pace of “Nia” and the deep vocal house of their remix of Osunlade’s “Envision” with real grace. Ame transform the portentous dirge of UNKLE’s “Hold My Hand” or the stadium techno of Underworld’s “Crocodile” into something much more subtle, while a new remix of Gui Boratto’s “This Is Not The End” blends Luciana Villanova’s vocal into sensual ambience. It’s all skilfully woven together, yet experienced outside the clubs where it was recorded isn’t quite enough to breathe new life into this collection of well-worn favourites.
 
Review via RA.

Since emerging in 2010, Swedish duo Alexander Berg and Nils Krogh, better known as Genius of Time have been turning heads with their unique and enchanting take on house music.  Though it is hard to pigeon hole their sound, Genius of Time fit somewhere in-between classic and space-age house, and while Chicago influences are clearly evident then their tracks are forward thinking and always retain that traditionally cool and serene Scandinavian style.
 
Along with partner Fabian, the duo run the vinyl only Aniara Recordings, which serves as a platform to release their own material. Aniara Recordings is characterised by all round high quality, from the raw and original productions right through to the eye-catching artwork. As such previous releases are already fetching up to 40 euros on discogs. In early 2011, despite having only having two releases under their belt, Genius of Time caught the attention of Serge Verschuur, who released the excellent ‘Drifting Back’ EP on the Royal Oak imprint, sublabel of the mighty Clone Records.  In spite of their rapid rise, Genius of Time remain two of most easy-going and likeable producers you are ever likely to encounter. Pulse Radio caught up with the duo over Skype for a chat ahead of their gig at FOUND on Friday 11th May, covering ‘discogs fiends’, scientific theories and how they felt when Snoop Dogg featured them in his recent ‘Euro Tekno Mixx’.
 
When researching you for this interview I noticed there was not a great deal of information about you, is this low profile intentional?
 
Nils: It’s probably because we’re not very good with the whole social media thing.
 
Alex: Yes, we don’t really make decisions because we think they might work, we just do things the way we want to do them. We don’t really think about promoting ourselves, personally I don’t like getting spam and mails and being bombarded online so we don’t want to do that to others. But of course there are good ways to promote yourself I guess, but we haven’t really been focusing that much on that part of the music business. But it’s not been a choice either to stay low profile it just happened.
 
Three people running a label seems like an odd number – what is the working relationship you guys have it must be difficult agreeing the whole time?
 
N: Fabian was the one who started it from the beginning. We wrote the first release on the label and now we are doing it together.
 
A: It’s true, from the beginning we weren’t really that involved in the label part. We made the first record and Fabian was our friend who had been talking about starting the label and he listened to our music and decided to release it. From then we became closer friends and everything just came together. In the beginning it was more his thing and then our roles started to come together a bit and now we make the decisions together.
 
N: But its not like we have a big plan on the label side either. We just do what we like.
 
A: Yes thinking back a bit I think we made some good decisions without knowing it and that’s because we buy a lot of vinyl records ourselves and we love to go out clubbing so we are pretty much the consumers that we want to sell our records to. So it’s quite easy just to feel ‘how would I want a vinyl record to feel or look like’.
 
There are a few things that stand out about Aniara Recordings apart from the music. It is a Vinyl only label, the artwork is really striking and interestingly there have been no remixes, every track has been an original production. Are these conscious decisions you guys are making?
 

N: Yes and I think it’s just a bit more interesting like that. When you see a record and it has a remix, people always look to see whom the remix is by and the remixer gets most of the credit anyways.
 
A: It hasn’t made sense for us yet to have any remixes because I think nowadays the whole concept of doing remixes is just a bit weird sometimes. I think there are interesting ways to do a remix, we could easily contact an artist we like about doing a remix but how can we be sure that they would really want to work with the material, it might not suit them perfectly and so on. It would feel more natural if someone approached us and said ‘Hey I’ve got a nice idea for remixing this song’. If it happened that way then it would be more interesting I think.
 
That’s interesting that you might be more open to a producer coming to you, rather than commissioning someone to do a remix for you.
 
Download Genius of Time Podcast via Pulse Radio.

The Turkish edits maestro Onur Engin is back on track with his worderful edits series. The vol.8 is expected to be release on June. More information to follow soon…

Edits Vol.8 [OE008]

Tracklisting:

A. By All Means (15:26)
B1. Wind Parade (7:00)
B2. Nights Over Egypt (5:38)

OE008 by Onur Engin

Ministry of Sound Radio is very proud to present Nu Disco, a weekly show for all you disco lovers. We’ve got some very special DJs working on rotation to bring you the finest in Disco, Balearica and re-edits that will take you on a smooth journey into your Thursday evening. DJs on rotation will include The Idjut Boys, Future Disco, Cosmodelica, Crazy P, Toby Tobias and The Cosmic Truth.
 
Nu Disco. Every Thursday 9-11pm on Ministry of Sound Radio.
 
Latest show: 3rd May featuring The Idjut Boys.

You might know him as one half of Mario & Vidis, but Mario Basanov is making firm strides on his own work too. The Lithuanian producer and DJ, who’s a celebrated star in his home country, released an album with Vidis in February this year and has previously had music out on the likes of NeedWant, Future Classic and Under The Shade. 2012 will see him release his own solo album and tour both alone and with Vidis through Europe and Brazil. Before he sets off, we pinned him down at this turning point in his musical career.
 
You changed your name to Mario Basanov. Has this become a name you now answer to or is it only a working title for your music? Yes, sometimes I answer to Mario, because over time I’ve got used to this artist name. But I prefer then in casual life people called me Marijus or just Mario. The two often merge together.
 
What was it like growing up in Lithuania? It was much like growing up in any country I guess. I don’t know that to say, it was absolutely routine life. Except that I was growing up within a family of musicians. I was always listening to only good quality music, and also was playing a bassoon.
 
Reading up on your home town the words strange and interesting come up? Would you agree with that? How is it strange? Yes, I agree. It’s difficult to say about Vilnius, it’s more of a feeling. Everyone should visit, it’s a great city, but much smaller than somewhere like London.
 
