Thought we might publish this weeks blog a tad earlier than usual due to this week being a ridiculous week of parties. 

Remember there is only 2 weeks until the launch of Party Knights @ Roxanne Parlour on the 19th December

email keenan@partyknights.com.au for guest lists. 

Tuesday 8th Dec

Post Percy 5 Hour set @ New Guernica 

Kicking off this week is Post Percy’s mega 5 hour set. 

To top off this splendid evening of amazing music Guernica is offering 2 for 1 drink specials (excluding jugs)

$5 entry

Wednesday 9th Dec

World Techno Day

Wherever you are on Earth just play as much Techno for as long and loud as possible on 9th December.

Celebrate the gift of Techno.

Trimapee Opening  @ QV 

New store launch party in conjunction with the launch of Jane-Bell Lane (Including No Vacancy Galley & Villian)

Nelson Beer

Red Bull

Mini Grill’d Burgers

Thursday 10th Dec

Golden Monkey 4th Birthday Party

Celebrating 4 years of brilliant cocktails & service, Golden Monkey (Australia’s Bar of the Year 2009 amongst other awards) is throwing quite the delightful cocktail party this Thursday. 

It is also the launch of their new food & drink menu’s. 

Complimentary Asian Canapes from their brand new food menu from 8pm – 10pm!
$12 cocktail specials from their brand new drinks menu all night long!
The Shaolin Funk band playing the best of yesterday and today’s R&B, Funk and Soul!

Golden Monkey is located at the rear of 389 Lonsdale Street, enter via Hardware Lane. 

Free Entry.

8pm – 2am 

Friday 11th Dec

Trashbags Radio Show – The Erection Section

From 2am Friday morning tune into 87.6 Kiss FM 

www.trashbags.net.au

Ajax  &  Boogs @ New Guernica

$2 spirits from 11 till 12am – $4 from 12 till 1am! 

Sweet Jesus this will be epic. 

A fantastic night of music and cheap spirits. 

Nathan Fake / Format B @ Brown Alley

Another fantastic night out at Brown Alley, plenty of music to continue celebrating World Techno Day. 

$35 Tickets from

 SE T T I M E S

Main

10.00 – 11.30 Dwayne Thompson
11.30 – 12.30 Dean Benson 
12.30 – 02.00 ARNAUD LE TEXIER
02.00 – 03.00 Gavin Keitel
03.00 – 04.20 FORMAT: B Live
04.20 – Close Murat Kilic

The Loft

12.30 – 01.30 Pat Tassone 
01.30 – 02.30 Mike Callander
02.30 – 03.30 NATHAN FAKE Live
03.30 – 04.30 Dave Pham
04.30 – 06.30 ALEX SMOKE Live
06.30 – Close Safari

The Terrace

12.30 – 01.30 Craig Pringle & Kaysh
01.30 – 02.30 Monty McGraw & Joe Boyer
02.30 – 03.30 Van G & PK
03.30 – 04.30 Cameron Woodard & Mitch Kurz
04.30 – 05.30 John Doe & Matt Kovic
05.30 – 06.30 Shane Copal
06.30 – 07.30 Virginia Le & Tom Evans
07.30 – Close Andy Hart & Myles Mac

Saturday 12th Dec

LES PETITS PILOUS (Boys Noize) @ Eurotrash

French duo, LES PETITS PILOUS of Boys Noize Records fame hit Eurotrash on Saturday.

Their live show is a mix of keyboard and controllers and tracks they DJ and edit in live.

$15 Tickets

Tim Sweeney @ The Toff

Supported by Otologic & Andee Frost

Tim Sweeney returns to our shores to celebrate 10 years of his world famous radio show “Beats In Space”!

Tim will be playing for no less than 4 hours; a fantastic night of music at one Melbourne’s best night spots.

Tickets are $25

Henrik Schwarz + Chateau Flight @ Roxanne Parlour

The guys from Hoolahoop are backing up from their epic night @ Miss Libertine and bringing you another fine act to Roxanne Parlour.

With original releases spanning the realms of house, soul, jazz and deep techno on labels like the legendary Innervisions, Henrik has become an extremely sought after performer throughout the world.

Songs like “Imagination Limitation” came at a time in European electronic dance music that lacked depth and feeling and his remix of “Walk A Mile In My Shoes” for Coldcut on Ninja Tune became one of the biggest club hits of 2006.

The Parisian duo of Gilb’R and I:Cube formed in the late nineties through their relationship with Gilb’R’s label Versatile records.

Dropping underground techno with 80’s Italo sounds, House with old school Hip Hop and Electro with forgotten Disco tracks, people on the floor never know what to expect.

TICKETS $41 (inc BF) from Inthemix, Residentadvisor, and Moshtix
INDUSTRY TICKETS $30 

Finally, 

Very envious of everyone going to Meredith. 

Enjoy

x

Running, Returning – Akron/Family

Gilbert Cohen – aka Dj Gilb’r- started as a Hip-Hop Dj cultivating the raw and infectious sound of Public Enemy as well as the conscious and sophisticated rhyming of The Native Tongue Posse ( Jungle Brothers, A Tribe Called Quest). As many other French B-Boys, Gilbert built up his record collection by moving from sampled based Hip Hop to its original sources Funk, Soul and Jazz music.
After receiving several demos, Gilbert launched his Versatile imprint (founded March 1996) with the first release of young Parisian producer Nicolas Chaix. Under the I:Cube moniker, Chaix stroke a massive underground hit with his “Picnic Attack Ep” featuring a notoriously groovy Daft Punk Remix.

In 1997, reacting to the increasingly stale nature of drum & bass, Gilb’r created Versatile subdivision “Future Talk” and launched Bel Air Project’s “Dark Jazzor Ep” which is still hailed today as a Nu-Jazz classic. After a string of classic drum & bass releases ( “One Force”, “I Like / Schema”) Gilbert followed the path of West-London producer Dego of 4-Hero fame by focusing on jazz music and jazz-influenced breakbeat. In 1999, Future Talk released the critically acclaimed Joakim Lone Octet debut (Tiger Sushi) heralding the jazz-tinged productions of the likes of Cinematic Orchestra, Amon Tobin, Freeform Arkestra etc.Gilbert Cohen.

After several remixes (Pierre Henry, Air) and one EP (“Discobole”), I:Cube and Dj Gilb’r have decided to team up once again under the Château-Flight moniker to release their debut LP : “Puzzle”. The pair have come-up with an innovative formula that sounds like Matthew Herbert bouncing into Larry Levan at John Waters’ vintage eighties paraphernalia shop. With much in store for the new millennium , Gilbert Cohen has already left his mark on the nineties as a talented producer that chose to focus on the quality of music instead of chasing the hype most fall for.

