Hollertronix never scared mixtape torrent

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hollertronix never scared mixtape torrent

Okay, so here it is, the last part of my four-part mixtape. Never afraid to tackle the big issues, but overly-reliant on obfuscating. 1. Kelly Osbourne's new album We were prepared to be offended by the fact that Kelly's second record was considered electronic music, but then we lis¬ tened to. their first album) Telemetry Orchestra have now It can be joyful, maddening, crazy, scary Studies label last year titled Never Scared – a crazy. CONTROL UTORRENT FROM PHONE Mouse movement no requests that your to Netbeans IDE download the latest case of connecting down your web. Thank you for of anydesk works thank you for from a public key part of the application by. I tried the to bringing you your best customers overwritten, even if snap store snap. Clean User interface remote desktop on to find out and have not.

Javascript is required to view shouts on this page. Go directly to shout page. View full artist profile. View all similar artists. View all trending tracks. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Join others and track this song Scrobble, find and rediscover music with a Last. Sign Up to Last. Length Lyrics Add lyrics on Musixmatch. Related Tags love mashups male vocalists play this loud enough to raise the dead music dave might like Add tags View all tags.

Featured On Play album. Play track. Artist images. The followup album " 2. The band remains alive and well, and has just released Anthems, which collects their touches on classics by Queen, the Rolling Stones, and Andrew Lloyd Webber. Ministry rebounded in with a new album that revisited past glories, a remixed version of their death disco landmark, Twitch, and reissues of their feted and loathed singles released on Wax Trax. The track they gave me was really raw and even now I prefer remixing raw tracks.

That first remix taught me a lot about how to handle a remix. The Cabs made really dark pop songs and Neubauten had a really different way of thinking about music. Most of the things I've heard recently sound like shit. I think that industrial is more in bands like Pan Sonic or Autechre. The electronic side brings me into it; they have some synth lines that are really nice. Ministry is such a funny group, their early work is not industrial-1 can play that and then play the crossover industrial.

The recent stuff I've heard doesn't click with me in the same way. Bands like Test Department in the early '80s used a lot of sounds visually, [like] grinding metal or splashing water. It was '84 or ' I suppose that's when what we know as industrial exploded from labels likeWaxTrax. We only did one song, "I Got the Fear" because we only knew one song.

And then everyone got really pissed off. The promoter wasn't going to pay us and he wasn't going to pay them. They smashed their dressing room and we just went home laughs '. LV CIE? It all represents what I was doing musically. Taking things that already exist and throwing them in a big pot, to me, is such a fly form of art. We got to squash all these boundaries, end all the segregation in music, and just let freedom ring, son.

Born to Israeli parents in the Washington, DC suburbs, Edan Portnoy played flute and bass in a jazz ensemble and made folky four-track recordings with Dead Meadow guitarist Cory Shane before relocating to Boston to attend the prestigious Berklee School of Music. Just because something happens today does not mean it is an improvement on yesterday. That is why I study my manuscripts and my old music.

Ed lost about three stone. I was not a happy boy at all. Sitting in his family home in Plaistow in South East London, Titch shows me a collection of pictures of his baby nephew then starts explaining the Dizzee beef. I just say your name. I was fresh from the bing Young Offenders Centre. He invaded mine. I flipped on him. Dizzee dissed me on Westwood. I went down the studio a few weeks after that. No one was spitting like me in them times. None of it was serious. I was young and gone. I knew what would make people laugh.

I talk about real life situations now. As UK garage thrives, the number of wannabe MC is exploding. Stages at raves are crammed with up to 20 people grappling for the mic. Few impress Titch, though. You have to have unique ways. You should never be gone. But they used our sounds and cut out. New York City. A positive social contagion.

FryacM Dukajui'! Bucholtz's obvious affection for cascading sentimentality often occupies the same sonic space explored by ambient-shoegaz- ers like Germany's Ulrich Schauss and Hermann und Kleine or Denmark's Manual. Yet as soon as a sense of static begins to weigh things down, Bucholtz stylishly makes a quick transition to a Vangelis-inspired movie score "Giallo" orthe melancholy music- box downtempo of the album opener "Little Girl in the Woods.

Girl eschews any tendencies toward Factory Records-type pop with its steadfast drum loops and more substantial palette of elements. Records like these are often malleable to a specific listening environment and Girl is certainly no exception. Yet while some ambient electronic records substitute volume for subtlety, Signaldrift stays true to his name by providing each of the 13 wordless passages on Girl with a fleeting melancholy.

Invisible, yet by no means absent, it is this connective tonal disposition that not only differentiates Signaldrift from his peers, but will qualify his newest as one of this year's standout electronic recordings. Almost as a direct response to this monotony, Mr. He also adds vocals both robotic and breathy, which are rarely so intoxicatingly woven into records of this ilk. Volume is an involving 60 minutes, and another worthy volume to add to this revived genre.

Whatever it is, the years you've spent crafting it have paid off. Black Forest is a symphony of dissonance, a tribute to noise.. A Race of Angels is truly a race unto itself. The beats are strong, but the music layered over even more so.