What is the party or music culture like there? The parties and music culture is very varied. From Techno, House, Trance to Dubstep. I think it’s much like everywhere else with lots of different scenes. But it was House music in Lithuania that was most popular in our days.
 
Any plans on moving to a ‘music’ capital? London, Berlin or Ibiza? I want to live here in Lithuania, but I’m always glad to have gigs in capital cities and great places such as London, Berlin and Rome. I’m playing most weekends and I’m excited about traveling to all these places: this week is London, later Ibiza, Brazil and more for this year already. But in fact I want to live in Vilnius, it’s my home and family here. I feel good here.
 
What’s your studio set up like? My studio is not big, but it’s enough for me to feel good here. I’m proud of it, because I built it almost by my self. (except equipment which I have). For the past 15 years I use Cubase, sometimes I work with Ableton live, but that’s more for preparing for live performances. Also I have Speakers Quested s7, analog synthesizers: minimoog-voyager, prophet 08, Vermona –M.A.R.S., Korg- Polysix, Polyvox, compressor Avalon 747sp, but it’s not enough for me. I want more synthesizers, all these new sounds ripen my new tracks.
 
What sort of music do you look for to mix with your own when making a mix or doing a remix? It depends for a mix. But in general I always looking for good feel and a real groove in the music. If I feel it, I can do a remix, or I use track in my mixes.
 
The first I heard of you was with your work with Vidis. Will you continue working together or is there now more focus on your solo work? I’m both working with Vidis and by my own. Sometimes it happens that I spend more time with Vidis, sometimes on my own. I can’t say that I’m more focused on my solo work, maybe right now, but not all the time.
 
There’s a very melancholic and moody feel to much of yours and Vidis’ album Changed. Was that the intended sound for the album, or did it just end up that way? Everything turned out spontaneously. It’s like making a vine. You never know if it will be sweet, medium sweet or dry, but sometimes it can be deep.
 
Read the full interview here.

Think back to the late 70′s/early 80′s, Northern Italy, when the sound palette was a churning, hypnotic melting pot. The evolution of Cosmic had began from a combination of Afro rhythms, Italo Disco sensibilities, Jazz, science fiction and a surge of synthesisers, emanating from clubs such as Typhoon, Chicago, Bisbi, Mecca, and of course Cosmic.
 
Here at Nang we are proud to have one of the sound’s founding fathers, Daniele Baldelli, back with us. Ably aided by DJ Rocca (aka Ajello, Crimea X and Supersonic Lovers) in his Mars Life Studio, the pair have brewed up a startlingly accomplished album of cosmic slo-mo machine funk.
 
We dive straight in with ‘Complotto Geometrico,’ a galactic dancefloor experience that spews out elastic synth lines and otherworldly rhythms in glorious fashion. Next up the title track ‘Podalirius’ follows suit with its equally as poignant synthesis, interspersed with a beautiful flute lines, laser pulses and rolling percussion.
‘Roba Che Scotta’ takes us away with a beam of arpeggios and Sci-fi themes, within a more classical disco template. ‘Rate The Stars (ft. Tahamene)’ starts with a thumping boom-bap, before leading into an spacey arp-driven vocal track, with Tahamene’s brilliant top line adding to the melancholia.
 
‘A TV Show (ft. Ghostape Boy)’ is far more slinky, laid-back affair. Ghostape Boy’s vocals supply a youthful sheen to the percussive disco instumental, leaving a supersweet aftertaste. ‘Real Like The Music (ft. Mark Borgazzi)’ lines up next. Bongo’s and a repeated synth phrase intertwine with Borgazzi’s soulful tenor, guitar chops and cosmic detritus to create another on-point vocal track.
 
‘Teorema’ brings the tempo up a notch for a lesson in spaced-out dancefloor mechanics. The bass is solid and string, supporting the surrounding synth melodies and laser beams to carry it in any peak time scenario. ‘Haughty Rhino’ is equally as strong, but the vibe goes a little deeper, it’s a little more visceral. The epic synth lines stand their ground for the introverted headphone listeners just as much as the extroverted twilight adventurers.
 
As we draw to a close, ‘Flugdisco’ helps things down a little easier with its melodious contemplative moods, the washes of star-lit pads and progressive arrangement. To finish things off in fine style, the 2010 Nang single ‘Space Scribal’ makes an appearance for old times sake. For those that were there, this is classic Baldelli and Rocca, for all you new fans, revel in the sonic supernova!
 
Preview Daniele Baldelli & DJ Rocca – Podalirius via Kudos Records.

Ho inziato una dozzina di volte questa frase e, nonostante i ripetuti tentativi, non so ancora se sono partito col piede giusto. Eh sì, Frank Wiedemann e Kristian Beyer hanno detto tanto e tanto ancora hanno da dire, troppe cose ben fatte hanno caratterizzato la carriera ormai decennale del progetto Ame, per permettermi di seguire un filo logico lineare. Sì perché quando pensiamo a questo duo abbiamo il dovere di guardare oltre l’intramontabile “Rej” o il remix di “Envision”, dobbiamo essere in grado di cogliere tutte quelle sfumature che rendono la sua musica unica. Jazz, funk e soul, il tutto amalgamato da una sana dose di Detroit-techno, fanno di questo progetto musicale una delle cose più belle partorite dalla musica da ballo (e non solo) di questo inizio di secolo: decine e decine di dischi, innumerevoli esibizioni in tutto il mondo e, forse più importante, la creazione di un suono che firma e che aiuta a definire un’era della musica elettronica.
 
“Ame: Live” è il continuous mix che celebra tutto questo, i dieci anni più belli ed importanti di Frank e Kristian. “Ah, siamo qui a parlare dell’ennesima compilation!” direte voi, ma no, mi spiace deludervi, non è una semplice compilation. Basta scorrere la tracklist, basta tenere a mente che tutte le tracce presenti nel cd sono state ritoccate e riviste per l’occasione, per renderci conto che “Ame: Live” è un’esperienza. Settantasette minuti di techno agile ed erudita, un percorso che mostra la grande varità dei a disposizione del duo tedesco. Si tratta di un tuffo in un oceano di colori: “Ku Kanjani”, frutto della collaborazione con i sudafricani Amampondo, ci ricorda come Innervsions sia una label dalle grandi, grandissime, vedute; “Where We At” e “D.P.O.M.B.” (firmate dal tridente Henrik Schwarz/Ame/Dixon) suonano in modo sorprendentemente dirompente, neanche fosse la nostra prima volta insieme; mentre i remix per Unkle, Underworld, Roy Ayers e Rodamaal (chi si fosse perso “Insomnia” deve, categoricamente, andarsela ad ascoltare), oltre al già citato capolavoro per Osunlade, sono il chiaro esempio delle qualità di Frank e Kristian nelle vesti di remixer.
 
