1. Shed – Live at The Office, 14 Feb 2009 – Part 2
2. Fever Ray – When I Grow Up – We Grow Apart Inspiration by Pär Grindvik / Rabid
3. Ben Klock – Subzero / Ostgut Tonträger
4. Peter Van Hoesen – Above 90 / Time To Express
5. Shed – Live at The Office, 14 Feb 2009 – Part 1
6. Radio Slave – Koma Koma / Rekids
7. Ben Klock – Grip / Ostgut Tonträger
8. Martyn – Elden St. / 3024
9. Unknown – Hubble / Thriller
10. Peter Van Hoesen – Attribute One – MLZ Remix / Time To Express
Archive for February, 2009
Tags: 2009, Chart, february, live, Shed, stockholm, techno, the office
1. Shed – Live at The Office, 14 Feb 2009 – Part 2
Tags: house, live, mix, Shed, stockholm, techno, the office
1. Marcel Dettmann – Shena – T++ Remix
2. 76-79 – Six Ten
3. Second Phase – Mentasm – Redshape CTX Mix
4. Population One – Rush Hour – Rolando Mix
5. Surgeon – Floorshow Part 2 B2
6. Gowentgone – Ibex – Marcel Fengler Mix
7. Unknown – Seldom Felt 3 A
8. Unknown – Seldom Felt 2 B
9. Shed – Another Wedged Chicken
10. Mike Dehnert – A3
11. Frozen Border – FB01A
12. Norman Nodge – NN8.0
13. Len Faki – My Black Sheep – Marcel Dettmann Mix
14. Radio Slave – Grindhouse Tool (was requested, hehe)
15. Seldom Felt – Seldom Felt 1 A
16. G-Man – Quo Vadis
17. Don Williams – Orderly Kaos
18. Ron Trent – Altered States
19. Substance & Vainqueur – Emerge – British Murder Boys Mix 2
20. EQD – Equalized 002 B
Sorry for the sloppy mixing and transitions, had been awake for over 30 hours when I went on, so my hands we’re a bit shaky.
Enough with the excuses, hope you like it!
New stuff coming up during this weekend, hang in there!
Been finishing off the fourth part of the best of 2008, waiting for a certain interview *hrm*, that’s why there’s been a delay.
Hope you don’t hate me for it,
Catalog#: OFF KEY 2
A: Emergency Calling
Time for something completely different. This is probably one of the best modern disco releases I’ve heard in ages.
A futuristic disco piece that sounds timeless, even though it has a resemblance from the 70′s and onwards, it’s just the style that carries the weight of influence – it’s utterly unique and fresh.
The vocals sound as Farah from the Italians Do It Better camp, but I can’t say that for sure. As for the sound, it’s a slow paced synth and chords driven track, with a heavy beat and bass. Combined with haunting buildups and the lack of percussion that got exchanged with guitar riffs and a more classically oriented wall of sound, things get tense in a different way than productions in the same area.
Drifting and improvised structures in the melody keeps the track from failing the test of time, taking the best bits out of disco and the closely related genres, transforming it to a modern theme.
I love it!
“Computer games don’t affect kids; I mean if Pac-Man affected us as kids, we’d all be running around in darkened rooms, munching magic pills and listening to repetitive electronic music.”
These are the words from Kristian Wilson, a Nintendo VP from the late eighties.
If the techno culture and the attached clubbing culture did come up due to the emergance of Pac-Man can be questioned, but the interesting aspect is that darkened rooms with either carefully chosen lightsystems or the removal of such, powerful soundsystems combined with endless opening hours are very common in clubs that play techno music and it’s siblings.
There are several aspects in this culture that affects each other. The fundamental part in the creation of it all is the music, the DJs or live acts that make it all happen. It’s the vital and core part of it all.
But this music can also be so much more in the right context. The context of freedom, imagination, love and respect – the club, rave or even a concert. So how vital can the context be? Well, the music itself is maybe a context of life, in which everything that happens in life also affects the context of the music.
There’s also the scenario of the other-way-round, what happens in this context may also affect life. Expression of feelings and emotion is vital in techno, even in it’s most reduced form. As it is in life, too.
For me the gathering of techno people in a club, rave, concert or similar, is mearly as important as the music itself. Techno would maybe sustain just being left as it is, but in the right environment it can change things forever.