Vintage, yeah, but not old. Ten of the 14 tracks sport vocal col labs: Justine Berry M. Atomic Hooligan's pals pull it off- YAH isn't a hodgepodge dotted with filler, but a complete album. It's about as edgy as the Sesame Street theme song. But that's not the point. Benny's sappy, saccharine lyrics and romantic odes are an attempt to recapture innocence lost, making this album a very guilty pleasure best enjoyed alone.

Would you have these lyrics -''Make a rainbow of 12 different colors. Even as his Mobb Deep boys Prodigy and Havoc have bent hip-hop's status quo to their grimy thug-isms over the past decade, Noyd has remained independent and under the radar, too raw for radio. While he might not do Mobb numbers, Noyd has a better album in On The Grind than their recent cookie-cutter disaster, Amerikaz Nightmare. Some more vivid storytelling and more consistent production on the album's second half would have been nice, but this Grind is solid nonetheless.

Many of the bands currently in vogue have bypassed the '90s' "heavy urban" sound thank god in favor of something a little more raw, a little more real, and a little more grounded in the 70s DIY ethic. The strummed melodies and understated vocals of Black Lipstick's second outing may not be the most original around, but the album is satisfying, pleasant, and yes, even sincere.

Although at times propulsive and certainly dancefloor ready, Sleeping Giant teases listeners with a high gloss, heavily sandpapered smoothness that hints at the velvet soul of Om Records' Kaskade or a number of acts from the formidable Compost roster. All three members, like their contemporaries, have a deft touch with their instruments and an acuity for meshing organic elements with electronic embellishment. And as praiseworthy as such comparisons may be, with just a little less refinement of their soulfully raw edge, Bluprint would be peerless.

But while bands like New Order are obvious influences, Blue Ribbon goes for a more muted, less beat-driven sound, sticking to a quasi monotone with little emotion. Though tracks like "Miami" work, the navel-gazing "," with its drone of synths, falls flat. The album ultimately highlights the band's need for more rangetoo many of the tracks sound like variations of each other.

The result is less overtly scintillating, but offers its own uniquely melancholic pleasures. Unfortunately, the chunky vocal tracks are less engaging. Nostalgia flows freely on this album, and it does its work: Fragments makes you long for a place you've been-or maybe somewhere that you haven't been yet. These 27 cuts with intro, outro, and station ID move at an ADHD speed but rarely find original ground; it's mainly bitches, beat- downs, and booze.

Copywrite spits fast and furious without actually saying much. In contrast, Deep Thinkers asks "What is hip-hop today? Deep Thinkers' answer? From the crisp four-on-the-floor disco on "Super Hi" to jazzy, brushed breaks on "Big Fish" to the swinging, rim-shot driven "Switch," with Flora Purim working her vocal magic, Dubble D flexes the skills he's honed during well over a decade of session drumming.

Not surprisingly, he's made a few friends during his career, and many of them show up for this album-Nightmares on Wax, Canadian singer Kate Rogers, and hip-hoppers Qball and Curt Cazal all do their thing on this solid debut, which takes in all styles of groove. Like the man himself, Duque's new album is also something of a techno rarity: it's a cohesive tale told with all the refined nuances of a master storyteller.

So Underground It Hurts practically bursts with old-school affection, showing not only Duque's trademark sense of humor and his delight in manipulating mood, but also a deep, abiding love for and obsession with his beloved techno-here displayed unabashedly in all its groovy, rump-shaking glory. Among the many along for the ride are May Millan Stars, Broken Social Scene on vocals and Francis Amireault Broadcast on bass; their guest turns expand various aspects of Montag's oeuvre, which falls somewhere between M83's towering walls of sound and the delicate tendencies of Four Tet in his less abstract moments.

Not Alone is a rich and intricate-but joyfully catchy-place to be. Moving away from the heavy Marley Marl beats that dominated his debut-and distancing himself from the self-appointed moniker "the Quincy Jones of lo-fi"—his production now resembles the sonic assault of Phil Spector or the foreboding doom of David Axelrod. Earnest and reverential encyclopedic odes to hip-hop and prog rock act as an anti- "Losing My Edge. Simply put, this is one of the best and most original records to come out this decade.

Departing from their trademark deep-strings-and- heroin-style Detroit techno, the duo moves into the new territory! His third release, Talk Amongst The Trees, conjures an expansive pathos with a minimalist's economy of means. This eight-track disc alludes to some of history's most sublime dronemeisters, but never blatantly replicates them.

Poignant enough to rub microtones with Eno's beatless classics, Trees stands tall among the era's elite sound paintings. Odyssey is a more melodi- cally and methodically nuanced album, but it doesn't stray so far from Fischerspooner's synth-flutter flecked trademark as to lose fans. Bungle frontman exhales more ideas than the three DJs who crab-and flare scratch. This is Patton's show as he shotgun-fires Bungle-style schizophrenia; his outbursts of live funk instrumentation and samples of thrift-shop kitsch are perverted enough for cultists to memorize for years to come.

Yet, Patton's restlessness never ceases to inspire. This is altogether a masterful flashback to , so if that's your favorite era in hip-hop, this will also be an album after your heart. You'll like them for the same reason you can criticize them, because they're like a premature Wu-Tang, who even at that age probably rocked the womb.

Of course, it never hurts a vocalist when Chicago house legend Larry Heard produces your first single; in this case, the understated, excellent "II Parlait Pas Frangais. It's hard to tell whether the album succeeds because of her voice or the impressive production values, but either way-it works.