Chiudono il cerchio “Nia”, “Enoi”, “Setsa” e “Junggesellenmaschine”, quest’ultima perla mozzafiato che nei suoi ultimi due minuti nel mix ci catapulta in un’altra dimensione. Il consiglio è quello di chiudere gli occhi e spegnete i pensieri.
 
E dire che c’è stato pure chi, in quel maggio di tre anni fa, si è divertito a lanciare bottigliette sul palco durante la loro esibizione a Dissonanze. A quei geni consiglio l’ascolto di “Ame: Live”: non è mai troppo tardi per ricredersi e chiedere scusa.
 
Via Soundwall.it

Check what Daniel Petry for Resident Advisor had to say about Snowbombing 2012 and Lindstom stellar appearance:
 
“Before going to Snowbombing, I was intimidated. I mean, I love snowboarding, and I love music even more. But the prospect of a whole week of both seemed close to insanity; how was one to survive such an ordeal? And how to make the most of it all? The solution I came up with was to go easy on the sauce; it seemed the only way. Against all odds, I managed this remarkable achievement.”
 
“Lindstrom played a live set which was a highlight of the festival, as not only was it full of emotion and glorious arpeggios, it was also surprisingly punchy and driving”.
 
Read the full article here.

After dropping his outstanding debut Single on Moodmusic, Sequoia, the Belgian wonder producer Maxime Firket aka Compuphonic blends exquisite tech/house tunes for this new installation of Moodmusic Podcasts. This mix is totally dancefloor-orientated and serves to illustrate, yet once again, Maxime’s superb DJ skills. Hope you enjoy it as much as we do.
 
 
Moodmusic Podcast 5-2012 by Compuphonic by sasse
 
Tracklist
 
Compuphonic – Sequoia (Diskjokke remix)
Moritz Ochsenbauer – Fuck Face (Jay Haze Remix)
Mario Basanov – We Are Child Of Love
Good Guy Mikesh, Filburt – Roamer
Franck Roger, Terence Terry – Hustling Peoples
Sasha, James Teej – Night Track (M.A.N.D.Y. remix)
Roots Panorama – Threee (Ripperton Mix)
Phreek Plus One – Passion feat Mr White (DJ T Remix)
Maxxi Soundsystem – Into the Future
The Mekanism – Missing Love
Chemical Brothers – Asleep from Day
Etrar Trip Bonus /// Lescop – La forêt

Klas Lindblad aka Sasse from Moodmusic is a Berlin resident, although his roots are in the Finnish skihills and lake shores. The dusted roads of Galaktika and Sasse have met before, in the year 2006 with a remix the charismatic Finn did for Galaktika label mate Garnica to great success.
 
Now we present you the first artist EP from Sasse in the form of 2 original tracks, as well as great remixes from Dosem , Maurice Aymard & Garnica. “Save A Prayer” relies heavily on a well known disco vibe from the Big Apple, boosted with big beats and a chunky bassline for an floor shaking experience. Maurice Aymard and Garnica tackles Save A Prayer in fine fashion, bringing their South American vibe to it , grooving the night away.
 
Dosem puts a high gear on, bringing Save A Prayer to the next level with syncpated drums and slamming bassline, this is peak hour if there ever was one. As a bonus Sasse delivers “Do It Well”, an old school inspired house tune with echoes from Henry Street and the sound of NYC in 1995.
 
Grab your copy now via Phonica Records.
 

Stefan Goldmann didn’t establish himself as a force in electronic music by doing things the standard way: his own productions and those found on his Macro label rarely sound like they’re coming from the same universe as practically everything else on the shelves. That’s certainly the case on the Adem EP, Goldmann’s and Macro’s latest: neither his weirdest nor heaviest record, it’s nonetheless the kind of ticklish release that can tie a DJ set into the best sort of musical knots.
 
“Adem” takes its melody from chalga, a sort of winding Bulgarian folk/pop/dance style, and it provides Goldmann with just the sort of closely placed notes and resulting sweet dissonances he likes. (A melody-isolating “Chalgapella” heads off the B-side.) The beats, however—wiry, precision-cut daggers of drums—are Goldmann’s own. Tech house fans have heard plenty of Eastern European sounds woven into these sorts of rhythms over the years, but “Adem” doesn’t feel like a cut-and-paste job: each serves to amplify the bounce of the other. “Rigid Chain (Dub Mix)” goes quite a way with just bass, a few drum samples, quiet pads and a hyperactive delay unit. “Shallow Grave” settles into a kind of grim post-industrial space, a bit of a weird landing pad for an EP that begins with such bounce. But Stefan Goldmann rarely plays to any expectations other than, well, just that.
 
Tracklist: Stefan Goldmann – Adem EP
A Adem
B1 Chalgapella
B2 Rigid Chain (Dub Mix)
B3 Shallow Grave
 
Review via RA.

We have here a rather unique and stunning piece of music for you all: Atom™ & Tobias’ set at Unsound Festival New York at The Bunker on April 9, 2011. As with all Atom™ & Tobias performances, this set was performed without computers and was completely improvised with analog gear. You can download it directly by clicking here. Enjoy!
 
Thanks to Beyond Booking.

Some time early in 2010, Daniel Wang was passing through Vienna and decided to visit his old friend Wolfram a.k.a. Diskokaine, whose apartment in a classic building right next to the Naschmarkt is always filled with kooky new sounds booming out of speakers which Wolfi’s dad built himself. “Wow! Who’s singing over that dirty electro loop? That sounds like… But how could it be?”
 