Working as a promoter, we try to find a context that gives the same energy and emotion as the music itself. Big, empty spaces with either exceptional lightning or none at all, with a heavy sound system and a good crowd is what promoters want to achieve.
The aspect of time is also one thing that gets lost in it all. Well, except for track durations. This calls for off-locations that usually can be found in the industrial parts of the cities, suiting not only people who live and work in the city, but also the music and attitude of it all.
Here above is a postoffice terminal in northern Stockholm, 10 minutes from the downtown areas. When I worked in Solna, I passed this postoffice every day, always thinking that if I had the means to do so, I would turn the entire building into a club.
The Berghain is a club that does it all well – the sound system is really good, the lightning too, the exterior and the interior is also brilliant. It has the feeling of the raw attitude of techno, but also a warm and nice feeling which makes it feel a bit more human in contrary to f.e. Tresor.
I really admire what Michael and the other individuals over at Ostgut has managed to do with this closed down energy plant. Especially since it’s owned by the swedish government, who has a law that requires certain obligations to allow people to dance. And to have a closing time at 3 am…
2. Flying Gorgars
3. Strider’s World
4. Oasis Four
5. Crusin Conant
7. Oasis 13 1/2
8. 1 Out Of 853 Beats
9. Simple Than Sorry
10. Psychotic Photosynthesis
11. The Maker
12. A Victim
13. Oasis One
14. Blade Runner
16. Set Me Out
There is a very good feature with Omar-S on RA, where he says:
Did you read the shit people are saying already about the Fabric Mix? A few assholes are talking about “Oh, Omar-S. He did the same thing as Ricardo Vi-vi–….” whatever the fuck he’s called. I don’t even know who Ricardo Willalobo is. I ain’t start hearing his name till like a year ago. Who the fuck is that? So how would I know what he did for Fabric? I don’t even know how to say his last name, why would I bite off of him?
Fabric got 45 mixes; I only heard one other one, the Matthew Dear one. It was cool, he played some shit on there. That’s the only one I ever heard, I ain’t heard Carl Craig’s, Stacey Pullen’s. Nothing to disrespect them, I just never heard them. People try to say that I’m arrogant, how the fuck am I arrogant? This is promotion for Omar-S, Oasis and FXHE Records for people who don’t even know who the fuck I am. This mix will reach out to people that I would never know how to reach out to. Why not do a mix like this? People just want to talk shit.”
One thing I love with DJs and producers that are pissed off is that when they get their act together, they create something really special. Maybe it’s because things are at the edge, or maybe it’s the anger itself that creates the spark of originality and enthusiasm. Either way, this CD is at the top shelf together with Robert Hood’s mix from last year.
Doing “the same thing as Ricardo whatever-the-fuck-his-name-is”, Omar-S clearly shows that he means what he says, that he doesn’t need anybody else’s tracks.
The flow that fills this mix is unreal, it’s so raw and powerful. Analogue beats that goes through the process of a man who clearly knows how to get things going is a deadly combination. Featuring previously released material on the FXHE label and unreleased material, the persistent attitude of Omar-S and his unique sense of keeping things underground really shows a different side of his musical intentions here.
This mix is of course for fans of the FXHE outputs, but also for those who don’t know how to come over white labeled releases with written center-labels on wax. I consider it to be a good move from him, since even though many think buying vinyl is the way to go, not everybody cares that much.
In this mix, it’s really clear that he’s a productive and talented producer, spinning tracks that lies between house and techno combined with lots of love and passion – in a way that fits his fuck-off attitude. In these days it’s hard to be original, but defining Omar-S in one word, he is original.
The mix is due mid-March.
Tags: desolat, loco dice, marcel dettmann, marco carola, mike huckaby, onur özer, onur oezer, pt 2, remixes part 2, techno
Catalog#: Desolat 007.2
A1: Tight Laces – Marcel Dettmann Response 1
A2: Tight Laces – Marcel Dettmann Response 2
B1: Breakfast At Nina’s – Onur Özer Remix
C1: M Train To Brooklyn – Marco Carola Remix
D1: Black Truffles In The Snow – Mike Huckaby’s S Y N T H Remix
Loco Dice’s album ’7 Dunham Place’ on Desolat got remixed by Luciano, Mike Huckaby, Cassy, DJ Sneak, Marcel Dettmann, Marco Carola and Onur Özer – a very strong line-up of producers with a wide arrangement of styles and attitude.
