Sandro Galli is one of the greatest exponents of Techno European scene. His style, always original, involves across techno acid and techno old school. Also know as "uomo bassline", Sandro Galli starts his career, in the middle of 90th, with a single Ep for Hot Trax and in 1995 with a release (2x12) for One of the first experimental-techno labels to emerge from Rome - ACV [Alternative Current]. Subsequent productions are well characterized basically by dark tonalities with cutting-edge techno acid groove; his underground approach about techno music gave him the chance to playat most important rave party across europe. In 2008 he start a new collaboration with a great Techno label from France - Minimum syndycat and in 2011 he start his own label called Luminar Records.
Friday, March 29, 2013
Thursday, March 28, 2013
Siamo felici di ospitare Max Durante, una delle leggende della scena techno romana e nazionale; soprannominato ''The Wizard Of The Decks” per la sua straordinaria capacità nel manipolare il suono mediante l’uso dei vinili e lo scratching, Max ci ha regalato un podcast di 52 minuti meravilgiosamente intenso. Questo è il primo, di una serie 5 di podcast dedicati al Suono di Roma
English version very soon ...
Max Durante si avvicina alla musica sin da giovanissimo grazie alla passione del padre per il vinile e quella dei fratelli per la musica e gli strumenti musicali. Ben presto i giradischi diventano un’ossessione e imparare l’arte dello scratching e del cutting, un’esigenza primaria. Nel 1987 le sue prime esibizioni live e nei tre anni successivi, una sequenza di viaggi ed incontri fortuiti o cercati, lo portano a scoprire l’acid house londinese prima e la techno di detroit subito dopo; Max Durante, insieme a Lory D., Leo Anibaldi, Mauro Tannino, Luca Cucchetti, Andrea Prezioso e i fratelli D’Arcangelo, fu tra i fondatori della scena rave romana nei primi anni 90, che diede vita a quel cortocircuito di esperienze che culmino con la definizione del Suono di Roma, la nascita di etichette leggendarie e di rave party rimasti nella storia, come il PLUS8. Dotato di una superba tecnica nell’arte del djing, il sound di Max Durante, electro e old school, è un groove rotondo e caldo, su una ritmica spezzata e sinuosa allo stesso tempo. Nel 1993, Max Durante e i fratelli D’arcangelo, danno alle stampe Automatic Sound Unlimited- un doppio 12” – 7 tracce che fondevano electro, industrial e techno in un opera fulminante forgiata dai break beat e broken beat. Nel 1994 si trasferisce a Zurigo alimentando attivamente la scena rave locale e negli anni successivi partecipa a più importanti rave di mezza Europa. Nel 1999 torna a Roma e da alle stampe diversi lavori per la ProdamKey, Plasmek e 7b Records e le collaborazioni eccellenti con artisti del calibro di Anthony Rother, Keith Tucker, Dj Hell lo portano a varcare i confini europei; in partcolar modo nel 2004 produce con Keith Tucker, sotto lo pseudonimo di FUZION – Fuzion - From Detroit To Rome Ep per etichetta inglese di Billy Nasty, l’Electrix Records , produzione nominata dalla stampa e dagli addetti ai lavori “miglior disco electro degli anni 2000”. Fra le differenti produzioni e collaborazioni degli anni successivi il 12” Human Turntable 2 prodotto per la Truckstop76th segna ulteriormente la carriera di Max Durante mentre con lo pseudonimo MEKA produce '' High Heel Shoes '' una fusione di musica electro pop e techno con reminiscenze rock, insieme a Key, abile tastierista e cantante, per la leggendaria etichetta discografica inglese la Some Bizzare. Nel 2009 Max Durante trasforma la propria etichetta discografica in etichetta digitale, nasce la Prodamkey Netlabel e dopo poco tempo fonda la anche l’Analog Dust Netlabel dedicata esclusivamente al sound techno. Con il passare degli anni Max Durante è stato soprannominato ''The Wizard Of The Decks” per la sua straordinaria capacità nel manipolare il suono mediante l’uso dei vinili e lo scratching, ha partecipato ai più grandi festival d’europa e nel 2010 insieme a Lory D e ai fratelli D’Arcangelo, si è esibito al REPHLEX EVE, il Capodanno della Rephlex a Roma con Aphex Twin e diversi esponenti della Rephlex Records. Nel 2011 pubblica sotto lo pseudonimo di Nova Electro l’EP Invaders From Outer Spaces per la Battery Park, un 12” dove Max Durante torna a sonorità pianamente Electro con un gusto e una raffinatezza superiori.
+++ link +++
Magamura is an experimental project founded in 2009 by the two hungarian wizards; Laurine Frost and Eril Fjord. The project's goal is; combining different electronic sounds and genres, building interesting sound-structures on contemporary ways with different technical solutions. Every Magamura-set is a story; telling trough sounds, rhythms and voices; and their "words" are collected from the '70-80's experimentals until the sounds of our future. Emotions and rhythms in lunatic structures; this is Magamura.
Alfred Darlington isn’t a paint-by-numbers musician. From how he looks (early Victorian Dandyism), to how he makes music, or how he expresses himself and views the world, his is a very individual ‘bespoke’ outlook. Alfred was born in Santa Monica in 1977 to an artist mother and professor father. Musical from very early on, as a child he was classically and jazz-trained in a number of instruments, but his interests were broad and varied – less a prodigy than a renaissance boy whose obsessions ranged from Greek legend to the mountains of Wales. As a 15 year old he finally persuaded his parents to take him to the Principality. Whilst in a YWCA in London he flipped the radio dial, found a pirate radio station and taped some UK rave and hardcore. “It was my first ‘Eureka!’ moment in music,” he says.
In 1999 he started DJing on Dublab.com for his “Entropy Sessions” and began dropping in his own early demo productions. Carlos Nino (of Ammoncontact) had the show after him and usually pushed Alfred out the studio as quickly as possible as he was not so enamoured with Alfred’s leftfield-electronic DJ style, but when he heard a tranquil Daedelus production he took Daedelus and introduced him to the LA scene. Nino placed Daedelus tracks on two influential compilations and then Plug Research released his debut album, “Invention” in 2002. Remixers included Madlib, who later took Daedelus’ accordion parts and used them on 2004′s Madvillain record. In 2003, he was booked to play a show in San Diego by Brian Crabtree and Peter Siegerstrong and the pair asked him to test out an early prototype of the Monome. “It’s a Non-traditional electronic instrument,” Daedelus explains. “Basically it allows for massive improvisation.” Since then Daedelus has continued to use this revolutionary controller, bringing much genuine liveness to the sometimes static world of performed electronic/dance music.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. Having recorded for Metroplex as well as the Austrian Cheap label, the French label Logistic and Jeff Mills' Axis label, Hood also owns and operates the M-Plant imprint, through which he's released the bulk of his solo material. Hood was a founding member, along with Jeff Mills and Mike Banks, of the Underground Resistance label, whose influential releases throughout the early and mid '90s helped change the face of modern Detroit techno and sparked a creative renaissance. Infusing elements of acid and industrial into a potent blend of Chicago house and Detroit techno, UR's aesthetic project and militant business philosophy were (and remain) singular commitments in underground techno. Hood left Detroit (and UR) with Jeff Mills in 1992, setting up shop in New York and recording a series of 12-inch EPs . Through the mid '90s, Hood has focused on his solo work, setting up M-Plant in 1994 and releasing singles such as "Internal Empire," "Music Data," and "Moveable Parts." Although his desire to remain underground has been replaced by an urge to reach a wider audience, Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends. His debut album “Wire to Wire“ took Hood's hypnotic minimalism to entirely new depths and territories, whilst his latest album 'Molecule' under the nickname “Monobox“ released on Logistic takes his productions onto new levels of musicality and sophistication within the world of electronic music.
Sunday, March 24, 2013
Ritzi’s style of spinning and choice of records has a wide range. He likes to play funky techno but he has no problem whatsoever with putting the needle on deep, harsh and dark records. Whether he is scheduled as opener, primetime or closer of the night makes no difference either, his versatility makes him as complete as they come. fluently mixing downtempo records or rocking the working tools that only work when handled by a DJ with turntable skills makes no difference to Ritzi, he loves it all just the same.
After four years of producing the Underground Liberation label came to live with the release of the bitter Sweet EP, worldwide distributed with help of Jamie bissmire, who took care of some tracks himself. In the past year several tracks from Ritzi appeared on top 10 charts of artists in the likes of Dave Clarke, ben Sims, Oscar Mulero, Luke Slater, and are played on many impressive festivals around the globe. Ritzi also remixed several tracks from legends like Orlando Voorn and Juan Atkins. After years Underground Liberation is still growing with already 12 releases on the catalogue. A new chapter in his musical career will be written. It is obvious, if you try hard enough, eventually you will succeed!
Steve become synonymous with the sound of the seminal Lost events and the electronic dance music that it has pioneered and championed. Revered globally as one of the world's most consistent, forward-thinking and innovative nights, putting quality before quantity and innovation before imitation, Lost has defined and motivated a new generation of clubbers, dj's, artists and producers.As the main curator of LOST events, such was Steve's vision that he was first to book latterday luminaries such as Jeff Mills, Basic Channel,DJ Rolando, DJ Rush, Fumiya Tanaka, Richie Hawtin, Dan Bell, Suburban Knight, DJ Funk, Robert Hood and a host of global visionaries at LOST for their first UK outing, and for many, their first foray outside of the U.S. Uncompromising, expressive and unique, this is Steve Bicknells artistic dancefloor viewpoint. But Lost wasn't where it started for Steve, a veteran dj of the early UK dance scene he had the good fortune to participate in many events that have gone down in the history of UK club culture. Such was his early success playing his first ever set at the groundbreaking Energy parties,completing the ID Mag. World Tour in 1990 alongside a host of residencies, (swiftly followed by his first release on Paul Oakenfolds's Perfecto label), many expected him to follow a more commercial route. Indeed the door was open, but eshewing the mainstream he chose to focus on an alternative electronic sound from which his commitment hasn't wavered. A truly international DJ, Steve Bicknell has travelled the world with his unique representation playing across Europe, Japan, Australia and North America at the most respected clubs, parties and events. (Ostgut, Tresor, The Rex, Liquid Rooms, Rockets, Precious Hall, Sonar Festival, Zouk, Tribal Gathering, The End, Bugged Out; Slam, Pure, La Real, Octopus, Family Club, Traffic...to name but a few.
Nicola Belligoli borns in Mantova in 1986. His name MTD derive from the words "method", as he wants to express with the style of one's own, his music method, his idea of techno. Constantly researching new sonorities to integrate in his productions and always devoted to experimental world. His "career" is marked to the launch of the label "Sonntag Morgen" together with Tracy (partner and friend since the youth), that permit him to introduce his music in the techno scene, in Italy and foreign. In reality, he starts some years before, with dates in his city and in some club of north Italy. Immediately after, he approaches with programs and instrumentations that join him in the productions world. Another important step was the inclusion of "Sonntag Morgen" in a label management that nowadays boasts notable consideration in the european techno scene, K1971. His production are rigorously techno, with dub, experimental and dark influences. His dj set is composed by four channel mixing, sometimes by loops
integrated with additional sounds with Maschine, so that he can further on personalize it every time. Although he is in favour of digital world, one of his biggest passions is and always will be the vinyl. In fact, still now his vinyls collection is increasing. At the moment, MTD is collaborating with a lot of labels well-known in the european techno scene.
+++ tracklist +++
OuD!n13 - Vibrational Wave - Promo
Underground Resistance - Hardlife (AaronCarl remix )- Underground Resistance
Ejazz - Sachmoe - R.P.D
S2 - Nasty - Underground Resistance
Gabbamokey - Hypnotizing - Lo deep
Architectural - Architectural 3.2 - Architectural
Âme - Rej - Innervision
Los Hermanos - Quetzal - Underground Resistance
Mathias Meyer - Infinity - Liebe & Detail
Galaxy 2 Galaxy - Timeline - Underground Resitance
Paul Johnson - I Said I
Mark Flash -Sao Paulo - Underground Resistance
Kenny Larkin - Dark Disco - Rush Hour
G Flame & Mr G - Lightz
Dj Sneack - Southern Boy - Scion audio
The illustrator - Beautiful Boxer - Underground Resistance
The Plan - Red Shift - Submerge
The Groove Essentials - Make Up Your Mind
Esteban Adame - Aztlan Reclaimed - Ican
Commix - Satelite Song (Underground Resistance Remix) - - Metalheadz
Aril Brikha - Groove La Chord - Fragile
Santone - Be Right There
Polar Pair - This Is What Happens (ft Atlantis - Mark Flash Remix) - BALUT
Carl Craig - A Wondeful life ( Jules Wells Remix)- Promo
Tom Trago - Use ME Again - Rush Hour
Aux 88 - Dragonfly - Puzzlebox
Paul Johnson - Hear The Music - Peacefrog
L’intervista a Gino Roberti aka Konik Polny doveva essere una normale intervista con le domande e le risposte; si è trasformata in un racconto…. raves, viaggi, incontri e storie di un producer abruzzese emigrato prima a Bologna e poi a Berlino [e le domande sono quasi sparite]. English version very soon
Bisogna tornare indietro di quasi vent´anni; quando, senza quasi capire come, mi sono ritrovato, perso nella spirale dei techno party illegali! É stato un periodo magico, irripetibile; orde di nuovi “barbari” migranti, si muovevano da un capo all´altro del vecchio continente su camion e furgoni militari, trasformati in case mobili, senza armi o sogni di conquista, ma sound system, luci strobo, branchi di cani e la voglia di abbattere confini culturali, fisici e mentali a colpi di cassa dritta e bassi.
Io, come tanti altri in quegli anni, mi son trovato a naufragare a Londra; era il lontano 1993; giovane e confuso figlio degli anni 80, senza sapere bene dove volevo andare e perché, con la mia chitarra in spalle e tanta voglia di nuove esperienze; insomma un teenager tipico di oggi come di ieri. A Londra mi sono ritrovato a vivere in uno squat, dove organizzavano serate di vario tipo, tra cui anche techno parties; dopo la prima festa ero scioccato dalla velocita e dalla violenza di quella musica, ma dopo 2 o 3 parties ho avuto "l’illuminazione";.ho venduto la mia chitarra e comprato la mia prima drum machine! Konik Polny nasce in questo contesto, tra il fango e la polvere dei rave parties della fine anni 90 in Europa. Ad esser precisi il nome Konik Polny é venuto fuori in Olanda nel 2000…prima mi chiamavo F.B.M.!
La cultura dei Rave si stava diffondendo in Europa; I rave, si tenevano, in linea di massima in vecchi capannoni abbandonati, lontani dal centro città e non interessavano a nessuno. Insomma gli sbirri ci lasciavano fare senza troppi problemi, pensavano che ci saremmo "estinti" presto, mangiati dalle droghe! Poi hanno cominciato a “capire”, che, i rave non erano solo, party clandestini dove ballare e sballarsi, ma erano sopratutto un melting pot, un punto di incontro, tra culture, nazionalità e idee diverse, senza controllo, organizzazione; un nuovo modo di vivere il mondo, un nuovo senso di libertà; Idee sovversive che, come un virus, si diffondevano rapidamente tra i giovani europei, al di fuori di ogni schema! Era l´estate del 2000; quando iniziò una pesante repressione contro il movimento dei techno traveller: nuove leggi repressive contro i raves in Francia e Italia, sgomberi sempre più violenti, sequestri dei sound system; il “sistema” aveva cominciato ad intuire le potenzialità sovversive dei rave parties.
Ero in Olanda nell´agosto del 2000, dove, come ogni anno, si teneva un Teknival; quell´anno arrivarono migliaia di persone da tutta Europa e le forze dell´ordine, prese in contropiede dal numero spropositato di "pankabestia" che si erano riuniti in un campo desertico, poco fuori Rotterdam, ebbero la "geniale" idea di sgomberare (per 3 volte) un orda di techno travelers inferociti dai loro accampamenti nei pressi dei sound system. Migliaia di persone si riversarono per le strade di Rotterdam, devastando e rubando qualsiasi cosa. Orde di psiconauti, che rapidi e (di)organizzati, svuotavano gli scaffali dei market, negozi di vestiti, devastando pompe di benzina etc. Il saccheggio andò avanti per l’intera giornata, sino al tramonto, con la polizia che cercava di arginare il danno, chiudendo caselli, stazioni di servizio, ma senza risultati!
L’inferno per loro, parco divertimenti per noi. Nel mezzo del caos dissi ad un amico polacco:" Sembriamo cavallette, arriviamo, distruggiamo, voliamo via e ci ritroviamo al prossimo rave senza che gli altri capiscano come!" Lui mi risponse "tak, we are like Konik Polny" che vuol dire cavalletta in polacco. La cavalletta é per me l´animale che più incarna quello che é stato il movimento dei rave degli anni 90! Sia dal punto di vista estetico, molto biomeccanica, che concettuale. La musica techno, come il punk negli anni 70, era innanzitutto una forma di ribellione al sistema, ma proprio per la sua caratteristica nomade e itinerante, era virtualmente incontrollabile e imprevedibile, un po come le cavallette, che arrivano, devastano, davanti agli occhi increduli degli abitanti, e volano via!
Il passaggio dalla cassa dritta allo snare in levare, é stata una bomba atomica nel mondo dell´elettronica degli anni 90 e soprattutto nella Bologna primi anni 90 dominata dalla drumm ‘n’ bass, anche se io, già all´epoca, più che dalle sonorità d’n’b ero più attratto dalle sonorità di Amon Tobin e Aphex Twin.
Ma Bologna non era solo quello, c´era anche un forte movimento techno rave di cui abbiamo già parlato prima al quale si affiancava quello della minima; a te (giacomo sgobba aka Ashh Ist) devo riconoscere il merito di essere stato uno di quelli che mi ha aperto a questo genere musicale, grazie alla trasmissione radio Kontainer (condotta da Giacomo Sgobba e da il Barone su Radio K Centrale). In quegli anni fervidi e poderosi la Radio diventò un punto focale per le contaminazioni di ogni genere; Anche io, ai tempi, gestivo un appuntamento fisso in radio – Boulevard -, con B-Fax e Buzz, un progetto per metá d´n´b, curato da loro, per metá I.D.M. e techno, curata da me.
Come dimenticare le serate organizzate dal Kotntainer djset nella sala nera del Link. Diciamo che la mia musica si é formata a metá tra queste due realtà. I Miei set sono sempre basati su ritmiche break e sulla vecchia cara cassa dritta! Son stati belli produttivi quegli anni Bolognesi.
Ma le cose cambiano, a Berlino ci sono arrivato per caso; una vacanza che amici mi avevano regalato dopo la laurea; sarei dovuto restare solo due mesi e invece sono qui da 12 anni. La Berlino in quegli anni era ancora lontana dai riflettori, lontana dall´essere la capitale della techno, lontana dal diventare quello che oggi i giovani di tutto il mondo conoscono. Ma di certo, Berlino era già il centro del nascente movimento techno minimal europeo; Berlino di quelli anni era un enorme “Gabinetto del dottor Caligari”, un miscuglio di lingue, generi e stili… non sapevi mai cosa ti aspettava dietro l´angolo. C´era fermento, aria di libertà e la convinzione che stesse nascendo qualcosa di nuovo. Berlino era un cantiere aperto in ogni senso, con foreste di gru che erano nate dove prima si trovava il muro, che costruivano una nuova Berlino, sulle ceneri dei vecchi schemi, ideali e rancori, di cui erano tutti stanchi. Stava nascendo una nuova generazione di giovani liberi e aperti al nuovo. C´era curiosità verso il diverso, finalmente si era liberi di muoversi, senza restrizioni o regole assurde imposte, fino a poco tempo prima, da un lato dal sistema capitalistico, dall´altro da quello comunista. Da un lato, le porte dell´Est Europa, che si aprivano con migliaia di giovani finalmente liberi di muoversi liberamente, dall’altro lato, Berlino “subì” un’invasione, altrettanto forte, di uomini e donne provenienti da ovest, attirate dai costi bassi e dagli infiniti spazi dove potersi esprimere. Fattore molto importante, che ha favorito la nascita della Berlino che noi conosciamo é che la parte est della città, si svuoto rapidamente dopo la caduta del muro; C´era quindi spazio per tutti, c´erano case da occupare, c´erano club in cui si entrava da tombini per strada, c´erano posti come l´ostgut o il tresor, dove entravi venerdì e uscivi dopo tre giorni, come se ne fossero passate tre ore! Non c´erano regole, ma c´era rispetto, non c´era violenza, c´era allegria nelle strade, non potrei rendere l´idea di quello che ho visto, é vissuto, neanche con 1 milione di parole… mi sentivo libero. Berlino era lontana dalla frenesia di Londra, dai portici di Bologna, dove lo stesso fenomeno c´era già stato anni prima. A Berlino arrivavano ogni giorno musicisti, cantanti, pittori, visual artist, e ogni tipo di artisti, da tutto il mondo. Questa mancanza di "radici" ha permesso la fusione di generi e stili diversi, che hanno lentamente dato vita a quella che oggi é conosciuta come la techno berlinese!
Berlino è cambiata negli ultimi anni, in peggio, causa l’invasione di centinaia di pseudo artisti, che giungono in città, alla ricerca di "fortuna", senza però contribuire alla sua crescita culturale e al suo sviluppo, ma serializzando e copiando quello che già c’è. Oggi da un lato assistiamo all’invasione delle gallerie d’arte, da l’altro, gli spazi dove potersi esprimere al di fuori del circuito del business fine a se stesso, diventano sempre meno; Come ben sapete, il Tacheles é appena stato sgomberato, e come lui, molti altri luoghi underground stanno chiudendo, o peggio trasformandosi in posti commerciali Con questo non voglia dire che Berlino sia "decadente", ma come per altre realtà metropolitane è un problema di spazio; In una città dove ogni giorno arrivano persone nuove, ma dove gli spazi (intesi come abitazioni, clubs, squat) diminuiscono radicalmente (i berlinesi sono diventati "gelosi" dei propri spazi vitali, conquistati con lunghe battaglie, tempo e lavoro). La Berlino del dopo muro, la Berlino dei club underground, non esiste più, e chi vieni qui alla ricerca di quella Berlino, resterà deluso! Berlino é, e resta, una città in fermento, una città piena di energia vitale e creatività, come sono state Londra o Bologna nei decenni passati. Se posso dare un consiglio ai giovani italiani che stanno leggendo questa intervista, é di andare ad Est! Repubblica Ceca, Polonia.
- veniamo alla tua visione della musica partendo dai live. Hai alle spalle tante esperienze, hai suonato nei migliori club berlinesi quali Suppamolli, Maria am Ostbahnhof, Fishladen - in luoghi occupati quali The Köpi (squat) e tacheles, nei rave e alla Love Parade. Quale è il tuo approccio ai live set ?
Io credo che la figura del musicista in un techno party, indipendentemente da dove si svolga, é associabile a quella dei sacerdoti/sciamani nei riti tribali, nel senso che, nei riti sciamanici tramite ritmi percussivi e sostanze psicoattive, lo sciamano trasporta i presenti verso un nuovo livello percettivo, aprendo le coscienze e gli animi verso nuovi universi. Il mio approccio al live set é molto vicino a questa idea, ritmi ossessivi, ripetitivi, che allo stesso tempo si evolvono velocemente, mescolati ai vari suoni, messaggi subliminali e frequenze particolari, che trasportano i presenti nel mio “mondo interiore”. Il bello della musica é che puoi far piangere, ridere… puoi far perdere i presenti in un universo fatto di percezioni sonore che diventano tattili e visibili. Questa é una cosa che i vari dj e producers dovrebbero sempre tenere presente mentre suonano, stai giocando con le energie vitali di molta gente, bisogna averne "cura"…;-)
- nel podcast che ci hai regalato ci sono 39 tracce Techno, in poco più di un'ora. Parlaci della tua visione
hahaha…son tante eh? Son rimasto stupito anch´io!!! Era una delle prime volte che scrivevo una tracklist per un mio podcast, e mi sono (finalmente) reso conto del perché nonostante mi preparassi, prima di una serata, playlist di cento tracce, per suonare tre ore, a metá set erano già finite!
Io per anni ho suonato solo live, anche se sono in grado di mixare con i vinili; al tempo, il fatto di avere solo due piatti per mixare, mi impediva, per questioni fisiche, di lavorare nella maniera che desideravo, cioè usare loops, o mixare 3 o 4 tracce insieme, cosa che ho visto fare solo a pochi "mostri" del mixing”; Tutto questo fino al giorno in cui la Native ha introdotto traktor! Questo software mi ha finalmente dato la possibilità di mixare nella maniera che io avevo sempre sognato!!! Si sono aperte infinite possibilità, e per quello che mi riguarda, suonare con Traktor, si avvicina molto ad un live set; la possibilità di poter mettere a tempo quattro tracce, senza dover stare dietro a 4 piatti allo stesso tempo, da la possibilitá di concentrarsi sul mix, e quindi rende più liberi! Peró, allo stesso condivido a pieno i pensiero dei dj "tradizionali" che dicono che mixare con Traktor rende troppo facile il "lavoro", e che apre le "porte della console" a psuedo dj, che fanno "finta" di mixare, e che, alla fin dei conti, fanno semplicemente partire una traccia, già col tasto sync premuto, mentre la precedente sta findendo. Di conseguenza il livello professionale dei djing si sta abbassando; fino a poco tempo fa, se non eri in grado di mettere due dischi a tempo, o di suonare live, te ne stavi a casa. Ci vuole tempo e costanza per imparare a mixare e chi non è davvero motivato si trova davanti un muro di 20 metri da scalare ovvero la non piccola difficoltà di mettere due dischi a tempo… e, soprattutto, farceli restare a tempo. Io mi muovo sul controller di traktor come una piovra, cambio una traccia ogni due minuti, taglio bassi, aggiungo effetti, insomma, suono! Io non faccio far tutto al programma, e credo che chi ascolta un mio set si renda conto di quando io mi "muova" sul mixer, ma non potrei raggiungere gli stessi livelli usando i piatti, é un modo diverso di essere dj (cioè disc jockey), io non mi definisco dj, preferisco chiamarlo mashuper.
+++ Buy at +++
+++ Link +++
Although he spends 12 hours per day working as a labourer, Schniner succeeds in giving voice to his arthistic ego, feeding the passion that characterize his works. He had never lived this passion with economic scopes and he will never do it. He is not satisfied with the ambient that surrounds him, in particular with the unfaithfulness of the followers of the 'fake' dancefloor. With the aim of staying away from certain circles and certain people, he realizes particular music projects with his mark on defined 'unusual' and 'full of expressivity'.We will see him soon heading up a new project with which he will try to keep the empathy with his spectators alive.
Friday, March 22, 2013
Born in 1976, in 1990 he began a passion for Techno,Dub Techno,Minimal,Deep his style was created by various artists such as Pink Floyd,Kraftwerk,etc. ..... big fan of vinyl the vinyl is part of his nature as a DJ lived in different cities of Italy and Switzerland,France.
In 2001 it's time to take his style as a producerbegins to compose his music with machines groovebox from Roland and Korg. In 2007 he moved to his native Sardinia,trying to find his own style as novation begin the first productions in digital format its first production in 2011 is on CD is his first vinyl in limited release collaborates with several labels looking to extend his style
Wednesday, March 20, 2013
LUCY - Stroboscopic Artefacts
TADEO - Another Intelligence / Cyclical Tracks
KEN KARTER - Kript Records
SYNTHEK & AUDIOLOUIS - Natch Records / NATCH LTD
Recommended Releases (Vinyl / Digital)
+++ link +++
Tuesday, March 19, 2013
Techno hit Japan hard in the early 1990s. Surprised, Takaaki Itoh was quickly impressed and intrigued with this new sound. The unique style of beats revealed the gateway to a new world of underground music in Japan - something he had never heard before. Surprise slowly gave way to addiction when Takaaki Itoh was exposed to the sounds of such artists and labels as Underground Resistance, Derrick May, Jeff Mills, Hardfloor, Sven V?, Harthouse, Warp and Rising High. This was his sound, and deciding he just couldn't get enough of it, in 1994 Takaaki began to organize his own techno parties in his home of northern Japan. By providing a fantastic lineup, his parties quickly became a success.