“It is,” said Wolfram, who had found Paul Parker on Internet recently and sent him a few instrumental sketches. The tracks had come back as a quick download with a powerful and beautifully produced vocal, complete with finished lyrics, bridge, and even effects built in.
 
Daniel was smitten right away. “Wolfi, would you mind if I took a copy home to Berlin and tried something out with my friend Massi? I hear potential in this…”Of course, Daniel’s home studio has been a mess, while Massi’s music room right around the corner, a.k.a. “Karl Marx Boulevard Studio”, is equipped with a collection of vintage synths and drum machines which would surely make Patrick Cowley drool (if he were still with us today). “So let’s make an amazing remix!” we thought.
 
Sure we love the music, but actually, it’s because we are flaming homosexuals, and ever since we saw Paul on Youtube wearing that sleeveless T-shirt singing “Right On Target” over a backing track, we became enamored of his passionate voice, his sexy moves, and last but not least, the classic “clone” moustache above his sensuous lips.
 
We found a name for this special attraction: “That Germanico Feeling”. (..although Paul is not really German! But that’s how we feel about Men and Music, so that’s the name of our remix team. If you’ve ever visited our city, you’ll understand.)
 
The surprise is, Paul didn’t disappear in the 80’s like so many gay men of that generation. He became an estate agent in posh Napa County in Northern California, and he is still making dance music, albeit the sort of “trancey” American circuit-style sound which you wouldn’t hear too often at Horse Meat Disco, or even at Berghain or
Homopathik here in Berlin.
 
We don’t care. He still sounds great. Past, present, and future are all just a state of mind. We just want to get down and have fun. So here it is… Our love letter to Paul, Patrick, and to you, the dancers. You queens, you faggots, you clones, who enjoy dancing on a fat funky masculine disco groove. And for the more “abstract” DJs who don’t play vocals, we are sure that the “Acid Dub” will precipitate wet electronic dreams and make everyone run up to the booth asking: “WHAT was that track you just played?”
 
It’s Paul Parker! Remixed especially for you by Daniel Wang and Massimiliano Pagliara.
Come with us and get into That Germanico Feeling !!
 


 
You can pre-order your 12″ now via:
 

Milo Kekic, better known as Millok, is a young talent from Montenegro, a tiny country on the Mediterranean seaside. He slowly made his way into the house music, becoming a no. 1 DJ in his place and continuing his path towards the producing field. And, Feel EP is a proof that he is doing really good. The EP is out now via Noir Music 2 and contains and an amazing remix by our very own Mario Basanov, that you can check on the player below.
 
Millok & Zigelli – Feel Me (Mario Basanov Remix) (Cut) by Mario Basanov

Almost exactly ten years ago, Âme, the duo of Frank Wiedemann and Kristian Beyer, was officially born. The two artists had met a year earlier and began working on music not long after, homing in on a style of house that was
classically informed yet totally modern, as inspired by jazz, funk and soul as it was by Detroit techno. It was the beginning of a musical project that would define the next decade of their lives, with dozens of records, countless
performances around the world, and perhaps most importantly, the creation of a signature sound that would help define an era of electronic music.
 
Âme Live takes stock of everything that’s happened since then, connecting the dots between early records on Sonar Kollektiv, later works on Innervisions and still unreleased material. It also serves a much simpler purpose: documenting their exceptional live act. Âme started playing live in 2010, and in doing so devised one of the most idiosyncratic performances in club music today. Despite being limited to their own compositions, their live routine is
at least as dynamic as their DJ sets: each performance is a vivid sequence of moods and styles, unhinged by genre and tempo and delivered with a kind of mad scientist intensity. The new album is made up of the best recordings from the road, reedited in the studio and woven into a continuous mix. Taken as a whole, it has a way
of transcending space and time, with the duo’s lithe productions forming a stage for South African folk lyrics (“Ku Kanjani”), Portugese spoken word (“Insomnia”) and the music of 70’s funk icon Roy Ayers (“Tarzan”), not to
mention Âme classics like “Where We At” and the all-mighty “Rej.” Though it’s heavy on familiar tracks, each one takes on a distinct new character in live form (there’s also one entirely new production: the “Beatless Mix” of Gui
Boratto’s “This Is Not the End”). For fans, it’s a fresh take on Âme’s celebrated oeuvre. For everyone else, it’s a perfect introduction to one of house music’s most imaginative duos.
 
Henrik Schwarz / Âme / Dixon – DPOMB (Âme Live Version)

After some young and talented debut artists on the recent Session Deluxe releases, we present now are real big package of three well known, famous and international accepted artists. It s time for some strong Scandinavian power, coupled with New York energy. Session Deluxe 038 presents a three tracker Ep, made by Mood Music Honcho and Vodka lover Sasse. He collaborated with his brother in crime Tuomas Salmela better known as Phonogenic. Alexi Delao, the guy from Brooklyn, New York, was responsible for the remix. Normally, we don thave to explain these artists. Each of them is a part of the techno-house scene for years. Sasse and Phonogenic are especially famous for their unique deep, soulful and catchy deeper house tunes. The all-rounder Alexi Delano, stands for releases on Drumocode, H-Productions, Truesoul, Plus 8, Minus and many many more. Techno and House are his obsession. So we can truly say: this is definitely one of the best combination we ever had, on Session Deluxe. So please, let the music speak and enjoy this amazing symbiosis of modern, deep, groovy and reduced techno-house music.
&nbp;
Sasse & Phonogenic Control EP 12″ available now at Decks.de

As far as house and techno goes, Clone Records sit amongst the legends. Evoking techno as raw as R&S, house as soulful as Trax and bases covered everywhere in between, from disco to UK bass, Clone have developed a substantial roster of sub-labels to boot, many of which house the cream of the labels overall output.
 
In light of this, Hidden residents and forward-thinking night Trix and electronic genre-hopping cult Streets of Beige have joined forces to present a one-off Clone night dedicated to the label’s two finest sub-labels – Basement Series and Royal Oak. Going head to head over two equally-sized but aesthetically diverse rooms, this showcases Clone in all their glory with a soundclash of electronic artists facing off from both the house and techno stables.
 