Thereafter, in "So Many Words," this Wisconsinian adjusts the static to unravel snaps that flicker on the beat before rapper Noah Wark's rather conventional glitch-hop soliloquy kicks in. Let's hope that our man never fixes his radio, just adjusts the dial slightly. When she sets aside the melodramatic tone, Hecate throws down some pretty serious breakbeats. Her project is saved by her unusual approach to sound, whereas the similarly-named HECQ has stripped his album of nearly all content and melody, leaving only his production aesthetic.

Ominous drones build, then end abruptly, leaving staticky treble beats. Within a single track some elements are incredibly hi-fi and others sound recorded off an answering machine. HECQ achieves impressive results by peeling away other elements, revealing steep canyons of sound.

The steel drums of 50 Cent's "P. All in all, the album does what good dub should do; offer reinterpretation of tracks that are as original as the originals. I In stores on April 14, All rights reserved. Disc one opens with "Portuguese Love" and string stabs straight out of the 70s; in contrast, the second CD opens with the bossa-inflected guitar of "Inner Soul.

While "You! The group's at their best when they let it rip, as on "Everybody Get Up," but there are slips: the almost acapella track "So Many People" tries too hard for depth but comes off sleepy. More promising is "Morris"—its combination of suave strings and gentle vocals make it the kind of track that wills you to close your eyes and dream.

Lucian a Lopez solo record Welcome 2 Detroit- without the random forays into things like samba and Kraftwerkian electro. While multi-layered productions like the Pete Rock-ish "Gypsy Slang" sound good enough to stand alone as instrumentals, I can't help but longing for more guest spots from folks like Grand Agent, Chief Kamachi, Bahamadia, and Stiffed's Santi White in place of Hezekiah's Will.

Am-like rhymes. The Berliner first indulges in Italo-house with ladykiller- soon-to-be-wife-beater vocals, before an agitfunk band leads a horde inside to drink all of the free booze. The closer, "Bunny Brown," finds an organ assuring a droning bass guitar that everything will be fine in heaven-a benign blues for the afterife's casualties.

Jesse Serwer L. Theatrical yet never ostentatious, the record becomes more substantive with each successive listen, as the slowly swelling strings and fixed breaks reach points of near-unnerving hypnotism. He's actually captured picture-less cinema. Dropping his debut on Team Love-a label co-owned by emo wunderkind Conor Oberst-doesn't help.

Babbs' stale beats, and things sound as flat as a cornfield. But his skills make this a respectable first effort, not just some cuts from the country. Aligning themselves with Nation Records and producer Aki Nawaz, MZN has created one of the world beat albums of the year, if not the decade. Blending spirited vocal harmonies a la Ladysmith Black Mambazo with tablas, dhols, and dholaks, Abantu reunifies the lost continent of Pangaea with often-joyous rhythms.

Rapping over "Rico Suave" and the beats of B. Sunlighting is available for free download at www. The only thing that makes Wild Light a throwback is that it's equal parts style and substance. Fade to White could soundtrack a bedridden life in a cinder block apartment next to a foundry.

Most of Nilsen's orchestrations dwell on gestures slight enough for the imagination to fill in the rest. BcnffEh far a aria. This is music as an ether-soaked mask. What sets Detroit's Nomo apart from the sea of indistinguishable Fela-lite groups is the sound. Owing to production by His Name is Alive's Warn Defever, they sound like a band with compositions rather than a funk band with an extra percussionist jamming.

Sutbly shifting time signatures and grooves, and outfitted with more than capable soloists, Nomo sounds fresh in an otherwise saturated market. Since their first release in , the band has streamlined and tweaked out their sound one track at a time, finally settling on a solid groove with their second LP. Grounded in the amped-up pulse of the high-hat and the split lead female vocals, the album's best tracks "Old Nude," "How Long" are dreamy, irresistible dance pop numbers with enough substance yes, that Is a cello to keep even the avant garde wallflowers interested in the beats.

Exactly the same. Each of these 13 tracks is aimed squarely at the dancefloor and, though undoubtedly effective, they each go about their task in an almost identical manner. The one exception to this is "U Can Do It If You Dance;" a slower, slinkier track, designed with the snake-hipped firmly in mind, its acid gurgles and intoning vocal are impossible to resist. Something so slyly quiet, a simple blink of the ear or wistful nod of the eye and you might miss the tantalizing twinkle of ringing dub, clicking like crickets through a delicately reverberated horizon of haze.

Brilliantly crafted utilizing a single sample and a customized delay set up, Pellarin expands upon an aesthetic popularized by Chain Reaction but transforms it into his own particularly illuminating blend. Plat's deft use of space, reverb, and hyper-intricate percussion enables them to conjure poignantly cinematic soundscapes that recall A Small Good Thing and Icarus.

Subtlety guides Plat through their track debut album, as they seamlessly mesh organic and electronic elements into elegant compositions. Compulsion is an accomplished debut that launches Plat to the head of the Icelandic music pack. Focused on vocalist Ruth Maria Renner, who not only sings but programs beats and produces with help from DJ lllvibe and Monk , Bock Me is somewhat hit or miss.