In 1996, having decided that it was time to start making his own tracks, Takaaki Itoh emerged to purchase the vital instruments to begin production. After sending out three finished projects to various labels, Electracom UK was fortunate enough to put Takaaki?s first material out. This moment was something he will never forget, as he was finally able to hear his own music on vinyl. Several releases followed with Electracom as his tracks began to appear in magazine DJ charts in well known DJs from around the world. In 2000, Takaaki Itoh made his European debut in Slovakia. People recognized that he had his own style. His Japanese style of techno was pure, unique and underground - nothing that had been heard before in Europe. His reputation and popularity quickly spread all over the continent. He was becoming recognized as Japan's most underground and respected techno DJ.
Berndt Andreas Tilliander (born 1977) is a Swedish producer who significantly contributed to the evolution of the 'clicks & cuts' genre with his first albums 'Cliphop' (Raster.Noton) and 'Ljud' (Mille Plateaux). He has recorded several albums under just as many names (Lowfour, Mokira, Rechord and more) and worked with some of Europe's influential electronic music labels. He has been awarded a Swedish Grammy music award in 2005, after two consecutive nominations.
A native of Hässleholm, Tilliander now resides in Stockholm, where he runs Repeatle Studios and apart from creating his own music, works as a mastering engineer for several record labels.
Zak aka DVS1(devious one), is one of the most prominent figures in the Midwest/US dance music landscape today. A local DJ favorite since the mid nineties, DVS1 continues to move floors with a combination of deep musical knowledge, unparalleled enthusiasm, and a vinyl collection of well over 10,000 records. As a promoter he has been responsible for putting together some of the most memorable lineups and successful events of the past 2 decades, and his advanced understanding of sound design/architecture has built a reputation of unqualified excellence for his promotion company, Hush. Zak’s deep roots and his bold and uncompromising nature have won him great respect as a passionate and outspoken defender and promoter of quality music!
DVS1's range and emotional focus explains why as a DJ, Zak has garnered unique respect locally, around the Midwest and now worldwide. A consummate performer, Zak never maps out his sets ahead of time, opting to craft sets spontaneously from within the context they are intended for. He does this the old-fashioned way—with bags of wax carefully assembled from his massive record collection. This improvisational element makes each of his sets a one-of-a-kind personal expression, never again to be repeated, in which the audience’s mood and energy level always plays a notable role.
As a producer, DVS1 makes music that is simple, effective and captures the feeling of the moment. His first release was charted by almost all of the heavyweights in modern techno and was described as… “stripped down & raw to the bone, the sounds DVS1 creates are that of purism & clarity, everything you need in a techno record is present. Hypnotizing electronic structures, mind bending chords and soul!”
DVS1’s first release, on Ben Klocks label Klockworks (kw05) was released in Early august 2009 and has already been charted by Derrick May, Samuel Sessions, Luke Slater, James Ruskin, Stephan Goldman, Funktion, Dj Deep, Tamo Sumo, Martin Landsky, Efdemin, Dustin Zahn, Dario Zenker, Ryan Elliot, Jonass kopp, Par Grindvik, Marcel Fengler, Kevin Gormann, Tobi Neumann and Ben klock!!. There’s no slowing down with future releases for the Legendary label Transmat (Love Under Pressure EP) and another release on the horizon with Klock.
Troels Knudsen ala CTRLS lives in Copenhagen, Denmark and has been immersed in music for most of his life. This focus has mostly been fixed on the club world. And he spent the last 10+ years producing, performing, engineering and dj'ing various electronic genres around Europe and beyond. This activity generated the excentric Pyro drum'n'bass moniker, house works as part of 2400 Operator on Underground Quality and the industrial tinged techno project Northern Structures on Sonic Groove.
After a few years of working in groups it was time to get back to solo work. In 2012 the Ctrls project was iniated with the release of the Interface EP on the new homebase Token Records. A remix of Ø/[Phase]'s Binary Opposition was the follow up, and by then Ctrls tracks had worked their way into the sets of some of the most notable techno djs across the world.
Troels continues to develop his fast paced and futuristic style, seeking out the various nuances of techno and the surrounding genres. Future plans for the project hold more Token Records output as well as dedication to engaged and detailed dj'ing.
Lucy: producer, DJ, founder of Stroboscopic Artefacts. That’s probably how you know him. But there’s also Luca Mortellaro, a published author, experimental sound designer, and the man behind the Lucy moniker. There’s no doubt that the two are linked, but it’s certainly the hidden facets of Luca Mortellaro that are responsible for the dynamic output of Lucy.
In 2005 Lucy left his native Italy for Paris. In search of romance? Perhaps. The fact that the very first demo he ever sent was noticed by James Holden makes Lucy’s story more than romantic, it’s fit for the silver screen. As he delved deeper into electronic music Lucy made the essential move from Paris to Berlin. It was here that one of the scene’s most exciting record labels was launched: Stroboscopic Artefacts. Under Lucy’s careful curation Stroboscopic Artefacts has emerged as a platform that illuminates pioneering electronic music. The fact that the imprint has garnered such international attention shows that whatever the key to Lucy’s elusive approach is, it’s working.
Lucy’s DJ sets range from the darkest techno, to the deepest industrial sounds and the most iridescent textures. Never one to shy away from ripping into the peak time and equally in his element playing the ecstatic afterhours, he manages to refuse the obvious and yet satisfies the dance floors’ appetite for the unexpected. A quick listen to his essential Resident Advisor mix, his contributions to the CLR Podcast or his wide ranging Palette for mnml ssgs will attest to one thing: he’s too angular for genres and pigeon holes. It’s this quality that’s seen him grace the decks of the world's most dynamic clubs and festivals: Berlin's Berghain, London's Fabric, Tokyo's Dommune and Freaks Village, Amsterdam's Trouw, Moscow's Arma17 and New York's Oktave party, not to mention Sonar, Melt and Tauron Festivals.
Kyle Hall is quickly rising to the level of the greats he studied under in his hometown Detroit (his mentors include Theo Parrish, Omar-S, Carl Craig, Rick Wilhite and Mike Huckaby), and is fast becoming on par with some of the most defiant, innovative DJs and producers in electronic music. The only thing that separates him is a handful of years - a decade or two in most cases: he’s still under the age of 20.
Born during the era of Detroit’s second wave of techno, Kyle grew up immersed a rich legacy of musicians and artists on both sides of his family. Jazz, soul and gospel came from his mother’s side (who is a professional singer), as well as his Uncle Ray (aka DJ Raybone, a local legend), while his father, on the other hand, owned a nightclub. From the age of 11, Kyle began producing wildly experimental electronic music, using basic software and found equipment to explore his imagination. By the time he was 13, record stores became his second home, spending most of his days at Rick Wilhite’s legendary Vibes store, the main headquarters for most Detroit DJs’ record collections.