Line-up /
Gerd
Genius of Time
Serge
Dexter
Untold
Conforce
 
Event & ticketing info via R.A
 
 

WhoMadeWho are a trio from Denmark consisting of an ex-underground Scandinavian rock falsetto singer/songwriter; a beard-sporting guitarist, singer/songwriter from the avantgarde jazz stage; and a drummer and rising star from the country’s electronic music scene. So it’s hardly surprising that with such an eclectic group of creative minds, their combined production talents are difficult to pin down or slot neatly into a genre. And with the relentless bombardment of electronic-music-by-numbers we’re subject to these days, that’s a refreshingly good thing!
 
The band have been keeping pretty good company since forming in 2003, playing alongside Daft Punk, LCD Soundsystem, Soulwax and Hot Chip and their experimental approach to combining electronic with acoustic whilst taking to the stage in skeleton suits prompted NME to ask “Got knows what would happen if they got serious”. Sasha affirmed their musical credentials in the house scene by rounding off his WMC set with the anthemic ‘Below The Cherry Moon’.
 
So, WhoMadeWho are riding the waves with tenacity whilst mixing in the right circles, but what of their latest release? Taken from their 2012 long-player, ‘Brighter’, ‘Running Man/The Sun’ comes with a quality lineup of remixes courtesy of the ever impressive Kompakt. The original sees the high-pitched vocal talents of Tomas Hoffding taking the lead accompanied by plucky guitars and swirling strings for what feels like a Hot Chip inspired outing. Dave DK takes on the first of the remix duties and delivers a more dance floor tailored slab of deep house. This is actually our favorite track of the package because of it’s subtle interpretation of the vocals whilst retaining the originals integrity. Martin Dawson & Catz’n Dogz step up next and take things up a notch with chopped vocals and heavier drums. Frenchman, Pilooski, retains more of the original sentiment in his reworking as the piano and guitars intertwine around a raw kick drum and cleverly edited vocals. Finally, one third of WhoMadeWho, Tomas Barfod, drops what initially feels like a more stripped back remix which gradually evolves into a heavier drum-led offering with a monster distorted bass line.
 
Disco meets rock meets trance as things are rounded off with ‘The Sun’, an unashamedly boisterous anthem of mighty proportions, which shows that whilst the skeletons are firmly back in the closet, WhoMadeWho are clearly still having fun with their vocation.
 
Via Rebels Because.
 
Whomadewho – ‘Running Man/The Sun’ available now at:

We’re super excited for this week’s guest! Alex From Tokyo has been a long-time inspiration for us. The Paris born, Tokyo raised, NYC based dj / producer’s reputation precedes him. His releases on Innervisions, Reincarnation and Moodmusic are absolutely mind-blowing. He’s done remixes and edits with the who’s who of house music’s elite, as well as consulting for fashion icons such as Louis Vuitton and Y-3. If you listen hard, you can actually here the Love being mixed into every record! Please enjoy.
 
Tracklist
 
Hour 2: Alex From Tokyo (Tokyo Black Star)
 
1. Dany Dorado / Crepusculo (Adult Contemporary)
2. Parkway Rhythm/ Working Girl (Parkway Records)
3. James Mason / Nightgruv
4. Gil Scott Heron / Whitey on the Moon (The Munk machine Remix)
5. CD vs CD / I Really Do Believe (Swag Remix)
6. Superfunk feat. Ron Caroll / Lucky Star (Solomun Remix)
7. Ane Brun featuirng Jose Gonzales / Worship (John Waynes Edit)
8. Daniel Bortz / No One (Pastamusik)
9. Tokyo Black Star / Together (Apt. International)
10. Still Going / Work That Shit Party (Still Going Records)
 
Listen via iTunes or via Direct Download.

The Canadian label owned by Tiga, Turbo Recordings, presents the debut of Marc Houle under his brand new guise Raid Over Moscow. ‘Rush The Capsule’ offers three instant synth-pop classics clad in modern dance armor. The release features also top-notch remixes by Jori Hulkkonen, Zyntherius, and Ewan Pearson. Essential!
Label Turbo Recordings
Catalog # TURBO122A
 
Raid Over Moscow – Rush To The Capsule (Ewan Pearson Remix) [Turbo] by alchemyremixmanagement
 

 

 
Release available now at:
 

We checked in with some of these producers and more, covering everything from the nuts and bolts of their studios, to their thoughts on the thorny issue of “ghost-writing.” We kick off the first round of questions with Berlin-based English gentleman Ewan Pearson: a techno DJ with a penchant for underground pop, a remixer extraordinaire (check out his recent Metronomy rework) who can also regularly be found at the controls for indie acts The Rapture, M83, Delphic and Tracey Thorn.
 
You’re primarily known as a DJ, remixer, and producer, but you’ve also had a string of releases under various aliases—like Maas, Sulky Pup, Villa America, and World Of Apples. Was it your intention to keep your own tracks separate?
 
I’ve always put out original records under some kind of alias—six or seven of them by now I think [counts in head]. Seven?—partly because it lets you be more playful and move around in different styles. The problem is that even if I wanted to make an original Ewan Pearson record, people would think it was me somehow stepping forward and presenting the real me, and I’m not sure I ever want to give that impression!
 
What proportion of time do you spend collaborating as opposed to working on your own material?
 
It’s pretty much all collaborative at this point—even remixes are collaborative in that I’m reacting to the material I’m given. The nice thing is that WAVs can’t answer back or disagree with what you do with them, though!
 
Can you tell us what is currently in your studio?
 
A Mac Pro running Pro Tools HD, Logic, and Ableton, Metric Halo interfaces, and a load of hardware synths and outboard effects, pedals, and stuff.
 
How would describe your own production signature?
 
I try not to have one! I try to make the records sound as much like the artist as possible. I have a personal fondness for big productions (too much Trevor Horn as a kid, I think), but I’m very happy making something which is just piano and vocal. It really depends on the record in question and what it needs. I’m happy to step in and add a chunk of my personality if required, and I think you can hear that in tracks like M83’s ”Couleurs,” which I created lots of the parts for, or Tracey Thorn’s “Swimming,” but I don’t try to transform anything for transformation’s sake.
 
Do you have any production heroes or a favorite piece of music that you aspire to?
 