RBMA: »You grew up in the South of France?«

GILB’R: »Yes, in Nice. I moved to Paris ten years ago because Nice was a very boring town in terms of music and culture, so to do my thing I had to move to the capital.«

RBMA: »What’s Paris like for a producer or a DJ?«

GILB’R: »The club scene in Paris is not very good. I don’t have any residencies there. Like most of my friends, I prefer to play abroad. Nowadays I get the opportunity to be more in the studio instead of playing in a club. For producers, there was almost nothing going on five years ago but now there are some very good producers in Paris. There are lots of new guys around and more music than ever before. The Paris scene used to be into a funky house, deep kind of music. Now you have some drum ‘n’ bass producers, some very good hip hop producers and some very good techno producers, too.«

RBMA: »So you came to Paris ten years ago as a DJ. Were you able to make a living as a DJ?«

GILB’R: »Yes, because I was given the opportunity to play in a club twice a week. That gave me the chance to move to Paris. So I said: “OK, I move for this and then see how it goes.” Then I started to hang out at Radio Nova, an independent radio station – they’ve had no adverts for over ten years. Nova was like an oasis, no stuff like adverts polluting your ears. They invented the concept of ‘Sono Mondiale’, which today you would call world music. Loads of different influences mixed together into one format. They were the first to play Fela Kuti and stuff like that alongside new wave, electro and funk. Nova also did the first live hip hop shows [on French radio]. Nova’s studios were really important for the scene in Paris because everyone came there to jam and play records and meet each other.«

RBMA: »Radio Nova’s mix of urban styles really influenced a whole generation of producers who are really famous today like St.Germain.«

GILB’R: »Even I:Cube, one of the artists on my label Versatile. He heard techno mixes for the first time through Radio Nova. So yes, it was a very important station. Jean François Bizot was the guy behind Radio Nova. A very crazy, rich man, Bizot had a counter-culture magazine called Actuel, which was huge in France back in the day. Because he was a music lover, Bizot decided to put his money into radio and create an open environment for different talents to come together. I had a great time there. I played with many different musicians, like Leon Parker, the jazz drummer. It was a very open place, which unfortunately it isn’t nowadays. Back then it was the golden era for Radio Nova. I hope things will be very good there again, but for the moment it’s not good as it used to be.«

RBMA: »It’s a tricky thing to run a radio station like Radio Nova. You either need a sponsor with lots of money and a big heart or you have the public radio stations – a system that we have all over Europe. Public radio stations, either financed by the state or by donations from listeners. With either model, the objective isn’t just commercial. Nova is fortunate that Paris has such a huge catchment area.«

GILB’R: »I think it’s about 10 million people.«

RBMA: »That’s a huge amount that allows yourself to take risks making a good radio program and still have enough listeners to make it worthwhile in commercial terms.«

GILB’R: »But the most important thing was to mix it all up and show all the listeners that it’s OK to like a straight hip hop tune and a straight techno tune because they have the same kind of origin. The purpose was to create a really anti-ghetto kind of spirit. I kept that spirit in mind when it came to starting my label. I kept away from a specific type of music so that I could allow myself to produce a jazz album, a techno album, a house album or whatever, as long as I think it’s good music.«

RBMA: »So how did you come to be in charge of music programming at Radio Nova?«

GILB’R: »To me, all these things that happened in my life were pretty accidental. I was hanging around at the station one time because I knew someone there. I was going to DJ somewhere later that night, so I had my record box with me. A guy doing the programming there looked in my record box and said: “Yeah, that’s cool, why don’t you come back a bit more?” So then we started hanging out and DJing together. I was introduced to the station and after a while, I started music programming. All the DJs were programmers. They chose the music. It was a novelty because that isn’t the case too much today. We spent a lot of time in record shops listening to everything and taking tracks from there to the listeners. It wasn’t just an ego thing, it wasn’t just like: “Oh yeah, I like that track. I’m gonna put that in the show.” I would choose a track that I thought would appeal to the listeners.«

PARTICIPANT: »When you were the music programmer, did you have complete liberty to choose what you want? Were there rules and restrictions that you had to respect?«

GILB’R: »We used a piece of software called Selector when we programme a radio show. You select an hour and you do a camembert, sorry but that’s how I call it. It’s like a pie chart. And so you divide the hour with some specific music styles. For example, I want to start with a playlist track. A playlist track is a tune that the radio station is pushing, played at least three or four times a day. Then you follow that with a world music track, then a techno track, whatever. The software shows you exactly what you have in the camembert, in that one-hour slot. But yeah, the programming was totally freeform during the time I was there and I think we were quite responsible with that. It wasn’t a situation where I had just bought a record – it’s fantastic, let’s put it on the playlist. We were always disciplined with ourselves on the programming.«

RBMA: »There are a lot of people here that would like to get on the radio. What advice could you give about the selection process? What’s going in the minds of these people who choose what to play on the radio?«

GILB’R: »I actually wouldn’t advise any DJs to do this. Basically, because after a certain time you tend to get a bit schizophrenic! Being a DJ, you have your own vision but on radio your priority is pleasing the people. So after a while I was a bit schizoid, as I said, I couldn’t play a track I wasn’t really into. It was difficult and that’s why I decided to leave and concentrate on the DJing and production.«

RBMA: »Was there an overall plan for a whole day’s music programming at Nova or was it just a continuous random selection of music all the time?«

GILB’R: »It depends the hour. At 8am for example, maybe you’re not in the mood to listen to a hard step tune or a Jeff Mills hardcore kind of techno thing. We decided to set a mood from 8-12 and then the afternoon was another mood. It was more about setting moods.«

RBMA: »So how would you advertise the mood to listeners?«

GILB’R: »The concept we had was to have no talk at all. Instead, we used a selection of very strong jingles, very recognisable, stuff like that. We used a lot of word games in the way we made the jingles, they stuck in your mind. Instead of having someone say what the tracks are and who by, we just put in jingles, which gave an identity to the whole thing.«

RBMA: »Why did the situation change at Radio Nova?«

GILB’R: »Because of the money, it happens all the time. They needed to earn more money, so they started to allow advertising on the station. They also haven’t made any changes to the staff since I left. After my friend Louis and I left the station, they didn’t find any other people that really had the same passion that we had. There are people from 10 or 15 years ago that are still there and I find that a bit pitiful in a way. They got Laurent Garnier in to do the music programming for a year but he left last month because of differences with the guys who run the station. I think that was a great mistake to become a mainstream station, so they could play a lot of that what they call “gold”. That’s why he left, unfortunately.«

RBMA: »I’ve noticed that they have many releases out at the moment.«

GILB’R: »Yes, but they are compilations. I think that’s a bad thing for Nova because they’ve had so many people jamming there. They could have a fantastic label but that’s impossible to do because of ego problems and all that bullshit, so now they just have compilations. Those records are basically what we played last year, which is nice because they’re good tunes, but it’s not original material. It’s just one more compilation and I think with all the compilations around right now, it’s very tiring at the moment.«

RBMA: »Let’s talk about your own sound. You started out as a b-boy, playing hip hop and influenced by early De La Soul and Jungle Brothers. From there you got into drum ‘n’ bass and for a long time you’ve been known as a drum ‘n’ bass DJ.«

GILB’R: »Yes. I started as a very straight hip hop DJ. I didn’t get house at all. It didn’t speak to me. Then I was in New York in ‘92 when I heard all the Larry Levan, Paradise Garage-style stuff and it really blew my mind. I really understood it and I put all the clichés I had about house music to one side.