It seems though as the second part of the remix series has a better focus and a more processed sound, contrary to the first one, which seemed a bit rushed production wise. The styles are more clear and varied.
You can probably guess which tracks are my favorites on this release. In context they fit very well together with Carola’s jacking and reduced micro house groove and Onur Özer’s deep and haunting wall of sound.
Dettmann’s ‘responses’ has a extremely well produced sound, which has his unique style but seems much more refined and a bit different from his previous work. For a producer who is always experimenting and refining his sound this shouldn’t come as a surprise – indeed it does!
The A1 is a slower piece with subtle variations going on in the background, combined with Marcel’s restructured and phased vocals that almost become instruments themselves. Berghain bleeps and a thick and drowning sound sums up the track and the emphasis is on the groove that slowly errupts in the background. The second ‘response’ is a hard hitting and darker version that keeps the beat in a locked sense and is closer to Dettmann’s classic funk.
Huckaby’s clever remix is a fast rolling Detroit groove, keeping a steady variation and horizontal energy throughout.
Tags: dubstep, future garage, techno
1. STP – The Fall – T++ Remix / SubSolo
2. Unknown – Minus 126 In Berlin / Do Not Resist The Beat!
3. Marcel Dettmann – Shena – T++ Remix / MDR
4. “Unknown” – Unknown Material
5. Luke Hess – Believe & Recieve – Shedsdeepanddubbydub Remix / Kontra-Musik
6. STP – The Fall – Peverelist Remix / SubSolo
7. 76-79 – Six Ten / Comfortable
8. Loco Dice – Black Truffles In The Snow – Mike Huckaby’s The Jazzed Out S Y N T H Remix / Desolat
9. Add Noise – Untitled / Handwerk
10. “Unknown” – Battery – 20 8 5 22 9 19 9 15 14
Tags: 100% Pure, 2000 & One, album, house
Label: 100% Pure
Catalog#: PURE CD 6
1. Burning Dub
2. Honey Bush
3. Spanish Fly
5. Dat Na Poku
6. State of House
8. Wan Poko Moro
Next friday 2000 & One’s new album will be released – which is packed with rough house music that is filled with groove and a lot of Jack.
Reading up on some opinions about the album, people seem a bit divided wether it’s good or bad. I’ve come to the conclusion that the tracks differ from each other, which is probably the reason that it’s caused so many different opinions. Sure, it’s all house music with no frills, but it’s also a wide style of sound that you notice if you listen more carefully. This is why I’ve given it a few listens more than I usually do – hence the review being posted now and not earlier.
To summarize the sound of the album, it’s drenched with 2000 & One’s sound of course, and to be more precise the style he presented with his remix of Chic’s track ‘Jack Is Whack’ and the great Kit Clayton track ‘Grey Amber’. Even though 2000 & One, or Dylan, has gotten a certain sound that you can expect, his album shows a different side of it. With the second track, ‘Honey Bush’, he makes use of brilliant sampling and arrangement, that fuses both funk and calmness together, which is probably the most stand out track on the album.
The funk gets a jetpack with ‘Spanish Fly’, which is fueled by a crazy synthline that goes on for the entire 7+ minutes. Think Radio Slave meets Enrique Iglesias under the supervision of 2000 & One.
From ‘Egusi’ and henceforth, the excellent production skills of man whose been in the music for 20 years gets justice. Pure eye-rollback-jaws-open-6-am-timelessness is fused with the fantastic ‘Egusi’. The track starts off with a unsurprising but steady beat that has absolutely no frills, which would do very well in a transition. Then the synth sweeps in and grabs you instantly before you even notice what the hell happened.
The percussion and beat gets a better focus with ‘Dat Na Poku’, which focuses on a chopped and twisted vocal sample and heavy percussion – most definitely the jack-track of the album. As for the anti-climax of the album, ‘State of House’ comes in, being the worst track of the release. It’s all right, but compared to the rest of the tracks, it just seems to lack the finishing touch of Hermelijn’s.
The album is very well produced, with a lot of attention to Dylan’s sound and attitude. It’s a great album for a producer that makes no bullshit dance floor house – because that’s exactly what this is.
My favorite tracks:
Dat Na Poku