Loads and loads: the aforementioned Trevor Horn and the productions from ZTT in the 1980s, so also people like Steve Lipson, Stephen Hague, and Julian Mendelsohn, who worked on the first couple of Pet Shop Boys albums, and then a lot of dance producers and remixers from that era, too, like Shep Pettibone and John Robie. I was formed—for better or worse—in the ‘80s. But as I’ve gotten older, that’s broadened. Tony Visconti, who made all those incredible David Bowie albums at the end of the ‘70s, Brian Eno, of course, for both his solo records like Before and After Science, and for his in constant re-thinking of process. Martin Hannett. Then there’s a guy called Tchad Blake, who’s a genius engineer and mixer who uses distortion and all sorts of techniques to make records which sound like no one else. For a long time, I refused to use reverb, and only used delays and tape effects to create spaces, because that’s what he did.
 
What is the one piece of equipment in your studio that has the most value to you?
 
Sentimentally, it might be the Roland SH-101 I’ve had since I was a teenager, but in reality it’s my Focal Twin 6 monitors. Your monitoring is the most vital part of your studio. It takes so long to get to know how speakers sound. I spend a lot of time in my room just listening to music, trying to learn the shapes others’ records make in my space.
 
What has been the biggest learning curve or problem you’ve had to overcome as a producer?
 
Mine is my lack of engineering training and recording experience. It still causes me enormous frustration that I’m dependent on engineers. I wish I had more knowledge when it comes to mic selection and placement and so forth. You only get that from experience—from lots and lots of experience. Recording drums and knowing how to tune them and prepare them for recording, and then how best to mic them… this is pretty hard and I hate not being able to do it myself; I hate not being able to do anything, really. I try to relax and let the people who are engineering—and I always work with really good, talented people—do their job, but I still get frustrated, and to a certain extent jealous! Perhaps that’s a bit too candid, but it’s how I feel. All the things I can do, I have learned to do, slowly and painfully over time. It is good to feel that you are continually improving, but there’s always such a long distance still to go.
 
And what about your proudest moment?
 
They are usually moments when something’s gone wrong or you’ve reached a problem that everyone thinks is intractable, or when someone is upset or out of sorts and you manage to bring things round and have a good day’s work, or get them in a position to do a really good performance. There have been a couple of moments like that, where I’ve finished the day pretty happy and think I might actually be able to do this job.
 
Are there any tracks that you’ve produced that you secretly wish you had kept for yourself?
 
No, never ever. Remixes and productions are dialectic—they only happen out of a reaction to and conversation with the work and talent of other people. If I had been working on my own, I would never have come up with that stuff.
 
In your own words, how do you describe the difference between producing for another artist and “ghost writing”?
 
I’ve never ghost written or made records for anyone else anonymously. The closest I’ve come is programming for Nellee Hooper on the Gwen Stefani solo album, but I was credited as one of the programmers, of course. Everything I’ve done has had my name on it, and conversely everything you see with my name on it was done by me, usually painstakingly over some time. I get people to help with engineering and sometimes mixing, but that’s it.
 
Read the full interview here.
 
Click here to sample the At The Controls: Ewan Pearson chart, featuring 10 tracks from his production discography.

Macro’s brainiac techno is always welcome in these parts, and its latest, a three-tracker by Stefan Goldmann is no exception. He brings the same kind of audacious sensibility to the EP’s material as he did to his 2009 take on Stravinsky’s Le Sacre du printemps, which was stitched together from 146 sections lifted from over a dozen recordings. But let’s be clear: Adem has little connection to Western classical music. It’s techno, if techno of the wacky Macro kind.
 
The EP’s prime cut, “Adem,” twists synths into funky shape by warping a single pitch until its insistent thrum breathes Arabian fire—an arresting sound all by itself but one Goldmann amplifies by pairing it with a skipping rhythm that huffs’n'puffs like some Western-styled hoedown (harmonica-styled wheeze is also audible during the track’s closing seconds). Skeletal by comparison, the B-side’s “Rigid Chain” strips things back to little more than a pumping, off-beat bass line and a slithering hi-hat-and-bass drum combination. The twelve-inch vinyl EP concludes with “Chalgapella,” which isn’t a third original but a five-minute version of “Adem” with the rhythm elements omitted. The A-side’s eight minutes are so head-spinning, however, that the other tracks can’t help but seem secondary by comparison.
 
Via Textura.

Exclusive Mix Vidis did for Electronic Beats Radio on behalf of Mario & Vidis. Clean version with no IDs, full track listing, downloadable. Enjoy!
 
Tracklist
Ladyvipb – A New Day (Maurice Fulton Remix) [Nuphonic]
Recloose – Cardiology (Isolee Remix) [Playhouse]
Slope – At Least (Dub) [Sonar Kollektiv]
Phonique feat. Alexander East – 99 & A Half (I:Cube Remix) [Dessous]
Sid LeRock – Naked (DJ Koze Remix) [Cereal/Killers]
Layo Bushwacka – Deep South (Linkwood House Of Traps Firecracker Dub) [Juno]
Metro Area – Caught Up [Environ]
Mario Vidis Ernesto – Care [Silence Music]
Kelley Polar – Entropy Reigns (Pearson And Ushers Closed System Dub) [Environ]
Mr White – You Don’t Answer (When I Call) [Alleviated]
Tiny Trendies – The Sky Is Not Crying (Swag’s Sky High Mix) [Nuphonic]
Will Saul feat. Sany Mill – Soul In Motion (Album Version) [Aus]
 
Vidis (Mario & Vidis) – Electronic Beats Radio by Mario & Vidis

Claremont 56 have tapped UK duo Idjut Boys to compile their fifth anniversary compilation, due for release in June. In his 2010 Label of the Month feature on Claremont 56, Andy Beta summed up their trademark sound thusly: “Almost every release of this British cottage label… imparts a distinct feeling of environment, of ease, of vacationing in beatific climes.” Their already robust catalog includes a number of debuts from obscure groups and artists like Torn Sail, Almunia and Bison, plus numerous records from Holger Czukay, founding member of krautrock legends Can, and label head Paul Murphy (under the name Mudd).
 