By 2009, the name Kyle Hall was beginning to spread throughout various magazine pages and webpages internationally, off the back of his ‘Plastik Ambash’ (released on FXHE in 2007) and the radio mix Omar-S created for fabric (which was comprised solely of Kyle’s productions), as well as the distinctive records that started surfacing on his own imprint, Wild Oats, including ‘Worx of Art,’ ‘The Perfekt Sin’ and ‘The Dirty Thouz’. Kyle has since landed releases on reputable labels across the board - including Warp Records, Hyperdub, Moods & Grooves, Third Ear, and Objectivity - and has been prized by the likes of The New York Times, Spin, Pitchfork, DJ Magazine, Clash and The Fader
Steve Tony Julien, aka FunkinEven, is a London-based music producer whose rich appreciation, and masterful ear, for music has been cultivated throughout his life.
Some might say Steve was genetically predisposed to music, hailing from a bloodline of musical innovators. With several of his cousins and uncles prominent figures in the Sound System Culture scene of the 80s and 90s, music was in Steve's make-up before he was even old enough to realise it.
His career began not as a musician but as a dancer. Inspired by the Hip Hop, early Hardcore and Drum & Bass movements of the 90s, Steve joined a rap crew, an appointment which evolved into him becoming the 'producer' for the group.
In 2009 Steve released KLEER EP on Eglo records, his first official recording to be made available to the public. Featuring a distinctive Electronic take on traditional Boogie, experimental Swing, and Four to the Floor Banging House, KLEER represented an evolution in Electronic music, and the birth of FunkinEven as an independent artist.
With his impressive debut creating the desired impact, KLEER was quickly followed up by a discography bearing FunkinEven's distinctive brand of alternative Electronic, including releases, She's Acid  and Heart Pound . The stand-out tracks, each unlike anything around at the time, cemented FunkinEven's reputation as one to watch. Soon enough collaborative projects including remixes for Ikonika (Hyperdub), Bonobo (Ninja Tune), as well as production for female vocalist Fatima and Roisin Murphy [of Moloko fame] followed. After a stint spent working with other artists, the back-end of 2011 saw Steve return to his eponymous FunkinEven persona. First came the release of his forth single Roland's Jam, so-called due to its super analog sound, produced using Roland sequencing equipment, before Steve unveiled his latest venture, his own imprint; Apron Records.
Thursday, March 14, 2013
Techno producer Pasquale Ascione, also known as Ascion, was born in Naples Italy. As a child, he was fascinated by electronics and his hunger for technology quickly matured. When the introduction to electronic music emerged, Ascion immediately indulged himself into the local underground scene. Soon he met friend and future collaborator, D. Carbone, who would play a major role in Ascion's electronic voyage. He began to experiment with different software, creating his own style and unique sounds. As his skills developed, so did his growing reputation. He was first discovered by Berlin's Kiddaz.fm. His debut EP, "F*** me", was released on Micro.fon, Kiddaz.fm sublabel. After his debut's great success, Ascion caught the attention of Drumcode's Adam Beyer and Sci-Tec's Dubfire. Leading up to two major releases, "Kick On" (DC55) and "Muzik Live Drop Be Doing" (TEC025), Ascion took his act on the road. He performed all over Europe with a highlighted stop at Berlin's historic club Tresor. Constantly evolving, embracng music and cultures of all styles, Ascion is a producer to keep an eye on, especially his new project with friend, artist and producer D.Carbone and Shapednoise called Repitch .
Raffaele Attanasio(also X-501(X501)) was born in a family of musicians. He cultivated a passion for music since he has been a child, infact he started to have piano lessons. At the age of 12 he started to take ones first steps in the world of djing and after 5 years he made his first productions. In this period he was really into techno music, electronic music and classical-contemporary composition. In 2007 he took the piano graduation which improves his artistic language. Raffaele Attanasio is a pianist, arranger and producer. During his career he collaborated with artists such as Orlando Voorn for the personal compilation on Nightvision Records. Now he is supported by important artists such as Len Faki, Luke Slater, Ben Sims, Kirk Degiorgio, Chris Liebing, Marcel Dettmann, Ben Klock, Juan Atkins, Derrick May, Oscar mulero and Dustin Zahn. Raffaele made remixes for Trapez, Gynoid and the last is called Telrae for Reimut Van Bonn. At the moment his success Black Bloc Ep (NON 001, 2011) is on charts. It's the first output on the spanish label. It's about a work made up of solid and snare techno groove. It's also going to come out the remixes version (NON002, 2012). The artist has choosen Italy as his home. Raffaele wishes one day the public will be less xenofile because it should be proud of italians talents and don't make them live the "Bel Paese". European artists should be less envious of italians.
Birmingham techno artist Anthony Child has rapidly built a solid and, to a certain extent, innovative catalog of minimal dancefloor techno since his Surgeon releases began appearing in 1991. Compared favorably with Detroit original Jeff Mills from his earliest Downwards singles on forward, Child's tracks have been a mainstay in the popular Motor City DJ's sets. Although Surgeon releases have worked an increasing affectation for acid and trance, an economy of sound and basic hardness combine his and Mills' sound.
A noted and increasingly popular DJ himself, Child grokked his skills from hip-hop and electro jocks ("Tour de France" is a mainstay of his DJ sets), filling out his style with a driving toughness and appreciation for rapid cutting and flipping. Surgeon's entry into production was also noteworthy; urged on by producer Mick Harris (Child is a fan of Harris' Scorn project), the former Napalm Death drummer locked Child in his tiny studio, imploring him to "go mad." The result, the self-titled debut EP, was released on Downwards, and was instantly hailed as some of the highest quality U.K. techno of its time. Releases for Soma, Blueprint, Ideal Trax, and the ultra-exclusive Tresor label followed, with the debut LP, Basic Tonal Vocabulary, appearing on Tresor in 1997. Balance followed in 1998, as did Force & Form in 1999.
More recent additions to his repertoire include releases on his Counterbalance imprint as well as collaborations with Regis as British Murder Boys, resulting in tracks which take a tone far darker, denser, and more industrial than those from his Tresor years.
Equally influenced by early electro-pop innovators like Tomita and YMO, experimental groups like Can, Faust, and Suicide, and the tough grit of American electro and techno (Robert Hood, Hashim), Surgeon's mash-up is both straightforward and subtly experimental. Further influences from Coil, Psychic TV, and Whitehouse in recent works and DJ appearences do not go unnoticed.
The history of Adam X dates back to 1990 in New York City, where he teamed up with brother Frankie Bones in running the first all techno record shop in America entitled “Groove Records,” – later named “Sonic Groove Records” – with DJ Heather Heart joining ownership shortly after. Throughout the 90's and into the first half of the millennium, the Sonic Groove retail outlet was one of the top techno record retailers for DJs & vinyl collectors across the world.
The Sonic Groove team also took part in organizing many techno events, the most famous of which are the legendary Storm Raves starting in 1991. Storm Raves would be the first all techno warehouse parties organized on the East Coast of America. Storm Rave line-ups included then up-and-coming artists Sven Vath, Richie Hawtin and Damon Wild, and saw attendance in the thousands.
In 1995 Adam created the Sonic Groove record label, which he continues to run solely on his own. Releases thus far are from a wide array of artists including highly prolific names such as Kevin Saunderson, Dave Clarke, Oliver Lieb, and Abe Duque to lesser known but equally talented artists such as Orphx, Realmz, Dasha Rush and Richard Hinge.
Adam has a lengthy discography of solo & collaborative music releases dating back to 1990, appearing on many famous recording labels over the last two decades such as CLR, Prologue, Peacefrog, Magnetic North, Wax Trax, Sativae, Scandinaviav to name a few.
One of techno's true underground heroes, Function (Dave Sumner) has been DJing and making music for over 15 years. Hailing from New York, he was seduced by techno music when Jeff Mills held a residency (as well as his own first) at the Limelight in the early 90s. Dave started to produce music and from the mid-90s onwards, put out music on Damon Wild's Synewave and his own Infrastructure imprint. Together with Regis (Karl O'Connor) he worked as Portion Reform, putting out uncompromising music on Downwards and becoming the only non-Birmingham producer to release on the label. In 2008 Dave moved to Berlin, still working with Regis, and now Silent Servant (John Mendez), put his focus on the acclaimed Sandwell District imprint. Since, the label, now come collective, has skyrocketed into cult status. Decentralizing the artist ego, Sandwell District has blurred the lines between the artist, label and dj, re-arranging the DNA of modern dance music.
In recent years Donato Dozzy has emerged as one of the leading contemporary techno DJs. He has developed a strong following for his distinctive tripping, hypnotic take on techno music. Ignoring fads and trends, Dozzy's approach to electronic music – both as a DJ and as a producer – is based on a deep understanding of what has come before him. Being introduced to Disco, Italo, Reggae, Dub and other forms of electronic music at an early age, he first began exploring DJ'ing in 1983 under the mentorship of a DJ from Bari, called Maurizio Laurentaci. By the late 1980s he was discovering techno and acid with his friend Leo (now producing house music under the name Lerosa).
Despite his love for electronic music, he continued his studies, eventually graduating from the University of Rome with a Doctorate in Politics. This education, combined with his encyclopedic knowledge of music, later earned him the nickname of "The Professor". In 1999, he began an ongoing residency at the famous Brancaleone club in Rome, where he further honed his skills as a DJ. In 2001, he was as part of the band, The Kitchen Tools, which were signed to Virgin records and had some commercial success in Italy.
This was not enough to satisfy Dozzy, and in 2004 he moved to Berlin. From 2004 to 2006, Dozzy held a residency at Panorama Bar, where extended sets at the end of long nights of partying allowed him to further develop his slow-burning, hypnotic groove.
A watershed moment in his career came in 2007 when he was invited to play at the Labyrinth festival, an outdoor electronic music festival in Japan. While 2007 went well, its main purpose was laying the foundations for his return in 2008, when Dozzy would play the closing set at Labyrinth. It would prove to be a turning point for Dozzy, as he played one of the most memorable sets of techno that had ever been witnessed at the festival. This set went on to be podcasted by mnml.ssgs and Donato's popularlity grew exponentially.
Since then, Dozzy has quickly developed as a producer and a DJ, since playing at many of the most important clubs around the world, such as Berghain and Fabric. He has become popular not only for his DJing, but also because of his distinctive productions: like his sets, they explore the trippier side of acid, techno and ambient. In 2008, after experimenting with his first label (Dozzy Records), he started Aquaplano, a label that has quickly gained a cult following for its limited pressings and high quality mix of ambient and techno. He has released on a wide range of other labels, including: Mental Groove, Curle, Time to Express, Mule, Further, and Prologue.
In 2010 he completed his debut album, "K", which received high praise. He played live for the first time at the 2011 Labyrinth festival as Voices from the Lake (with Neel). Much like the music he plays and produces, Donato Dozzy is in no rush: developing slowly, moving further and deeper. Having found considerable success as a DJ and producer, Dozzy is not searching for fame or hype, he just continues to look or those special transcendental moments that can be created through electronic music.
Saturday, March 09, 2013
Svreca is a Madrid-born DJ that combines the coolest and most sophisticated electronica with the most abstract and complex techno, and sometimes his experimentation leads him towards the most unusual textures and rhythms for the dancefloor.
In 2006 started his own label, Semantica Records.
When you think of techno in the millennium you think of a handful of artist; Submerge being one of them. It's no surprise that he has been one of the most talked about act in 2011. After his performance at Nature one, Camera Club, Fabrik, and Berghain, Submerge has become one of the most demanded act in techno. His music can be heard from some of the biggest acts in the business, including Dave Clarke, Adam beyer, Chris Leibing, Richie Hawtin, Submerge is producing for artist such as Japanese Star Ken Ishii, Luke Slater, The Advent and Alan Fitzpatrick. His MOte Evolver release for Luke Slater ranked top techno seller on Beatport over the past summer. Expect to see more of him this year
After following the familiar UK path of Electro/Hip Hop/Acid House/Techno it has now been 24 years since Paul Mac started dj’ing and he has been producing for nearly 17, having recorded for over 50 labels including Sino, Theory , Ingoma, Kb Records Inc and Kanzleramt to name only a few and with nearly 140 release’s to his name its probably fair to call him a veteran of the scene.
After over 20 years of playing with records Paul has now made the jump to Ableton this has opened a lot of new doors musically and has reinvigorated his passion for the music. As well as his normal solo performances the future will see more performances with; Ben Sims as they finally bring the K.B Productions sound out of the studio and into the clubs, Mark Williams as the now infamous Sou Tai duo one of the more intense Techno performances on the circuit and finally as part of The Essex Rascals with Ben Sims, Tony Anderson and Mark Broom with more old school party influenced sets of Disco, Funk, Hip Hop and whatever else.
Joseph McGeechan, aka iFormat, began his career in 2008 as one half of the BCR BOYS they released on their own Backwater Community Recordings label and also on Perc Trax. With further releases on Synewave and Sleaze, 2011 saw them headline both Berlin heavyweights, BERGHAIN and TRESOR.
Joseph’s new solo project iFormat has a darker, more aggressive, industrial sound. Heavily influenced by the sinister and eerie soundscapes of sci-fi and horror movies, these give a disturbing sense of foreboding to McGeechan’s dystopian, post-punk exploration of the decay of society.
Receiving support from a worldwide array of artists such as RICHIE HAWTIN, SPEEDY J, ADAM BEYER and CARI LEKEBUSCH to name but a few, and with remixes by PERC and MIKE HUMPHRIES and most recently an ANCIENT METHODS remix of his “Failed by the conformists” on Prosthetic Pressings, this is IFORMAT’s year and his debut album “As the lines break” on Nachtstrom Schallplatten is one of the most eagerly anticipated releases of 2012.
His music has received the support of DJ's worldwide, including being included on the special anniversary CLR podcast.
DJ Bone is one of Detroit's most coveted underground vinyl technicians. This very talented and highly sought after artist plays events and clubs worldwide, has held a residency at four of Detroit's top clubs and produces music inspired by the city in which he hales from, Detroit. His record label Subject Detroit is futuristic and unearthly while still displaying the true essence of Detroit's Techno Soul.
Bone's observation of the trend to book producers to spin, as opposed to actual DJs, prompted him to go against the grain and establish himself as a DJ first and foremost. He believes that an individual's talent should speak for itself and not be overshadowed or misconstrued by hype.
DJ Bone describes himself as "an uncompromising, hype hating, 100% independent, real Detroit native come auditory striker and soul controller that cannot be bought".
"If the gig is set-up with the music as the main focus (as it should be), then I have total control over the vibe. That's my duty. I'm not worried about having a Hollywood production going on or special effects with video images, smoke, etc. Just playing the best possible music as well as I can. I feel the need to constantly progress skill-wise and I feel my 3 deck sets are truly unique. Many DJs have 3 decks in front of them but how often do they actually have 3 records playing all at once (with the levels up)?” – DJ BONE
Riccardo was born in 1987 in Treviso, a town near Venice.
He had his first approach with electronic music at the age of 11. A simple interest turns into something more at the age of 14, when he starts performing his DJ sets. In 2007, after a few appearances at some local clubs and underground parties, he decides to turn his attention towards the construction of a Live Set, without however om
itting the charm of vinyls in his DJ sets. From 2009 onwards, you can find several works on various labels under the name The Noisemaker. He is currently working with labels such as Par, M_rec, Raw Waxes, Wood n Bass. In his LiveSet he brings out an hypnotic and aggressive atmosphere.
In 2010, feels the need to deepen his knowledge in the arts and decided to enroll in the course of New Technologies for the Arts Academy of Venice.
2013 is the year of the launch of his own label NMKrec, that will be the main holder of his work.
Wednesday, March 06, 2013
Octave One featuring Random Noise Generation is the brainchild of Detroit's Burden Brothers. The core unit of the band is made up of Lenny and Lawrence Burden with revolving members of Lynell, Lorne, and Lance Burden.
The band first appeared on the compilation 'Techno 2: The Next Generation' (alongside Carl Craig, Marc Kinchen, and Jay Denham) in 1990 with the track 'I Believe' and have since released over one hundred records, many on their own record label, 430 West Records. They are best known for the single 'Blackwater' featuring the vocals of Ann Saunderson, which was licenced to over thirty compilations.
Octave One have worked with such artists as Derrick May, Underground Resistance, Eddie Fowlkes, Juan Atkins, Anthony ‘Shake’ Shakir, Members of the House, Terrence Parker, and The Martian. They have remixed tracks for such artists as Massive Attack, Akabu (Joey Negro), DJ Rolando (Jaguar), Steve Bug, John Thomas, The Tramps, Rhythm is Rhythm, and Inner City.
2011 welcomes the release of the Octave One retrospective compilation “Revisited: Here, There, and Beyond”. Marking 20 years of living the Techno life. “Here, There, and Beyond” features O1 classics reworked by some of the band’s favorite producers: Luke Slater, Sandwell District, Ken Ishii, Alexander Kowalski, Vince Watson, Alter Ego, Los Hermanos, and Cari Lekenbusch. “Revisited: Here, There, and Beyond”, both the album and tour are slated for release in November 2011. One more milestone in the journey of one of Techno’s most exciting bands.
Producer, musician, DJ, photographer, Brando Lupi’s influences range anywhere from post industrial-rock, experimental electronic to modern classical. The Italian native has had a history working alongside a number of talented artists.
Brando’s releases have been picked up by the likes of Orange Groove , Kompakt , Samuvar , Dewtone Recordings , Mental Groove , Detune Records and Elettronica Romana. He has recently composed a score for the movie “La Solitudine Dei Numeri Primi”, distributed by Medusa,with the soundtrack signed by Mike Patton ,leader of Faith No More,and presented at the 67th Venice Film Festival. He currently resides in Rome, spreading experimental spiritual frequencies across the world.
Tuesday, March 05, 2013
One of the most innovative and experimental composers who have made a mark on the International dance scene. Ken Ishii started making his version techno at a time when Japan was not yet at the crossroads where all things techno came together.
Already putting out tracks on the cult label R&S since ’94, Ken’s sound soon broke out of the confines of a specialist audience and took the world by storm, receiving support from world class artists such as Dave Clarke, Luke Slater, Thomas Schumacher and many more.He has since been touring Intensively throughout Europe, Asia and America. His fourthcoming album-Future In Light- will have his take on the sound of Detroit, showing the world the new sound of Ken Ishii.
Different World (Claude Young + Takasi Nakajima)
2 brothers born in different countries but of the same mind who encompass an entire wealth of electronic music history in their performance.
Claude Young (Detroit USA)
one of the most respected and accomplished DJ / Producers to come from the home of techno. His solo Dj sets are the stuff of legend and he has remixed and produced records for some of the greatest names in the business from Kevin Saunderson, Carl Craig, 4 Hero, Octave One, Sven Vath, Alter Ego and a host of other names to long to mention. His DJ mixes are among the most popular on the market having compiled DJ mixes for K7!, Jeff Mills AXIS records, Sony Music Japan and may other labels. He has headlined almost every major event globally and entertained audiences in America, Spain, Germany, Slovenia, China, Scotland, Austria, Australia, France, Croatia, Switzerland and many other countries.
Takasi Nakajima (Tokyo / Fukui Japan)
one of the greatest DJ / Producer in Japan. Nakajima began playing dj and making track at the age of 16 with he's brother Yukio Matsuyama. He learn the turntable skill and music history from Matsuyama.In 1997 he was a finalist in the DMC regional DJ competition in Japan. He has one of the finest and varied collections of music in Japan playing everything from Dub, House, Techno to Hip Hop,Funk,Soul anything black music.
Young and Nakajima became close friends after Young relocated from Glasgow to Tokyo in 2005. Both having a strong love of music the two decided to form Different World in 2006 and began playing at their own resident events in Japan gaining a loyal following of hardcore music lovers. It is still a fresh memory when Different World played at DEMF in year 2007.Their new Vinyl has been released from A.R.T the label of Kirk Degiorgio 2011.
Detroit Techno Militia is a record label and a grass roots DJ/Producer collective dedicated to preserving the legacy of true Detroit electronic music and its proliferation around the world. We believe in what we do, and take pride in contributing to a tradition that has deeply inspired us. Detroit Techno Militia soldiers work to maintain and preserve the significance of techno made in our native city. Detroit Techno Militia was founded by Tom & Angie Linder and has since grown to be one of the most prolific crews in Detroit.
In 2006, Detroit Techno Militia signed a distribution deal with Cratesavers Muzik, jump starting the Detroit Techno Militia record label. We established our label as a Cratesavers sub-label to offer a creative outlet for the talented producers in our crew. All the tracks we release are inspired by the musicians that have influenced us here in Detroit! We continued to release records throught Cratesavers until 2009 when we decided to go 100% independent.
On April 17, 2010, at The Fillmore Detroit, Detroit Techno Militia won the Detroit Music Award in the Electronic/Dance Category: Outstanding Electronic Music Group, following in the footstep of previous winners and Detroit legends: Carl Craig & Amp Fiddler.
On September 3rd, 2011, we launched our own independent digital record label: DTM Digital. The label features exclusive digital content from all of the producers on the label. We will continue to release vinyl records but this will help us reach a broader range of listeners.
Similar to the restoration of historic architecture; we are not tearing down and building anew. Rather using the existing structure as a basis for our own endeavors. Detroit has always had much to offer musically and it is our mission to make it known to the rest of the world for generations to come.