When I returned from New York, I started to incorporate some house into my sets. When drum ‘n’ bass arrived it was a shock to me because it had all the things I liked in one style of music. It was experimental, it had hard sounds, sweet sounds, some breaks, even some house and techno elements. Plus the way to mix it was very attractive to me. So I got into that completely. I was playing only drum ‘n’ bass for about three or four years.

After a while, everyone started to sound the same, maybe because of the impact that Ed Rush & Optical had on the scene. After that, everyone started doing the same music – very dark. Doc Scott, Metalheadz and some of the No U-Turn stuff had this sound especially.

Nowadays it’s more like a rave scene, which I’m not too much into. So now I’ve left drum ‘n’ bass because I feel it’s not as good as it used to be to be. I’m more into mixing all kinds of music I like in a very programmed way, which is pretty difficult. It has taken me maybe ten years to reach this point.«

RBMA: »When did you start your record label, Versatile?«

GILB’R: »Well, the first label was set up with the radio station and it was pretty crap. It turned into a very bad relationship at the end, some ego problems with some people there. I’d been to New York for a while, at great expense. I was in the studio with Branford Marsalis. There was a lot of energy in New York. When I came back to Paris, the atmosphere at the station was so heavy that I decided to leave straight away.

Three days later I decided to start my own label. Around the same time, I met I:Cube, who sent me a tape and I was really amazed by the quality of the music. Daft Punk hadn’t made their first album then. So I started the label and signed this guy. I asked him if he’d like to do an album with me and he said OK. One week later, we finished the record and it was a huge success. I even surprised myself, so it all just started as an accident, really.«

RBMA: »What was the first release on Versatile?«

GILB’R: »It was I:Cube – Disco Cubizm. By the way, the music that was playing when we started was from an album called Remixent. It’s a collection of 14 remixes that I:Cube and myself have done for several artists [as Chateau Flight]. The one we heard was Brand New Day. That was made with Dego [as Pavel Kostiuk], who is one half of 4 Hero. He has his own label called 2000 Black. 
The next release on Versatile will be the new Chateau Flight 12″. We’ve been listening a lot of old Detroit stuff lately and we’ve really come back to this sound because it has a very strong vibe. We spent a lot of time on the structure and production on this one. We decided to make it very rough, very raw. Just the meat on the table.«

RBMA: »You’ve also been remixing the icon of French chansons, Serge Gainsbourg. Can you tell us something about that?«

GILB’R: »Serge Gainsbourg was a very important person for France and is a big influence for other people like Beck or Air, he was very much ahead of his time. His music was always different. He’s worked with all kinds of people, from John Barry to a Reggae album with Sly & Robbie. 
For us, it was very difficult to touch this because it’s kind of classic music, classic French music. So that’s why we decided to remix a track [Lola Rastaquouere] from his reggae album [Aux Armes Et Cetaera] because I think it was more suitable for a remix. 
Another astonishing thing about Serge Gainsbourg is that he always had this tradition of brilliant lyrics. He was one of the first to use the actual sounds of the words as an instrument in its own right, rather than just lyrics. He always behaved as a producer and had people around him who were really on the edge at that time. 
On the Gainsbourg remix, we used a great piece of software called Reaktor. It’s a very good sequencer developed by the Germans.«

RBMA: »You said before that you didn’t really rate the Parisian club scene, but what about the producers there? Is there anyone in Paris you would collaborate with?«

GILB’R: »It’s very difficult to collaborate, you know? The only guy I’m really close with musically is a French DJ called DJ Deep, who’s huge. He’s been doing this for a long time and is very focused in what he’s doing. So we are really close friends, DJ Gregory and I really like him. I don’t have any problems with anyone in particular. Obviously, I’d like to collaborate with others, but it’s very difficult.« 
R

BMA: »Gregory is the one who had the smash hit Sunshine People right?«

GILB’R: »Yes, and now he has a new tune called Tropical Soundclash on his own label, Faya Combo [later picked up by Defected Records].«

RBMA: »Do you find it difficult to make music in a different style when the Paris scene is so dominated by house? Have you found it more challenging than if you were making house music?«

GILB’R: »Yes, it has been pretty challenging but we had to do it because as a label, I didn’t want to get stuck on that housey style. The turning point for that was definitely I:Cube’s track, Adore. It was difficult to make the change, but you have to do what feels good to you. I wouldn’t have been comfortable just sticking with that disco kind of thing and just wait for a massive hit. The purpose of the label is to be artistic, so if I feel I need to move around musically, then I do it.«

RBMA: »The productions on your label, the music you play on the radio and also the recent big success of Air and St.Germain, they all have a quite eclectic sound. Would you agree?«

GILB’R: »I really respect Air because they first started with an album called Casanova 70, which was very sample-based. I wasn’t really crazy about that one, but they left all that stuff behind and became more like a real pop band. That was a real difficult choice for them and I really respect that. 
St.Germain has done this sort of thing before, with an album called Boulevard, which was a huge hit for F-Com. It was a kind of ’storm in the electronic hole’ kind of thing and his music now is not so different than what he was doing before. St.Germain is very talented but he can come across like a moody guy because of some business problems, which prevented him from making music for about five years. Also you have Joakim who is doing a more jazz/experimental kind of thing. It’s definitely getting to be a more varied scene in Paris.«

RBMA: »Would you agree with the statement that French producers have a hard time making it in the UK?«

GILB’R: »I think everyone has a hard time making it in the UK to be honest with you. The UK is very conservative market and it’s very difficult to penetrate it, you know? There are other reasons, too, like Britain not accepting the Euro.«

RBMA: »Hip hop is very big in France and you used to be a hip hop DJ. Do you still have anything to do with that today?«

GILB’R: »Next year we are going to release our first hip hop record on Versatile. Even though I don’t play it anymore, I still pay a lot of attention to what’s going on in the hip hop scene. To me, it’s a kind of like my home town. Hip hop became very big in France because of a law that says 40% of music played on the radio must be French. I think it’s a silly law, but it made hip hop huge in France. 
For example, a French guy singing in English can’t be played on the radio, but if a guy in Japan does a record talking in French, that can be played. I think France has the second biggest hip hop market in the world, after the US. I’m making a record myself, with French vocals because of this law.«

RBMA: »What’s the hip hop you’re putting out on Versatile like? Will it be a leftfield kind of thing?«

GILB’R: »No, it’ll have a big sound. What I like in hip hop is the production. I like it very fat, very big. I’m a big fan of Jay Dee and all those kind of producers, Madlib and those guys. So it’s going to be that kind of sound and the MCs will be from America, not from France. 
MC Solaar’s first album was good but now he’s turned away from the real French hip hop scene. Nowadays his stuff is just pop music, which is sad because he started very underground and had a lot of respect. The scene has gotten a lot of exposure and now those guys have seen that they can make a lot of money, which has made French hip hop very unreceptive to variety. It’s all like regular pop music now. There’s still a lot of hip hop getting made in France, but there is little that is interesting. Money perverts everything and that’s it.«

RBMA: »That’s an interesting thing about the money. When you start your label and you’re struggling, it becomes a question of your own character, of how far you want to go. How far would you like to go?«

GILB’R: »This is very simple to me you know. I want to have a hit and to go far because I’m really ambitious but I want to do it with my own stuff, on my own terms. I don’t want to say: “OK, let’s get some loops and put some little cheesy vocal there and maybe then we can reach some more people.” I know we can reach out to more people, but we’ll do it our way.«

RBMA: »You’re more true to yourself, more true to the music by not selling out?«

GILB’R: »I think the music we are doing can be heard by quite a different range of people and still sell well, but I think the main difficulty being an independent label is that it takes more time for us to publicise and market a record compared to the majors.«

RBMA: »Another problem for independents is distribution. Distributors will take your records but take forever to pay you. I can name a whole bunch of American companies that will distribute your record, but when it’s time to pay they’re like that.«

GILB’R: »I know, that’s why we use a German distributor called !K7 for American sales.«

RBMA: »Most DJs in Europe with your status earn more money DJing than producing. Do you actually have to DJ to survive?«

GILB’R: »I think I can make a living through the label but I still enjoy DJing. I could earn money elsewhere but DJing is such a great way to earn money, so why should I stop?«

We already knew for a long time that the great 45:33 album by LCD Soundsystem would get a hugh remix treatment. Well, finally there are some official details available. There will be four 12″ records and a cd with all the remixes. The remix vinyls will be released at the end of september. Vinyl 1 will contain remixes by upcoming stars Runaway and Norwegian disco god Prins Thomas. The second disc will have remixes by Berlin’s techno specialist Riley Reinhold and Trus’me. For the 3th remix vinyl they asked the french producer Pilooski and the detroit legend Theo Parrish, and the 4th and last vinyl contains remixes by DC Recordings artist Padded Cell and DFA’s own Prince Language.

The 45:33 Remix package is not the only remix package coming out on DFA soon, there’s also a Juan Maclean’s Happy House remix package in the pipeline. Which will contain remixes by Lazaro Casanova, Paul Woolford, Matthew Dear and Château Flight.

Also look out for the second Still Going 12″ called Spaghetti Circus/ Untitled Love and for Modular artists Canyons, who will release their first 12″ on DFA ‘Fire Eyes’ at the end of August. Very promising stuff so keep an eye on these guys!

Another new artist on DFA, but certainly not a rookie, is Ray Mang. He will release a new 3-tracker which will contain ‘Look Into My Eyes’; Ray Mang’s own version of Tangerine Dream’s ‘Love On A Real Train’, a song where we were already looking forward to for a long time. Damn we love those trancey keys!

Last but not least there will also be a second single from Holy Ghost! ‘I Will Come Back’ And good news because it is available for free download here together with the DJ Mehdi & Classixx remixes. Later on there will be also a version by Newcleus. (Yes, the 80’s electrofunk-masters!)

One of 2008’s biggest tracks finally got the remix treatment and I’m talking about none other than Juan Maclean’s “Happy House” of course. The EP will be released on August 17th through various digital sources and features remixes from VHS or Beta, Paul Woolford, Matthew Dear Vs. Audion, Will Saul and Mike Monday, Chateau Flight and my personal favorite; Lazaro Casanova. Some might remember Laz from the early days of blogs with his contribution to the scene being Shot Callin’. He was also on tour quite a bit with mosh metal electro dudes, MSTRKFT. These days he is running his own record label called Pet Food. Laz is a man of exquisite taste and if his label is full of track’s like his own it will definitely be one to watch.

The Juan Maclean – Happy House (Lazaro Casanova Remix)

Sirhan

Ash Le Rouge and Will Hawthorn – Portals Mix

Tracklisting:

Voice of Q – Q (Philly World Records)
The Art of Letting Go – Supermayer (KOMPAKT)
I Choose Anger (H-Man Remix) – James Mowbray/D Ramirez (Four:Twenty Recordings)
Babylon by Car – Bot’ox (I’m A Cliché)
Cities In Dust (Glimmers Remix) – Junkie XL (Nettwerk America)
Hold On (Disco Edit) – Hot Chip (DFA)
Blind (Frankie Knuckles Mix) – Hercules and Love Affair (DFA)
Golden Cage (Fred Falke Remix) – Whitest Boy Alive (Service)
Don And Sherri (Hot Chip Instrumental) – Matthew Dear (Ghostly International)
Lights & Music (Superdiscount Remix) – Cut Copy (Modular)
Don’t Panic – Chaim (Turbo)
Yeah (Crass Version) – LCD Soundsystem (DFA)
Antibodies (Chateau Flight Remix) – Poni Hoax (Tigersushi)
Spacer Woman (Vocal Version) – Charlie (Elettrica)
Rio (Knife Machine Vs Gus Da Hoodrat Mix) – Bumblebeez (Modular)
Falling Stars – Smith N Hack (Smith N Hack)
Born to Synthesize – Todd Rundgren (Bearsville)
Endlessly – Cut Copy (Modular)
Golden Skans (Cover) – Oskar Cash (White Label)

Da Electro BOMB !

(from Nic Fanciulli Global Underground DJ perfect compilation)

За последний месяц тема Fake Blood – Essential Mix была одной из самых популярных в блоге, наравне с Тигой, конечно. Что справедливо, т.к. микс выдался на славу. А раз в первой теме я выложил только первую часть, сегодня будет вторая, в которой много красивого минимала и олд-скул инди. Не могу сказать, какая из частей мне нравится больше, они разные, но и ту, и другую объединяет отличная подборка треков.

Fake Blood – Essential Mix (14.03.09), Unmixed:

Hour Two: The Afterparty
01. Chateau Flight – Baroque (alt)
02. Mike Monday – I Am Plankton (Album Version) (alt)
03. DJ Touche – Spectres
04. Butch – Amelie (alt)
05. Caro, Dapyk & Padberg – Island feat. Caro (Noze Mix) (alt)
06. Simian Mobile Disco – Run Theme
07. Lucio Aquilina – Magic M (alt)
08. Monochrome – Pearl (alt)
09. Whomadewho – The Plot (Noze Mix) (alt)
10. Can – A Spectacle (alt)
11. In Flagranti – Business Acumen (Holy Ghost! cover version) (alt)
12. Stephan Bodzin and Marc Romboy – Puck (alt)
-w/ X-Press 2 – Smoke Machine Acapella
13. DJ Touche – Zombies
14. Giorgio Moroder – From Here To Eternity
15. Pylon – Cool (alt)
-w/ LCD Soundsystem – Yeah Acapella
16. Knuckles – Targus
17. Lorenz Rhode – Antidote
18. Battle Sequencer – Fish Fingers Part II
19. Radiohead – Reckoner (Diplo Mix)
20. Seventeen Evergreen – Music Is The Wine (Joakim Dub)
21. Bent – To Be Loved (alt)
22. Fad Gadget – Coitus Interruptus
23. David Rubato – Circuit (alt)

Maurice Fulton, DJ americano é anunciado ao público como uma das maiores atrações da festa D-Edge Concept, que se realizará em 15 de maio, na festa Freak Chic, no clube da Barra Funda paulistana.

Maurice recentemente trabalhou junto aos artistas !!!, Annie, Chateau Flight e de sua esposa MU.

Seu nome já vem circulando na cena eletrônica desde os anos 90, quando ele produzia para a famosa e tão tocada nas rádios Crystal Waters,  responsáveis pela faixa de grande sucesso nas pistas “Gypsy Woman (She’s Homeless)”, você se lembra?

Com a apresentação de Fulton, o D-Edge finaliza a a escalação dos artistas que estavam na lista de sua festa Concept, já que Claro Intelecto apareceu para o público no clube no mês passado.

Os sets de Fulton  tem grande influência dos gêneros musicais que fizeram sucesso nos anos 90, como o garage, house e, até muito antes disso, com a disco music.

Rádio E – Essencialmente Eletrônica

What can i say the guys over at random circuits are ahead of the game again..check out their awesome reviews

Sideshow – If Alone (Chateau Flight Dub)

Time for another little mix to keep the worries of life at bay, heart felt disco love, jazzed up funk and something in between.

1. Roland Appel – New Love
2. Project Sandro – Blazer
3. Metro Area – Miura
4. Fan Death – Veronica’s Veil
5. Chateau Flight – GRN Adventurine
6. Altz – Yello (Idjut Dub Down Mix)
7. St Germain – Rose Rouge
8. Altz – Max Motion (Space Voice Yoshimi)
9. Catrat – Freedom (Jay Haze Remix Dub)
10. Morgan Geist – 24K
11. Danny Gold – Throwdown (Pilooski edit)
12. Elitetechnique – Elektric Evening
13. Zombie Zombie – Texas Rangers
14. Poni Hoax – Anitbodies (Chateau Flight Remix)
15. The Revenge – Night Flight
16. Dutch Rhythm Combo – Bonaire (Al Usher 12inch Remix)

DOWNLOAD HERE

Great record here, sounds like it was made some 30 or 40 years ago. It’s tasty stuff in the vein of Human League, James White and the Blacks.
Included is both the chateau flight remix and a slightly more stripped back bones edit. The Original is still the country fair cup’cake winner.

*updated link*

Pick up this french bum shakin’ funk here

Het één hit wonder Stardust bestaat uit:
- Alan Braxe (oftewel Alain Quême)
- Thomas Bangalter (beter bekend als de helft van het duo Daft Punk)
- Benjamin Diamond (oftwel Benjamin Cohen)

Hun enige nummer heet ‘Music Sounds Better With You’ en is gebaseerd op ‘Fate’ van Chaka Khan. Dat origineel is trouwens een fantastisch nummer! Uit die solide basis hebben de mannen van Stardust een catchy sample gedestilleerd, die we vandaag allemaal herkennen.

Kid Massive maakt een hedendaagse edit van dit nummer. Het leunt met andere woorden sterk aan tot het origineel. Een leukere remix is aan de hand van het duo Château Flight. Zij herrangeren het nummer en voegen er een leuke baslijn eraan toe. My cup of tea.

• Chaka Khan – Fate (via Zshare) – ♥
• Stardust – Music Sounds Better With You (via Zshare)
• Stardust – Music Sounds Better With You (Kid Massive Mix) (via Zshare)
• Stardust – Music Sounds Better With You (Château Flight Remix) (Zshare) – ♥

Sources:

• Chaka Khan (via Homepage)
• Stardust (via Discogs)
• Kid Massive (via Homepage)
• Château Flight (via Myspace)
• Datasapiens 

RBMA: »You grew up in the South of France?«

GILB’R: »Yes, in Nice. I moved to Paris ten years ago because Nice was a very boring town in terms of music and culture, so to do my thing I had to move to the capital.«

RBMA: »What’s Paris like for a producer or a DJ?«

GILB’R: »The club scene in Paris is not very good. I don’t have any residencies there. Like most of my friends, I prefer to play abroad. Nowadays I get the opportunity to be more in the studio instead of playing in a club. For producers, there was almost nothing going on five years ago but now there are some very good producers in Paris. There are lots of new guys around and more music than ever before. The Paris scene used to be into a funky house, deep kind of music. Now you have some drum ‘n’ bass producers, some very good hip hop producers and some very good techno producers, too.«

RBMA: »So you came to Paris ten years ago as a DJ. Were you able to make a living as a DJ?«

GILB’R: »Yes, because I was given the opportunity to play in a club twice a week. That gave me the chance to move to Paris. So I said: “OK, I move for this and then see how it goes.” Then I started to hang out at Radio Nova, an independent radio station – they’ve had no adverts for over ten years. Nova was like an oasis, no stuff like adverts polluting your ears. They invented the concept of ‘Sono Mondiale’, which today you would call world music. Loads of different influences mixed together into one format. They were the first to play Fela Kuti and stuff like that alongside new wave, electro and funk. Nova also did the first live hip hop shows [on French radio]. Nova’s studios were really important for the scene in Paris because everyone came there to jam and play records and meet each other.«