Though they’ve never put out a record on the label, Idjut Boys have long been close to Claremont 56: they have contributed remixes over the years, and released some of Mudd’s early records on their own label, Noid. 5 Years of Claremont 56 shows them picking a few dozen of their favorite tracks from the imprint. They throw in seven exclusive productions as well, including a few of their own edits and a new song from Bison, a five-person ensemble featuring Mudd, Czukay and Salvatore Principato of ’80s post-punk outfit Liquid Liquid. Disc three is a mix by Idjut Boys; the first two are unmixed.
 
Tracklist
 
CD1:
01. Bison – Way To La (Day)
02. Fist Of Facts – Fugitive Vesco (Idjut Work Out)
03. Mudd & Pollard – Vincent
04. Mudd & Ahmed Fakroun – Drago (Idjut Edit)
05. Smith & Mudd – Le Suivant
06. Smith & Mudd – Hvala (Version Idjut)
07. Mudd & Pollard – Scaffold
08. Smith & Mudd – Shulme
09. The Popes – Bastards (Idjut Edit)
10. Bison – Mandy (Power Boy Mix)
11. Holger Czukay & U-She – La Premiere/deux (Mudd’s Garden Mix)
12. Almunia – Dos Estrellas
13. Four Hands – Hizou
 
CD2:
01. Smith & Mudd – The Surveyor
02. Bison – The Traveler Almunia – L&G Psychedelic (Wes Coats Holy Sashito Dub – Idjut Edit)
03. Dog Eat Dog – Rollover Almunia – Travel (felix Dickinson’s Passport Control Mix)
04. Mudd & Pollard – Dub Stavros
05. Smith & Mudd – 24/7
06. Smith & Mudd – Wem (Idjut Edit)
07. Holger Czukay – Music Is A Miracle
08. Torn Sail – Birds (Frankie Valentine’s -air Sign Mix)
 
CD3: Mixed Live By The Idjut Boys
01. Holger Czukay – Music Is A Miracle
02. Smith & Mudd – Enos
03. Smith & Mudd – The Surveyor
04. Smith & Mudd – Wem (Idjut Edit)
05. Mudd & Pollard – Vincent
06. Mudd & Pollard – Scaffold (Coyote Mix)
07. Mudd & Pollard – Dub Stavros
08. Almunia – Travel (felix Dickinson’s Passport Control Mix)
09. Bison – The TRaveler
10. Almunia – L&G Psychedelic (Wes Coats Holy Sashito Dub – Idjut Edit)
11. Fist Of Facts – Fugitive VEsco (Idjut Work Out)
12. Dog Eat Dog – Rollover
13. Holger Czukay – Good Morning Story
14. Holger Czukay & U-She La Premiere/deux (Mudd’s GarDen Mix)
15. Almunia – Dos Estrellas
16. Torn Sail – Birds (Frankie Valentine’s Air Sign Mix)
 
Claremont 56 will release 5 Years of Claremont 56: Compiled, Edited and Mixed by the Idjut Boys on June 1st, 2012.
 
Read the full article on R.A

Jamie Paton and Nigel of Bermondsey, better known as Cage & Aviary, have been feathering their nest with cosmic disco belters for the past 5 years now. Their critically acclaimed back-catalogue, released through a number of influential labels from DFA to Dissident, has secured them high profile fans including Erol Alkan, Andy Blake, James Murphy, Tiga and Prins Thomas.
&nbps
Having recently dropped their debut album Migration- a captivating mix of dreamy guitar -laden disco sleaze and cinematic cosmic dystopia, found well at home on Prins Thomas’ Internasjonal label- and now with a 12” Dub Sampler of the album available too, we caught up with the duo for the 411 on the album and what’s next on their flight on fancy.
&nbps
One of the major achievements of Migration is that it demonstrates the multifaceted nature of your work. On the one hand there is a lot of humour, groove, and danceability, and yet it doesn’t alienate the knob-twiddling cosmic-geek’s love of a good space journey either. What, ultimately, do you think this balance is attributed to?
&nbps
Nigel: Between the two of us we cover a lot of musical territory. Our chemistry is based on a mutual appreciation of Eno, Byrne, Russell, Fingers and Gerald.
&nbps
Two songs on the album are re-workings of 2007 Dissident releases, what made you return to these older records instead of focusing on all-new material?
&nbps
Jamie: There are actually four previous releases on the album, but in new forms. We just thought that pretty much everyone who’s gonna hear the album will never have heard our stuff before, so it would be silly not to get some of our best work on there. It had to be new versions though, so it’s looking back but moving forwards at the same time. The whole album is a document of our work up until now, so it made sense in that way too.
&nbps
The album is very cohesive and plays almost like a film score, there is the feeling of development when listened to as a whole, it even has a chronology- beginning with those new versions of older tracks and ending aptly with ‘Migration’. Did you intend it to have a concept feel or even have a clear idea of how the project would sound as a whole when you were writing it?
&nbps
Nigel: When we came up with the name Migration, the record started to cohere around the theme of a musical journey. The tracks were lying in different states until we started to come up with titles. The names of tracks really help us to visualise how they will sound. The final mixes were done altogether in the space of a few weeks on a very nice mixing desk, and then we had the opportunity to finesse the album into a whole.
&nbps
You recently remixed Blancmange and supported them at their Bush Hall gig towards the end of last year- that’s quite the honour, how did this come about?
&nbps
Jamie: They got in touch with us, said they loved the way we use sound, and would we consider remixing them… ha, can you imagine! Would we consider it? We listened to a few tracks from their new album and ‘The Western’ just stood out as a classic Blancmange track, complete with ‘eastern’ melodies. The Bush Hall gig was great, our first proper live show, and it went pretty well – now we have a solid set in place we can start to push it more.
&nbps
Denise Johnson (who features on Primal Scream’s classic ‘Don’t Fight It, Feel It’) adds guest vocals on ‘Lean on Me’, who is singing on ‘Infatuation? Both tracks would lend very well to house remixes, are they lined up to be singles?
&nbps
Jamie: It’s Tamara Barnett-Herrin, and I’m actually working on a house version of ‘Infatuation’ today as it happens. We’ve already done a few versions in a dubbed out disco style so that is penciled in as a single, depending how the album goes. ‘Lean On Me’ I would describe as proto house in it’s current state anyway, but Nigel has started a deep, dark remix of it so that may well appear in some format too.
&nbps
Aside from the album, what else can we expect from Cage and Aviary in the near future?
&nbps
Nigel: Well, we just released the Dub Sampler 12” last week, have been working on a live show involving light and sound, and have a stack of releases by various artists on our own label, The Walls Have Ears.
&nbps
 
Migration Dub sampler 12” is available from Juno.