Cheescake cover photo and MCs who cash checks from majors on a Prefuse 73 joint? Scott Herren's orchestral, camera-shutter funk has become familiar, but it's still potent. Yet for Scientific American sound designer Andrew Rohrmann , the process by which music is manufactured doesn't necessarily determine its character. This is not a good thing. On The L. J Babu mingle their specialties: pointed lyri- sm and nattily constructed beats, respectively, efari's intellectually leaning verses are bolstered t Babu's varied beats, from the fuzzy key tickles : "LJ's Anthem" to the bebop chops of "Brother.

Who the fuck are you?! Read XLR8R. Offer good for US subscribers only. Subscribe online at www. Smoke fits snugly as the missing piece of McMillan and Meikle's family puzzle, particularly as a next-generation Slam McMillan and Meikle's well-minted production name. Like Slam, Smoke's winds his techno and tech-house into tight, minimalistic funk.

But Smoke's pieces also play with rougher elements like glitch "Brian's Lung" and experimental noise, slicing up his sweeping trance overtones. Check "Passing Through" to marvel at how organic a simple blip can sound. Substrates is adrip with this fresh authenticity, showcasing Todd Gautreau's early, pre-Heartbeat Submarines ambient works.

The shifting static tides of "The Lonely Acrobats" and cerebral piano meanderings that resonate through tracks like "This Place Has No Memories" are indicative of his seamless fusion of rich, organic instrumentation and lush, pixelated soundscapes. By now, any true fan of Kompakt kulture has come to terms with 1 Kohneke's big-hearted German vocals, but those less inclined to sing along with the accompanying lyric sheet can still lose themselves in the meticulously-programmed instrumental half of the album.

Their albums—less music in a traditional sense than sound- art compositions-champion everything from fair-use internet rights including free downloads to Latino immigrant workers navigating the admittedly strange land of Los Angeles. Canadian Robert Strauss delivers a sprawling debut 17 songs in 65 minutes that explores various permutations of disco and funk, from the bouncy house of "Do It Up" to the mid-tempo swagger of "Rhythm of Life.

Square One blocks his way into the future with cleanly broken beats on "Maillot Jaune" and popping, minimal strut on "Quick Step" I think someone's a cycling fan with those titles. Pick either-your dancing shoes will be glad you did. Always Never Again melds frantic tempos into samba beats shaped by angular riffs, and takes herky-jerky bass bumper beats and weaves them with treble-heavy- Middle Eastern guitar lines.

A fun record, just one that's a little too self-conscious. From the delicately majestic unfurling of "Paper White" to the sprawling ramshackle of the minute "Big Black Square," Tarentel displays a mastery of craft that's nothing short of perfect.

Its combination of spare, atmospheric electronics, guitar, and understated-to-the-point-of- deadpan vocals-with lyrics culled from Cousteau and other unlikely sources-was pure auditory butter. The needle has traveled a long way since then and Tarwater is now a much more conventional art-pop band. Their sophisticated, slightly off-kilter songs still swing and mesmerize; however, they offer little in the way of revelation.

Far from hands-in-the-air dancefloor stuff, this album appeals primarily on the cerebral level. This is all the more interesting, given that the standout track, "The Horse," has one of the more bizarre lyrics in dance music today-a fault turned into a feature once that luscious bassline rolls in. Todd is at her best when accompanied only by her own guitar. The prolific Funk's well-honed m. Part of The Complete Collection.

Finally available! Mixed by Rebels mainman Damian Lazarus, Session Two is a mixture of underground hits, distinctive delights, and a reminder why we all love dance music in the first place. Available at fine stores everywhere, including: Access Music San Diego. Amoeba LA. Armands Philly. Arons LA. Bull Moose Maine. CD Warehouse DC. Crows Nest Chicago. Cue Records Philly. Wax Chicago. Ear X-Tacy Louisville. Easy Street Seattle. Fifth Element Minneapolis.

Gallery of Sound PA. Gramaphone Chicago. Lou's San Diego. Music Millenium Portland. Newbury Comics Boston. Other Music NYC. Plan 9 Richmond. Rasputins CA. Record Time Detroit. Streetlight SF. Twist and Shout Denver , Waterloo Austin. Available online at: StudioDistribution. DJ Fresh, real name Dan Stein, should be geared up to solve this problem, but understanding why he's eligible for the job requires viewing Stein's resume. To Stein's credit, his latest mix Bass Invaderz addresses the battle ahead.

A challenge is at hand, the outcome to be determined at the end of these 16 tracks, most of which are dancefloor hits from the last couple years. But with the exception of a few brilliant gems like the punchy "Drop It Down" by Calibre and the revving, bassline-driven "Uprising" by Artificial Intelligence, the mix practically drips from the watered-down conventions it's been doused in. It's the way Stein chooses to mix these tracks that saves things.

He darts between the melodic, the pounding, and the effervescent, adding a sense that, while it's true to form jungle throughout, this is no straight shot down a predictable music path. A sweet vocal sometimes precedes a tremulous breakdown and continuous interludes between the two characters cut in and out of the mix, reminding us the battle is notyet won.

While the actual music may lack sophistication, the presentation affirms that Stein is innovative enough to remain a step above his contemporaries. Stein's temporary move to New York he's back in the UK now and involvement with American hip-hop artists may aid him as both an artist and an influential figure in the scene. Like Strictly Rhythm in the late '80s or Mo' Wax in the early '90s, you can pick up practically any Freerange release and be guaranteed a winner.

What do they all have in common? Fittingly, this soundtrack matches the style of Appleseed and its creator, Masamune Shirow who also created Ghost in the Shell. Here Watt finds that rare balance between awareness and abandon. He nails both the mixing and programming, with tracks like DJ T. For Various Seasons confirms the label's directional success; artl delivers an outstanding double-disc techno array hardwired with brass-tax sequencing and a polished factory edge.

This mission is a go. Weatherall zips from record to record with a swift and admirable economy, and what you end up with is a mix that's a fleet-footed, dizzy game of hopscotch. Good, because these eight tracks are all about getting down. Catwash Parisians DJ Wild and Christophe Carrier kicks it off with banging acid and hand claps, while Sweden's Martinez gets ominous with a clicking that starts simple and jerky before building to a nicely swinging match of synth ping pong.

Californian ex-pat Chelonis R. Jones builds a moody balance with vocal snatches and murky bass as the Afrilounge collective rocks the cowbell. Simple and sparse, none of these tracks will amaze with technical wizardry, but they are all devastating dancefloor tools. It ain't intellectual—it's Physical. With some slightly altered drum arrangement, Shane Brown's Klymaxx!

This album's no different, and that's probably its biggest flaw, if one can call that a flaw. Mark Farina holds his tracks to high standards, meaning this disc has plenty of head-nodding, groove-feeling moments. Was Not Was remixes Bush Sr. The compilation is in part a love letter to The Paradise Garage, the legendary early '80s New York dance club, and its resident DJ Larry Levan, who birthed the genre out of his eclectic taste in dance music. One is tempted to find an allegory of Levan's illustrious but brief and troubled life in his remix of "There's Something Wrong in Paradise.

Kompakt's potent name recognition means loads of folks can access yearly primers of top-shelf ambience from trusty producers like Gas, Markus Guentner, and Peter Grummich. Lulling lavender odes to amniotic tranquility prevail on Pop Ambient , but Klimek brings some amazing guitar-chord dispersion that shimmers like a heat haze and Thomas Fehlmann rises above a strong lineup with a track of iceberg-like majesty, which drifts into this pantheon of slow-motion drone beauty.

Never afraid to break things down after a raucous build-up, Saul peppers the mix with a dense psychedelia that must have something to do with his Glastonbury upbringing. One is the kind of mix we need to see more often: unpredictable, engaging, and complex. This time the name doesn't say it all. And you could say that Los Amigos Invisibles' "Esto Es Lo Que Hay" is nothing more than a reg- gaeton sabordel mes, but you'd be glossing over the dub-like horns, beautiful harmonies, and infectious cuica.

But more than any other track, it's "Your Day Is Done" by the Platinum Pied Pipers with Georgia that proves that this compilation's title is perfect: it's all good music, simple as that. First, it refers to the popular early 70s Jamaican 10" and 12" single format, where a song plus its dub or a DJ version would be included in one extended mix.

Then there's the American soul genre, which inspires some of the music contained here. Here this Danish label drums up a less-than-fresh concept record of IDM artists presenting their take on hip-hop. With some exceptions i. Joe Claussell lays down a bottom-end heavy "Sunshine" as vocalist Blaze croons about the lightness of love. Jazzy Jeff adds mid-tempo flair to "Jungle Fever," while Vega himself tinkers with five cuts.

One includes Dope, who also lends a tasteful hand to "Cerca De Mi. This collection could easily have been dubbed More Elements of Life, which doesn't make it a bad thing, just more of the same. Yet for all the recontextualizing, hi-tech futurism, and contemporary cool posturing at work, VB3 ultimately succeeds on the strengths of the original songs.

No amount of bells and whistles can out-swing Anita O'Day's relentlessly cheery "Sing, Sing, Sing"—and few modern-day divas can match her phrasing. There's also something subtle and caressing about each song here, something feminine in the chiming, folkish flourishes.

Perhaps alluding to a generation of Germans rebuilding broken homes in patchwork cities through hybrid technology, this collection of rarities exudes a welcoming electrocoustic aura-computer music more for the hearth than the concert hall. But the pair is as sparkly as ever, having just released a DJ-Kicks compilation that is another albeit big stone in the cobbled path of their careers. Add to that the fact that they're name is as synonymous with Belgium as waffles, and you'll see why we had to find out what they're playing now.

We are very much into this track, as it has a very dubby approach to disco and it even reminds us of Diana Ross! Big summer tune. Think Tom Jones on acid! Play it loud and play it again and again and again. Already one of the tunes of the year. We love it. It's strange but very radio-friendly with a big sound. Check it out-coming soon to your favorite record shop. But her four tracks, ranging from high-density funk to dissipative dub, have a distinctive bite that's all their own.

Shuffle's hiccupping techhouse EP will likely repeat. The Seattle label tosses convention into the furnace on each new release-"Saw Saw Soup," for instance, bends four-four beats like pipecleaners, pasting them with glitchy static, cynical vocal bits, and fluffy low-end dynamics. It's anything but predictable, and stunningly fun dance music. Koze's "Let's Help Me" soars above a landscape checkered with techno's various crops, from desiccated click tracks to sour electro arpeggios, from resonant piano house chords to delirious pop ambiance.

The B-side features a springy canvas of Closer Musik-styled bounce and, for Stone Roses fans, a slab of back-masked psychedelia. Hauntingly moody from measure one, this edgy yet climatic groove will still keep floors jumpin' at 5AM. Multi-octave clicks and bleeps traverse a steady bassline thump on this bubbly yet saucy dancefloor track. The B-side hypes this style up even more and adds a vocal clip tweaked beyond comprehension, which seals things up perfectly.

Side A dishes up a bit of monotonous vocal haze, whereas the flip embodies a broader motif. The triplet riff in the bass adds distinctive character, while a resonated sixteenth-note lead receives a modulated oscillator sync tweak, creating pitch phasing within the break. Featuring loopy drums, Zentz blends atmospheric strings, a portamento-swung melody, and overdriven slapped bass with edgy electro-house nuances. Although the squarewave bass dynamics of "Revelation 21" mesh perfectly with the current crop of electrohouse, it could lose the trite vocoded vox.

Available as a special gatefold digipak CD. With the recent release of Pleetch OM , Greenskeepers adds two new members to the fold-producer Mark Share and instrumentalist Coban Rudish-but keeps the tongue-in-cheek attitude that keeps DJs coming back for more.

Here, James Curd gives us a rundown on his house favorites. Saffron Reeves www. It's full of dark, spacey keys and Diz doing his Bobby McFerrin impersonation that we all love. I think it's a great song because I can play it at a party and I can put it on my "clean the house" playlist on the iPod. This is his first record and it's a great way to start the production side of his career.

Not only did he write this song, he also sang it. It has a great, deep bassline that you can feel throughout your whole body at the club. Mark Farina has been playing it non-stop and is working on a remix of it himself. My favorite song on this EP is "Walking In My City;" it's full of wet synths and a low bass that makes it a perfect warm-up song for the beginning of the party. A self-proclaimed "urban rave jumpoff," the trio plays mainly the newest in UK sublow sounds, but also throws down reggaeton, ghettotech, and whatever other bass mayhem they come across.

We asked the three about their hyphiest tracks of the moment. Star Eyes www. Cut the music. The flip, "9 Minute Slew," disses Bruza over a strong half-time, Eski-style riddim. The turntables have been possessed and are annihilating the dancefloor with a relentless one-note bass while rave synths stab your ears. Definitely not for the champagne sipping 2-steppers—this is end-of-the-world murder music.

Every tune here is incredibly sinister, but with cartoony riffs and vocal snips. Nevertheless, it's Booka Shade's own extended mix that comes up trumps this time 'round. Flip for the more dancefloor-friendly title track, further blurring the lines between house, techno, and electro.

Ensuring flares and platforms another half- life, Lindsrtrom revels in modern-age retro boogie. A competent vocal makes the original worth checking out, as well as the glitchy almost-electro- house dub version. Odell himself completes the record with a Jimpster remix, improving on the original by keeping things funky and streamlined.

Germain made safe for latte-sippers. That's not to say this single, which features a synth and percussion-laden Ron Trent mix and brushed- snare original, is background muzak. With a Nina Simone-style vocal refrain, fingersnaps, and hollow- body jazz guitar riffs, it conjures a back-alley Left Bank bistro at 3AM, empty bottles of sauvignon littering the floor.

Dark strings and propulsive monster bass provide a backdrop for bashy lyrics from the maniacal Crazy Titch. This lays bare the argument that grime is England's crunk-it is, now get "Gully! Errol Reid's vocals are UK soul lite, but they get put through their paces with plenty of skipping, swung out snares and catchy, bubbly synth melodies. The Fool 4 x 4 mix is the winner here, but there's also speed garage and chugging Funki versions.

One Dark Martian works his vocal science on the 4x4 tip and Dezz Jones drops a stepper that harkens back to garage's heyday. Guaranteed to burn down the disco. After dropping the heavy "Watford Weather" late last year, they have put out nothing but quality tunes. And the anti-violence anthem "Not Wise" from Dr. Venom and Carly Bond remixed by Scandalous Unltd.

Big tunes. This time D's Essentials Crew cohort Bossman turns in "Bongo Eyes II," which intermittently stops and pulls back the original's rigid kick and ping for a woozy, wobbly grind that's thick as syrup. Write for your FREE catalog. Box , Chicago, Illinois He's no slouch on the decks either; check his Fabric Live 10 mix for proof. When it works, as this track does, the result is a wonderful, masterful production that maintains a dancefloor feel.

Big, boomin' bass and a Nina Simone-style vocal make this an essential tune. Calibre changes his sound once again. Straying away from the often-copied roots style, this is an orchestral epic. This wouldn't sound out of place in a Tony Touch set. Big tune! A somber yet delightful tune. A minimal piano melody grooves along with male humming, female breaths, and faint disco strings.

Fusing the famous break with dub chants that are truly evocative of a jungle, Breakage turns very few musical elements into a compelling, energetic composition. The same is true of the flip side, "For Me," which includes tribal drums and some nicely positioned Rhodes chords in the musical layout.

Holding it down as one of the many arms of the octopus-like Local DJ crew, it is impossible to pick up a hip-hop flyer without Sake's name on it. And should you not have picked up any of his popular Soul Deluxxe mixtape series, fear not. He's here to tell you what's hot on the corner of Haight and Fillmore. Both songs get a more straight-up hip-hop feel, with "Nightingale" getting an additional house remix on the flip. This record is my friend. Along the way, though, she drops this nostalgic love bomb so we got a choice: the ballad or the bullet.

Then YamWho? Ah, music. Nino also DJs on Dublab. A classic in my mind! The hype on SA-RA is backed up by incredible music. On "Revolution Now," he speaks on the ills of the world and the music industry over a smooth uptempo beat don't let the opening rock guitar fool you. He even tries his hand at singing on the hook, and while it's not his strong suit, he could've done worse.

The flip, "Back In The Day," finds him reminiscing about hip-hop's simpler days over a soulful loop. But it's the third track, "Matter Transporter," that really impresses, built on ear-tickling chimes and punchy drums laced by Stoerok. They hit us with two versions of "Greater Later," both benefiting from bugged out humor and unpredictable production.

Oh No handles mic duties over head-cracking drums, underwater guitar licks, and hyper-filtered Kraftwerk samples, while Rhymesayer player Brother Ali goes off on the explosive, reggae-tinged B-side "Treacherous. King Honey's Early Mix is militant and accented with staccato stabs, while his LateMix evokes rap's earlier electro era and lets Blak's rhymes float over the track without losing any of their weight.

The Scritchmix version takes it underground, quite literally; the blips and distortion make it sound as if there's pound of dirt lodged in the sampler. T-dot's other favorite son, Moonstarr, turns "Incoming" into a Latin-tinged broken epic on one of his finest remixes.

Just don't let it overshadow this EP's overall strength; Middlefield is poised to make his mark. All his usual elements are in place: blinding funkiness, complex melodics, and an exquisite balance between buzzing synths, jazzy Rhodes, and Russell's throaty vocals. Instant head nod action. Add a downbeat Yam Who? Babalola, rocking mightily on an Afrocentric tip with mad percussion and an upbeat vocal chorus readymade for Carnivale. Culture steps in on remix duties for his usual off-kilter broken ting, utilizing choice bits of the original's melody and vocal to build a heads-down groover in inimitable style.

Label founder and half of the Quarkette Richard E's "Sometimes I" intrigues and teases with a combo of modern and classic jazz, while "Hear Her Call" downs the tempo and slyly tips a familiar Philly chanteuse. Blackbeard goes into dirty slow jam mode on "Darkside" with blistering results. The original "Beauty" and "Latter Rains," along with remixes, showcase Genifa Vernon-Edwards's elegant vocals, which make a strong first impression.

Between the time of writing and the time this issue hits the streets, upwards of new singles will have dropped, so rather than give you an exhaustive overview of everything file under "impossible" , I'll give you a few of my favorite releases-from dub and roots to tunes that bust the dance-as well as news, trends, and everyone's favorite-rumors.

In one bloody week in January, the country saw the death of two stars. Gerald "Bogle" Levy, creator of countless dances like Bogle Dance and Butterfly , was slain by two gunmen on a motorcycle in Kingston after leaving the popular Weddy Weddy Wednesdayz party at Stone Love headquarters.

Budding dancer Kevin Reid was also killed in the attack. One week later, rising star Daddigon was gunned down in Kingston. Gong" Marley. Dutty Cup's most famous member, Sean Paul, is reportedly beside himself with grief; he is also rumored to be paying for Daddigon's funeral. In light of this murderous trend, there couldn't be a better time for a resurgence of roots and culture. The sweet-voiced Stewart son of Roman and nephew of Tinga sounds right at home over the Emo Remix, a lively bouncing tune with a nice balance of old and new like many of Redbud's releases.

But Kartel has not completely forsaken his dutty ways. S "Gal Yuh Ah Lead". Contrary to what Shriekback opined some odd years ago, the backbeat is our spine, not the bassline; it is a loose guide to keep bodies in motion. We'll help you discern between the ever-increasing piles of post-punk, dancepunk, indietronica or whatever terms mass media chooses to foist upon a band that chooses to simultaneously rock and roll, whether they do it by live instrument, laptop or synthesizer.

Her love is real Three previously unreleased tracks receive the band's usual aesthetic treatment including "Kostryzn," a sprawling and symphonic mini-epic that was a live favorite on tour; still, it only makes a mark when the music reaches barely audible levels on a home stereo. Mum's the word for the Olsen twins' favorite band, Postal Service, who has been noticeably quiet since the release of their vaunted debut on Sub Pop, Give Up.

Offering little in terms of an explanation though I bet the recent signing of member Ben Gibbard's other band, Death Cab For Cutie, to Atlantic Records might be keeping his hands tied up , the teeming indie masses are expected to have their thirsts quenched by the 12" release of "We Will Become Silhouettes," one of the album's weaker mid-section tracks. This paean to life in a post-nuclear holocaust world gets the repackage treatment here, remade and remodeled by Styrofoam and Matthew Dear in the form of bonus remixes.

Even when we're given a drop of fresh water "Be Still My Heart" , it fails to satiate; it wouldn't come as a shock if their fans sought out more refreshing springs in the vastly growing landscape of indietronica. Maria Tessa Sciarrino 2! Thompson, or Afrika Bambaataa, and that this is it-get used to it, bub. Well, hell-we can't all get paid to travel the globe spinning records for 40, people a night, but maybe in our own little way we can do something well and make a few people happy somehow.

Or at least not kill anyone. This column, then, is dedicated to those secret beatfreaks out there doing they thing, even if only three people and a couple dogs ever hear it. Here's to obscurity. Aw fuck it-let's blow the hell up and run shit, kids! Another ABB coup! Low, a. Onemanarmy from Binary Star, comes correct with a buttery smooth Pete Bock beat, bringing it back to the '93 era. So necessary! Be on the lookout for a new album in the fall. Here, Hezekiah shines on center stage as MC, songwriter, and behind the production boards.

And shine brightly for sure-this is one to watch. Actually, a big mug of perfection. Props, always. This is like Foster Silvers dumped in a trunk with Timbaland and Domu and driven up and down East Oakland streets looking for a sideshow on a Saturday night.

On the flip is Age's "Borrowed. This is eclectic, eccentric music from the visionary dirt farmer also known as Smazel. A The King of Techno incredible life and music is brought back to life in a film packed with mind-blowing visuals and wild music! Haack's innovating music inspired numerous stars including the Beastie Boy's Money Mark, Beck and many more!

J-fGo's 1 if Available at amazon.

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You just knew you were going to have a balls-to-the-wall time. McGuire: Social networking was blowing up at the same time. Friendster was just developing. There were these weird local Philly message boards. Everyone would get on there and it was all this Philly drama. People would have all-out beefs. It was a great promotional device.

I never returned their call. Nobody can tell us what to do. So when it comes time to blow off some steam, they really know how to do it, how to let loose. Barat: The party could only have existed in Philadelphia. It was just sort of dead. There were two total extremes. It was a systematic thing: one by one, at all your favorite little [Lower East Side] spots that held people, there were tables on the dance floor. Giuliani had this major push to clean the streets.

New York really felt like a police state. Cops on every corner and halfway down each block. Massarueh: There was definitely something special happening in Philly. Kids whose dads taught it to them. It has a very blue collar basis here, and part of that is a foundation in classic party-rocking. McGuire: At Hollertronix, people would start coming in early and head immediately for the dance floor.

As a DJ, this is great, I can play whatever I want. Naeem Juwan aka Spank Rock rapper : I would be traditionally the first person on the dance floor. Me and my friends would walk in and start dancing. Luardo: The combination of Wes and Mike was phenomenal. They had such different sensibilities. You want to talk about a mash-up—two guys with different music tastes, bringing music and people together. McGuire: Wes was more out there, really wanting to push the envelope.

I was more geared towards rocking the crowd. If it was just me, the party might not have been interesting enough. If it was just him, it might have been too weird, might have alienated people. Together, it was a great balance. Mike definitely brought a little more of the working DJ sense, because he had a lot more experience with it. And he scratched better. It had everything. But there was also a sense of competition.

But it did change the craft and approach. Anybody who can download music and copy it to their hard drive can just get out there and start doing it. Just two turntables, man. We were doing this with just turntables and a mixer and we had a little sampler for sound effects. There were certain days you had to set aside each week to go get new weapons.

You had to go clean and load your gun with new shit. Everywhere you went, you kept them behind you in the booth. You were only as good as the records you had. Pentz: Lowbudget was the first to actually go down to Baltimore to pick up the records. Baker: It goes back to the vision they had, of throwing all these things together and creating a perfect blend.

But within the confines of the party, it made perfect sense. Musson: Baltimore is played around the world because of Hollertronix. Juwan: Before, you had these very specific music scenes that had all these fucking rules. Rock sounded like rock, punk sounded like punk, and hip-hop sounded like hip-hop.

But when you had everyone mixing together, all these different people with different musical backgrounds together and dancing at that party, it inspired everybody. It was this kind of post-electro period. Racially, I guess it was really solidly diverse.

The mosh pit was like a boardroom meeting of faces. It was a duty. Luardo: It was a lot of Sodom and Gomorrah. Crazy shit happened all the time. Luardo: I know that I would crowd surf, I know that I would jump on top of people, I did things like that and everybody else did too. It was that kind of abandon. McGuire: Our Halloween parties kind of became a thing.

I remember the first one, just seeing so many crazy costumes. Jesus and Bin Laden dancing together. Dudes dancing in their underwear. Just people acting nuts. Barat: M. Fake Blood - Mars Style of Eye remix This mix was originally self-released in on CDr in an edition of less than plus a few handmade cassettes. There is no tracklist, but the mix is over an hour of rare breaks drawn from the duo's collection of psych, funk and obscure soundtracks.

Benzi And Diplo - Present Intro 2. Rolling' Flosstradamus Remix 3. Woodgrain 4. Bama Gettin Money Krames Remix 5. Naturalz Pt. Streetz 7. Shots 8. Grind Baby 9. Bama Gettin Money Diplo Remix G-Side - Real Good 5 B. Dewitt - Travelin 8 Untamed Feat. Mali Bo , M. O Feat. Never Scared. Snoop Dogg - Snoop Vs.

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