RBMA: »Radio Nova’s mix of urban styles really influenced a whole generation of producers who are really famous today like St.Germain.«

GILB’R: »Even I:Cube, one of the artists on my label Versatile. He heard techno mixes for the first time through Radio Nova. So yes, it was a very important station. Jean François Bizot was the guy behind Radio Nova. A very crazy, rich man, Bizot had a counter-culture magazine called Actuel, which was huge in France back in the day. Because he was a music lover, Bizot decided to put his money into radio and create an open environment for different talents to come together. I had a great time there. I played with many different musicians, like Leon Parker, the jazz drummer. It was a very open place, which unfortunately it isn’t nowadays. Back then it was the golden era for Radio Nova. I hope things will be very good there again, but for the moment it’s not good as it used to be.«

RBMA: »It’s a tricky thing to run a radio station like Radio Nova. You either need a sponsor with lots of money and a big heart or you have the public radio stations – a system that we have all over Europe. Public radio stations, either financed by the state or by donations from listeners. With either model, the objective isn’t just commercial. Nova is fortunate that Paris has such a huge catchment area.«

GILB’R: »I think it’s about 10 million people.«
RBMA: »That’s a huge amount that allows yourself to take risks making a good radio program and still have enough listeners to make it worthwhile in commercial terms.«

GILB’R: »But the most important thing was to mix it all up and show all the listeners that it’s OK to like a straight hip hop tune and a straight techno tune because they have the same kind of origin. The purpose was to create a really anti-ghetto kind of spirit. I kept that spirit in mind when it came to starting my label. I kept away from a specific type of music so that I could allow myself to produce a jazz album, a techno album, a house album or whatever, as long as I think it’s good music.«

RBMA: »So how did you come to be in charge of music programming at Radio Nova?«

GILB’R: »To me, all these things that happened in my life were pretty accidental. I was hanging around at the station one time because I knew someone there. I was going to DJ somewhere later that night, so I had my record box with me. A guy doing the programming there looked in my record box and said: “Yeah, that’s cool, why don’t you come back a bit more?” So then we started hanging out and DJing together. I was introduced to the station and after a while, I started music programming. All the DJs were programmers. They chose the music. It was a novelty because that isn’t the case too much today. We spent a lot of time in record shops listening to everything and taking tracks from there to the listeners. It wasn’t just an ego thing, it wasn’t just like: “Oh yeah, I like that track. I’m gonna put that in the show.” I would choose a track that I thought would appeal to the listeners.«

PARTICIPANT: »When you were the music programmer, did you have complete liberty to choose what you want? Were there rules and restrictions that you had to respect?«

GILB’R: »We used a piece of software called Selector when we programme a radio show. You select an hour and you do a camembert, sorry but that’s how I call it. It’s like a pie chart. And so you divide the hour with some specific music styles. For example, I want to start with a playlist track. A playlist track is a tune that the radio station is pushing, played at least three or four times a day. Then you follow that with a world music track, then a techno track, whatever. The software shows you exactly what you have in the camembert, in that one-hour slot. But yeah, the programming was totally freeform during the time I was there and I think we were quite responsible with that. It wasn’t a situation where I had just bought a record – it’s fantastic, let’s put it on the playlist. We were always disciplined with ourselves on the programming.«

RBMA: »There are a lot of people here that would like to get on the radio. What advice could you give about the selection process? What’s going in the minds of these people who choose what to play on the radio?«
GILB’R: »I actually wouldn’t advise any DJs to do this. Basically, because after a certain time you tend to get a bit schizophrenic! Being a DJ, you have your own vision but on radio your priority is pleasing the people. So after a while I was a bit schizoid, as I said, I couldn’t play a track I wasn’t really into. It was difficult and that’s why I decided to leave and concentrate on the DJing and production.«

RBMA: »Was there an overall plan for a whole day’s music programming at Nova or was it just a continuous random selection of music all the time?«

GILB’R: »It depends the hour. At 8am for example, maybe you’re not in the mood to listen to a hard step tune or a Jeff Mills hardcore kind of techno thing. We decided to set a mood from 8-12 and then the afternoon was another mood. It was more about setting moods.«

RBMA: »So how would you advertise the mood to listeners?«

GILB’R: »The concept we had was to have no talk at all. Instead, we used a selection of very strong jingles, very recognisable, stuff like that. We used a lot of word games in the way we made the jingles, they stuck in your mind. Instead of having someone say what the tracks are and who by, we just put in jingles, which gave an identity to the whole thing.«

RBMA: »Why did the situation change at Radio Nova?«

GILB’R: »Because of the money, it happens all the time. They needed to earn more money, so they started to allow advertising on the station. They also haven’t made any changes to the staff since I left. After my friend Louis and I left the station, they didn’t find any other people that really had the same passion that we had. There are people from 10 or 15 years ago that are still there and I find that a bit pitiful in a way. They got Laurent Garnier in to do the music programming for a year but he left last month because of differences with the guys who run the station. I think that was a great mistake to become a mainstream station, so they could play a lot of that what they call “gold”. That’s why he left, unfortunately.«

RBMA: »I’ve noticed that they have many releases out at the moment.«

GILB’R: »Yes, but they are compilations. I think that’s a bad thing for Nova because they’ve had so many people jamming there. They could have a fantastic label but that’s impossible to do because of ego problems and all that bullshit, so now they just have compilations. Those records are basically what we played last year, which is nice because they’re good tunes, but it’s not original material. It’s just one more compilation and I think with all the compilations around right now, it’s very tiring at the moment.«

RBMA: »Let’s talk about your own sound. You started out as a b-boy, playing hip hop and influenced by early De La Soul and Jungle Brothers. From there you got into drum ‘n’ bass and for a long time you’ve been known as a drum ‘n’ bass DJ.«

GILB’R: »Yes. I started as a very straight hip hop DJ. I didn’t get house at all. It didn’t speak to me. Then I was in New York in ‘92 when I heard all the Larry Levan, Paradise Garage-style stuff and it really blew my mind. I really understood it and I put all the clichés I had about house music to one side.

When I returned from New York, I started to incorporate some house into my sets. When drum ‘n’ bass arrived it was a shock to me because it had all the things I liked in one style of music. It was experimental, it had hard sounds, sweet sounds, some breaks, even some house and techno elements. Plus the way to mix it was very attractive to me. So I got into that completely. I was playing only drum ‘n’ bass for about three or four years.

After a while, everyone started to sound the same, maybe because of the impact that Ed Rush & Optical had on the scene. After that, everyone started doing the same music – very dark. Doc Scott, Metalheadz and some of the No U-Turn stuff had this sound especially.

Nowadays it’s more like a rave scene, which I’m not too much into. So now I’ve left drum ‘n’ bass because I feel it’s not as good as it used to be to be. I’m more into mixing all kinds of music I like in a very programmed way, which is pretty difficult. It has taken me maybe ten years to reach this point.«

RBMA: »When did you start your record label, Versatile?«

GILB’R: »Well, the first label was set up with the radio station and it was pretty crap. It turned into a very bad relationship at the end, some ego problems with some people there. I’d been to New York for a while, at great expense. I was in the studio with Branford Marsalis. There was a lot of energy in New York. When I came back to Paris, the atmosphere at the station was so heavy that I decided to leave straight away.
Three days later I decided to start my own label. Around the same time, I met I:Cube, who sent me a tape and I was really amazed by the quality of the music. Daft Punk hadn’t made their first album then. So I started the label and signed this guy. I asked him if he’d like to do an album with me and he said OK. One week later, we finished the record and it was a huge success. I even surprised myself, so it all just started as an accident, really.«

RBMA: »What was the first release on Versatile?«

GILB’R: »It was I:Cube – Disco Cubizm. By the way, the music that was playing when we started was from an album called Remixent. It’s a collection of 14 remixes that I:Cube and myself have done for several artists [as Chateau Flight]. The one we heard was Brand New Day. That was made with Dego [as Pavel Kostiuk], who is one half of 4 Hero. He has his own label called 2000 Black.

The next release on Versatile will be the new Chateau Flight 12″. We’ve been listening a lot of old Detroit stuff lately and we’ve really come back to this sound because it has a very strong vibe. We spent a lot of time on the structure and production on this one. We decided to make it very rough, very raw. Just the meat on the table.«

RBMA: »You’ve also been remixing the icon of French chansons, Serge Gainsbourg. Can you tell us something about that?«

GILB’R: »Serge Gainsbourg was a very important person for France and is a big influence for other people like Beck or Air, he was very much ahead of his time. His music was always different. He’s worked with all kinds of people, from John Barry to a Reggae album with Sly & Robbie.

For us, it was very difficult to touch this because it’s kind of classic music, classic French music. So that’s why we decided to remix a track [Lola Rastaquouere] from his reggae album [Aux Armes Et Cetaera] because I think it was more suitable for a remix.

Another astonishing thing about Serge Gainsbourg is that he always had this tradition of brilliant lyrics. He was one of the first to use the actual sounds of the words as an instrument in its own right, rather than just lyrics. He always behaved as a producer and had people around him who were really on the edge at that time.
On the Gainsbourg remix, we used a great piece of software called Reaktor. It’s a very good sequencer developed by the Germans.«

RBMA: »You said before that you didn’t really rate the Parisian club scene, but what about the producers there? Is there anyone in Paris you would collaborate with?«

GILB’R: »It’s very difficult to collaborate, you know? The only guy I’m really close with musically is a French DJ called DJ Deep, who’s huge. He’s been doing this for a long time and is very focused in what he’s doing. So we are really close friends, DJ Gregory and I really like him. I don’t have any problems with anyone in particular. Obviously, I’d like to collaborate with others, but it’s very difficult.«

RBMA: »Gregory is the one who had the smash hit Sunshine People right?«

GILB’R: »Yes, and now he has a new tune called Tropical Soundclash on his own label, Faya Combo [later picked up by Defected Records].«

RBMA: »Do you find it difficult to make music in a different style when the Paris scene is so dominated by house? Have you found it more challenging than if you were making house music?«

GILB’R: »Yes, it has been pretty challenging but we had to do it because as a label, I didn’t want to get stuck on that housey style. The turning point for that was definitely I:Cube’s track, Adore. It was difficult to make the change, but you have to do what feels good to you. I wouldn’t have been comfortable just sticking with that disco kind of thing and just wait for a massive hit. The purpose of the label is to be artistic, so if I feel I need to move around musically, then I do it.«

RBMA: »The productions on your label, the music you play on the radio and also the recent big success of Air and St.Germain, they all have a quite eclectic sound. Would you agree?«

GILB’R: »I really respect Air because they first started with an album called Casanova 70, which was very sample-based. I wasn’t really crazy about that one, but they left all that stuff behind and became more like a real pop band. That was a real difficult choice for them and I really respect that.

St.Germain has done this sort of thing before, with an album called Boulevard, which was a huge hit for F-Com. It was a kind of ’storm in the electronic hole’ kind of thing and his music now is not so different than what he was doing before. St.Germain is very talented but he can come across like a moody guy because of some business problems, which prevented him from making music for about five years. Also you have Joakim who is doing a more jazz/experimental kind of thing. It’s definitely getting to be a more varied scene in Paris.«

RBMA: »Would you agree with the statement that French producers have a hard time making it in the UK?«

GILB’R: »I think everyone has a hard time making it in the UK to be honest with you. The UK is very conservative market and it’s very difficult to penetrate it, you know? There are other reasons, too, like Britain not accepting the Euro.«

RBMA: »Hip hop is very big in France and you used to be a hip hop DJ. Do you still have anything to do with that today?«

GILB’R: »Next year we are going to release our first hip hop record on Versatile. Even though I don’t play it anymore, I still pay a lot of attention to what’s going on in the hip hop scene. To me, it’s a kind of like my home town. Hip hop became very big in France because of a law that says 40% of music played on the radio must be French. I think it’s a silly law, but it made hip hop huge in France.

For example, a French guy singing in English can’t be played on the radio, but if a guy in Japan does a record talking in French, that can be played. I think France has the second biggest hip hop market in the world, after the US. I’m making a record myself, with French vocals because of this law.«

RBMA: »What’s the hip hop you’re putting out on Versatile like? Will it be a leftfield kind of thing?«

GILB’R: »No, it’ll have a big sound. What I like in hip hop is the production. I like it very fat, very big. I’m a big fan of Jay Dee and all those kind of producers, Madlib and those guys. So it’s going to be that kind of sound and the MCs will be from America, not from France.

MC Solaar’s first album was good but now he’s turned away from the real French hip hop scene. Nowadays his stuff is just pop music, which is sad because he started very underground and had a lot of respect. The scene has gotten a lot of exposure and now those guys have seen that they can make a lot of money, which has made French hip hop very unreceptive to variety. It’s all like regular pop music now. There’s still a lot of hip hop getting made in France, but there is little that is interesting. Money perverts everything and that’s it.«

RBMA: »That’s an interesting thing about the money. When you start your label and you’re struggling, it becomes a question of your own character, of how far you want to go. How far would you like to go?«

GILB’R: »This is very simple to me you know. I want to have a hit and to go far because I’m really ambitious but I want to do it with my own stuff, on my own terms. I don’t want to say: “OK, let’s get some loops and put some little cheesy vocal there and maybe then we can reach some more people.” I know we can reach out to more people, but we’ll do it our way.«

RBMA: »You’re more true to yourself, more true to the music by not selling out?«

GILB’R: »I think the music we are doing can be heard by quite a different range of people and still sell well, but I think the main difficulty being an independent label is that it takes more time for us to publicise and market a record compared to the majors.«

RBMA: »Another problem for independents is distribution. Distributors will take your records but take forever to pay you. I can name a whole bunch of American companies that will distribute your record, but when it’s time to pay they’re like that.«

GILB’R: »I know, that’s why we use a German distributor called !K7 for American sales.«

RBMA: »Most DJs in Europe with your status earn more money DJing than producing. Do you actually have to DJ to survive?«

GILB’R: »I think I can make a living through the label but I still enjoy DJing. I could earn money elsewhere but DJing is such a great way to earn money, so why should I stop?«

click below to listen

CHATEAU FLIGHT – Baltrigue

(Padma Lakshmi)

To be sexy or not ?

C’est la question qui se pose pour la plupart des blogs aujourd’hui. La réponse est déjà toute trouvée pour certain (suivez mon regard), au risque de tomber parfois dans une débauche infâme où l’érotisme prend le pas sur la légitimité.

Longtemps je me la suis posée. Mais c’est assez ! Marre de cette morale puritaine qui me colle aux bask’ ! Moi-même je prendrais l’habitude dorénavant de poster de temps en temps une belle gueule comme on dit chez nous, histoire d’amener un peu de frivolité à ce sujet on ne peut plus sérieux qu’est la musique qui me et vous fera kiffer. (je pense à vous aussi mes ami(e)s qui, happés comme le chalant, prendrez votre temps de venir découvrir les nouveaux yeux dans lesquels tomber… car c’est une vérité, et non une bassesse d’âme, qu’il est bon de se laisser guider par une belle femme…)

N’en délaisse le son, qui je l’espère sera toujours aussi bon. Pour l’heure, voici une petite sélection qui, comme je l’souhaite, fera remuer vos mentons…

BLAMMA! BLAMMA! VS JAY-Z – MERRY XMAS JIGGA MAN, WE GOT YOU SOMETHING FROM BOOTS

LOWCLUB – “My Gear”

New Young Pony Club – “Get Lucky” (Riton Rerub)

Assez des blogo-tracks du moment. Special selection de 2 titres qui me sont cher en ce moment et qui me font regretter ce lourd héritage de la french touch’ passion

Thomas Bangalter – Spinal Scratch

Chateau Flight – Baltringue (The Body Language Remix)

I present Friday Night’s Nightlink every Friday night at Midnight on www.phantom.ie or Phantom 105.2 if you’re in Dublin. On tonight’s show, I’ll have music from Efterklang, Chequerboard, Chromatics,  Deerhunter, Black Kids, Chateau Flight, A Certain Ratio, Dry County and many more. I’ll also have 3 tracks from this wek’s ‘Under The Radar’ album – ‘Grab That Gun’ by The Organ [Video for 'Memorize The City' above]

For once, we’re foresighted enough to announce a gig in advance and this one is a must.
To our supreme pleasure Minilogue & Özgür Can will be playing live at Esque the 17th of November.

This calls for a proper tribute of Swedish techno sounds you won’t regret downloading. If appreciated go support & buy their recent releases.

Minilogue – City Boy.mp3

Minilogue – The Leopard.mp3

Özgür Can – Lost Somewhere.mp3

Another delicacy while we’re bathing in the local talent:

Markus Enochson – CPT Beard.mp3

Finally, a special French one I can’t stop playing:

Poni Hoax – Antibodies – Chateau Flight Remix.mp3

Peace.

As time goes there’s so much less to say and so much more to play. All to the point where this techno posting of ours has become something of a rape victim of an online marketing/blogger bullshit where almost everything is translated into number of visits, site referrals, artist promotion and an occasional angry mail from a copyright protector. Well, our original and very simple philosophy stands like the proud but disgraceful Frenchmen we are: pleasing ourselves, and the accidental 10 visitors of Noseblood, with proper music in a midway disregard to the rest… It’s much more of a hustle to keep priorities straight than it seems to be, and yall know how much the trancehoes we are, try to work on the puritan wannabe theme.

With that in mind, I clicked on my little I-tunes icon wondering what to evilshare with you. And like a blind man at an orgy, I was gonna have to feel things out… It all came out like a Thai Nasi-Goreng… very loveable but so very confusing.

Like a midget at a urinal, I was gonna have to stay on my toes (all my respect to Jim Abrahams and David Zucker’s Naked Gun absolute Masterpiece… Can I get a S-Hall?!)
So finally, this resulted in the latest homemade melting pot that might be too “melting” for some : It includes master tunes, all ranging from techno, 8-bit, minimal, deep house and one junior electro promo. So now that it’s all been said, don’t blame me for the disco:

- Daso & Pawas latest release Night Express is a complete techno homerun:

Daso & Pawas – Bummelzug – Afterhour Mix.mp3

- Château Flight’s Baroque EP, from which we posted a song quite a while ago, included another killer you ought to play at your after-work-nerd reunion:

Château Flight – Baccula.mp3

- Monosynth, by David Keno & Francesco Passantino might occur as a moderately random track but after reflection, it develops to a mighty electronic anthem, and quite an enchanting one too. Btw, note the Kollektiv Turmstrasse remix of this track… it’s a heavy one:

David Keno & Francesco Passantino – Monosynth.mp3

- I know it’s been a while, and we’ve had many “8-bit-antis” but here’s two serious gameboy creations that we’ve been playing, and yes, we love Crystal Castles to death, no matter what:

Crystal Castles Vs Health – Crimewave.mp3

Crystal Castles – AirWar – Streetlab Vs. Eamon Harkin Fun Remix.mp3

- Taped, a fairly new but promising junior from our hood sent us his latest creation so we thought some promo wouldn’t hurt:

Taped – Stockholm Loose – Original Mix.mp3

Art by Jen Stark

Misstress Barbara, “Barcelona” (original mix)

Tony Rohr, “Db’s Revenge” (Camea remix)

Chic, “Happy Man”

Laurent Garnier, “Sweet Mellow D”

Château Flight, “Baltringue”

Thanks to Joe for his .mp3 birthday present!