Tobias Freund is a pillar of Berlin techno. Alongside his house-leaning releases as tobias. and darker tones as Pink Elln, he has undertaken a range of acclaimed collaborations through his lengthy career: modern classical fusions with Max Loderbauer as nsi., sweeping soundscapes with Ricardo Villalobos for Odd Machine, and open-ended improvisation for the outfit formed with Atom TM.
 
He is also a renowned and multifaceted production figure, with more than two decades of experience covering mixing, mastering, composition, and engineering. From his early experiences in the 1990s, learning the ropes with pop-tastic groups like No Mercy and La Bouche, through to his recent work with Bpitch Control‘s Ellen Allien and Aerea Negrot, Tobias Freund walks us through his life at the controls.
 
First up, can you please describe your current studio?
 
My main “instrument” is my analog mixing desk from adt-audio, and I have a lot of outboard gear like Eventide, AMS, and analog tape echoes. The desk is connected through a Lynx Studio Aurora 16 AD converter with a Mac. I work with Logic Audio. I use drum machines from Roland, Korg, and Electro-Harmonix, synthesizers from Roland, Korg, Waldorf, and Akai, and my favorite plugin synth is the Korg M1 and the Logic ES1.
 
How would describe your own production signature?
 
That’s actually hard to say; people I worked with could probably describe it better. If I work on a production like Ellen Allien’s latest album, I like to enhance the artist’s capabilities rather than putting on an artificial touch that doesn’t suit the artist. I like to point out personality even if it is simple, not perfect, or primitive. These are the attributes that make a production and an artist unique. I also work a lot on mixing productions for customers; people send me their individual tracks for a song. Very often there are too many elements in it and frequencies that overlap, so the challenge is to clean them up without making the song sterile. A certain roughness combined with audiophile accuracy is my goal.
 
Do you have any production heroes or a favorite piece of music that you aspire to?
 
Along with many others, I admire the productions of Conny Plank, David Dunningham, Adrian Sherwood, and Brian Eno. All of them are able to work on different kinds of musical genres, from rock/pop to experimental music and to disco. They are excellent sound engineers and use their studio knowledge in a unique way.
 
What’s the one piece of equipment in your studio that is most valued to you?
 
Definitely my AMS harmonizer. I used the unit while I was working as a sound engineer for Frank Farian a lot and learned to love it.
 
What proportion of time do you spending collaborating as opposed to working on solo material?
 
This changes from time to time. Since I finished my album for Ostgut Ton last year, I didn’t do any collaborations apart from some mixing jobs. I share my studio with my nsi. partner Max Loderbauer, and we have two separate rooms, but they are connected through a window, a sync, and some audio cables. So it can happen that he is working on something that fits perfectly to the stuff I am working on, so this means we are kind of in a constant collaboration process even if we work on our solo stuff.
 
In your own words, how would you describe the difference between producing for another artist and “ghost writing”?
 
I am not interested in “ghost writing.” I think if you work together with someone, both parties have to be equal and share all in- and output. I don’t like the attitude of people who sell something they didn’t do. I keep on asking myself, why can’t they just name it as it is and not pretend to be a producer? I don’t mind if I work with someone on a production for his or her project, but I at least should be credited as either producer or co-writer. I am not interested in fake anymore. I think after Milli Vanilli, we should have learned something.
 
You were involved with various pop-dance acts in the 1990s including Milli Vanilli. How did you get your start, and what did those experiences eventually teach you?
 
My job in the studio included all works from the beginning to the end of a production, and beside my job as an engineer, I constantly worked at home on my own musical experiments. I digested the experiences in the studio til I quit my job 10 years ago and just worked on my own music and productions.
 
What would you say are the main differences between shaping sound for pop music compared to electronic music?
 
For me there is no difference; a song has to be “honest” in the first place, no matter if it’s pop or techno. But of course technically there are things you should know. Acoustic music needs more attention to dynamics and frequencies, and electronic music is basically already leveled, but also needs work on the frequencies.
 
You’ve recently worked with Bpitch Control artists Ellen Allien and Aerea Negrot. What are the best attributes that each of these artists have contributed to the project that you worked on together?
 
When I listened to the first demos of Daniella (Aerea Negrot), I instantly knew that I had to help her with her production. I haven’t heard something so unique and fresh for a long time. All the music was already there, it just needed some little tweaks and a mixdown. She is one of the best artists I ever worked with—precise, accurate, and dedicated. The production with Ellen was very special, too. It is always surprising how the element of a voice changes the atmosphere of a song. Ellen understood how to provide that special element and turn the song into a song that suits her best.
 
What would you say is your proudest production moment?
 
Well, I am actually not proud of my music; I am proud of my girlfriend, my friends, and my family. There are certain songs I did that I like more than others, and this is a matter of coincidence, when things come together in the right time.
 
Read the whole interview here.
 
And, click here to sample the At The Controls: Tobias Freund Beatport chart featuring 10 tracks from his production discography.

The new Kojak Giant Sounds 12″ comes straight out of Finland. Crafted by Jori Hulkkonen under his Jihoo guise, Bill Mckenzy / J-Pan – Boltimoore contains two dealer’s brand quality tracks that lay around house and disco/nu-disco. The A side results in an epic vocal house tune, while the B side is more stripped back with haunted vocals.
Artist
Bill Mckenzy / J-Pan / Jori Hulkkonen
Title
Boltimoore / Ghouls
Label
Kojak Giant Sounds
Catalogue
Kgs012
Format
12″
Release Date
30/04/2012
 

 
 
J-Pan – “Ghouls” (Original JiiHoo Bootmix) by Kojak Giant Sounds™
 
 
Available now via: