Timo Maas Live @ Dissonanze 2009

 Bite The Dust / Payback (4-Track Maxi-Single) by Timo Maas

2009 (4 tracks, 38:34)

dance/electronica

I feel it is my duty to document the utter insanity that went down last night in Hollywood, so help me dubstep.

Holy fucking Croydon.

Last night I went to Avalon for the first time, a gigantic club with legendary status and legions of loyal followers. My broke ass prefers smaller, dirtier, weirder places but a sweet new friend had hooked up the guest list action last minute and I was stoked. I paid a psychotic amount for parking and threw myself to the mayhem, aka the line.

Hundreds and hundreds and hundreds of beautiful young people (and some ugly ones) were crushed against the side of the building either direction, a seething mass of humanity with an energy level that could have powered all the neon on the Sunset Strip. When presented with a ridiculous queue like this, there are two choices: go to the end and wait with everyone else, or say fuck that and worm your way to the front. As I was on the guestlist there was no way in hell I was waiting, but even just getting to the list entrance was an insane, hour-long endeavor. Pretty girls were trying to push their way to the front and getting elbows to the boobies by the crowd who was not having it. The bouncer kept screaming at people to step back, dumb guys were trying to pick fights, and it was crotch to butt the whole way. No one was moving.

The computers were down at the side entrance and they were only letting in people with $20 hard cash, even though the cover was not supposed to increase in price until 11PM. At that point, what are you going to do? Turn around and go home? Needless to say those who had bought will-call tickets prior to the show and were now being turned away were slightly miffed. Finally I get to the front and tell them I am supposed to get walked in by So-And-So, because I am VIP and special and all that shit. Apparently I said the right name.

“You better not be FUCKIN’ with me, little girl…” the bouncer says, giving me the stink eye.

“No!” I insisted, with a laugh. I do not make it a habit to fuck with people twice my height and three times my size.

So I get walked in by a new friend and make my way through the crush of people in the smoking area and into the bar and second stage area. House music. I press on into the main room.

Holy shit! WHAT a venue! Is this the most amazing club I have ever been to? Quite possibly. The Avalon building has as much soul and character as the crowd did not. Stunning architectural beauty, a temple to the party gods, the home of a billion screams of delight, a palace dedicated to wild nights. I would love to rent this place out with a couple hundred of my closest friends and party until noon.

But last night it was more like 1500 of my closest friends. As I arrived 12th Planet was up on the balcony slamming beats out of his fingers onto the dance floor, oh wait sorry I meant THE MOSH PIT. The bottom floor of Avalon was taken over by a swirling human tornado of sweaty boys, 10% dancing, 60% pushing and 30% venting sexual frustration (The reason you’re not getting laid? YOU’RE AN ASSHOLE. Just a guess).

12th Planet drops “Explicit” by Emalkay and I think oh shit: motherfuckas about to get BEAT! The blood is going to bounce! But shortly thereafter he stops the tunes and takes the mic, telling the near-riot on the floor to chill the fuck out and that hey, maybe the ladies want to dance too. A female-pitched scream fills the venue because yes, we do want to dance and no, we do not want to get punched in the face while we do. The dance floor then fills with people who HAVE gotten laid in the last year and the melee is taken down a notch.

Props to 12th Planet. As the music continues on, you can tell there are still some guys who want to mosh, who are pushing other boys and trying to start fights. But in the middle of these idiot brutes are other men, using their eye contact and energy to calm the aggression on the dance floor instead of incite it. One tall boy with palms down is making wide sweeps where moshing starts to erupt, while another guy makes a slit-throat gesture to his friend who is trying to start shit with strangers. To them, and to all you boys in the world who make an effort to calm the hot-headed, pushing, shit-talking boys who never matured mentally past the age of sixteen: thank you. I really hope you got laid last night.

Rusko comes on to the main stage with a shock, wearing green glowstick glasses and causing the entire energy of the Avalon to capsize towards his side of the room. People are leaping off platforms, running, screaming, pushing. LA is now Rusko’s hometown and this dubstep rock star obviously adores his status as a new local king. A dynamic performer with massive tracks to back it up, Rusko created a state of pure fucking pandemonium in that venue for his entire set. Someone was waving around a sign that says “RUSKO IS DUBSTEP,” a phrase which will not doubt elicit a few choice thoughts out of the self-appointed genre police out there.

I die hearing new tracks out of producers like Rusko; I want them, I want them, I want them! I have to have them! I wish my super-dubstep-freak friends up and down the West Coast could have been there last night to experience this next wave of hype-bass party music. Rusko played all the favorites as well, bangers that meshed perfectly with the bedlam on the dance floor, picking people up and throwing them down. Crunchy, twisted bass like the brainwaves of a mental patient descends on a thousand heads, and a thousand bodies jump up while two thousand hands spank the air like a naughty school girl. It is mayhem plus bedlam times infinity. Pure pandemonium.

I am standing by a ledge and when Rusko comes on we all jump up on it and dance in the spare space for about ten minutes before security pulls us down. A jaw-dropping blond wearing no underwear (indeed we all saw China) beside me is flinging her hair to the sky and screaming: “Roo-sko! Roo-sko! I love you Roo-sko!!!!”

“It’s RU-sko,” her consort says into her ear.

“Oh. Ru-sko!!! Ru-sko!!! I love you Ru-sko!!!!”

Ah, Hollywood. Wow so this is what A LOT of people do on a typical Friday night out: wait in line for hours to spend a day’s worth of earnings for parking and tickets and alcohol. There were a lot of assholes in the crowd (weird, in Hollywood? Assholes? No…); I can’t remember the last time I had been shoved so much. Not bumped in normal crowd movement, but shoved, on purpose, out of aggression with a dirty look dripping off the pusher’s face like a leaky diaper. My MO is always to smile, which disarms the pusher who is used to (and wanting) a fuck-you gaze right back. My ninja weapon is kindness, and I will slice off your face with it.

I will say: the show was absolutely worth it AND the beers were cheap: $5. It was awesome running into a few friends who like me had crawled out of the underground, all with holy-shit-can-you-believe-this-crowd looks on their faces. Dubstep has come a long way, baby and the next time Rusko plays in LA it just might be in a stadium. People were salivating with bubbles at the sides of their mouths, writhing in ecstasy and probably on ecstasy, throwing clothes into the air, jumping off booths, leaping onto stage, and it was beautiful. Many in the Avalon were just out for a Friday night and had never heard dubstep or Rusko before; indeed I talked to several people pressed against me in line who were there for Timo Maas and didn’t even know who the other DJs on the lineup were. I bet they got their heads blown off last night- I know I did.

And for anyone out there STILL whining about dubstep being boring or too slow, all I can say is open your fucking ears and get out to a show like this; it was definitely one of the wildest crowds I have ever been in, lit on fire by a sound whose power is absolutely undeniable.

WOW has dubstep mutated and grown, like a nuclear child created on a passion-filled evening lit not by candle but the glow of the apocalypse. Where this wild-eyed creature will roam next is anybody’s guess, but one thing is certain: like all the crazy freaks in this world, it has a home in LA.

SORRY READERS, NO PHOTOS FROM ME AS I AM CAMERALESS THESE DAYS. MY PHOTOS SUCK ANYWAY.

Check out on Whoopthis’ photos on Flickr here for an idea of last night’s mayhem. This is the crowd during 12th Planet’s set:

Whoopthis’s Photos on Flicker

Sweet video of Rusko’s version of California Love, etc. by Glenjamn2

Read my review of Rusko at the Roxy in February 2009 here.

Read my review of Rusko at Lot 613 in April 2009 here.

Stephan Hinz 

Mirror

Mirror

Timo Maas

Mirror

Mirror

Timo Maas – Global Perception 154 on Party107

Mirror

Come join the Tatty Bogle party in East London’s Mecca of music and dance! 

The new upcoming night which will have you literally grabbing your souls and jiggling your tatties all for just £3.00 on the door!

Tatty Bogle is a new and vibrant night coming to you on the first Thursday of every month, dished out at the Star of Bethnal Green, East London, and hosted by the legendary MC Chickaboo, the UK’s number one female MC.

 Taking over the reins of the infamous Bastard Batty Bass parties which stampeded through the doors of The Star 3 years ago, MC Chickaboo (one of the Three Wise Batty Bitches) decided to launch a new night where Batty Bass left off, keeping their dedicated crowd enticed with their energetic style of partying. And if that wasn’t enough to whet your appetite the next party is on fireworks night so expect it to be explosive.

Tatty Bogle represents all that is bold and beautiful in London , a night of great vibes, friendly people, and a diverse mix of sounds which will ensure you have a blisteringly good time. Not only is it hosted by someone who has been in the music industry for over 17 years, it challenges the music policy that most venues dictate, by ensuring that you are not listening to the same beats all night long.

 “I wanted to bring a new vibe to London, a party where you could literally be listening to reggae, funk, dubstep or disco and then the next minute be tantalised by an awesome set from a top Breakbeat or Drum & Bass DJ” says Chickaboo. She continues “Tatty Bogle is a place where people can come straight from work and listen to some funky grooves, and later on be part of the party which resonates from the old-school ‘house party’ feeling. A party in your living room, where you meet new people, join in the guaranteed chaos, madness and fun, listen to new sounds but not have to clear up afterwards!”

Tatty Bogle has resident DJs Miss Bailey and Debo who kick the night off from 9 pm and a guest DJ each month to have you literally shaking your booty and jiggling your tatties until the party wraps up at 2 am. Last month saw DJ Flight from Metalheadz smash the party with a dubtech set and this month they will be welcoming the respectable and inspirational DJ Flore from Lyons bringing her raw and sexy beats to London .

Having worked with so many top DJs and producers during her career including Timo Maas, Jazzie B, Afrika Bambataa and Rennie Pilgrem to name but a few, it is guaranteed that with her contacts in the industry Chickaboo will have no problems bringing new sounds and influences to her new monthly night. This means that this could really be the best intimate party London has seen in a venue which has become synonymous in the East End with those in the know!

“The house party vibe is everything about not being a Saturday night major club event, it is something small and intimate which leaves you wanting more and The Star is the perfect venue for this” Chickaboo adds, “I want Londoners to come out on a Thursday, have a great night out with their friends, make the party happen and leave feeling like their weekend started a day early”.

MNP KHNO

Maroseyka Road, Moscow, Russia

We spy this store one afternoon, on a wander  towards Moscow’s post office, almost missing it entirely thanks to its dull facia boasting the usual Prussian  mixture of baby blue and peach.

The  shop, like nearly all music outlets in Russia, is a multimedia retailer, not solely a record store, stocking everything from cutesy coffee-table art books to Hitchcock DVDs. And, like the majority of such Russian stores, its  collection of musical gems are piled in the basement, an Aladdin’s den of bootlegs and imports waiting to be discovered.

Descending down the corrugated steel steps into a myriad of CDs, we realise we could spend the entire day rooting about amongst the records and not find anything, thanks to its unbelievably bad categorising. I laugh aloud at the section labelled reggae, which should in truth read ‘black people’, since it lazily stocks everything from Roots Manuva to Marvin Gaye.  Apparently soul, house and R&B are simply extensions of the Jamaican sound.

Towards the back of the shop, past broken floor tiles that slip when you stand on them and  water pipes that jut from the low ceiling, we find the store’s collection of imported and bootleg CDs.  It is a treasure-chest of semi-legal releases.

Radiohead’s ‘Live In Germany 2001’ bootleg, the crown of the band’s live discography, along with the Japanese compilation Com Lag and the three-disc edition of Pablo Honey (which has just been released, officially, in the UK), fill a section dedicated to the band. Elsewhere, the Red Hot Chili Pepper’s live at Reading Festival 1994, and Joy Division live in Paris have me looking for a shopping trolley, until I spot their price labels. The cheapest CD I can see is £20,  £15 more than I have. A solitary tear rolls down my sunburnt cheek.

Passing a bargain bin on the way out, I look for something cheapnd cheerful to console myself.  With little to choose from other than a Hot Joints compilation and Jay Z’s Greatests Hits, I grab a random compilation CD entitled  ‘Mix In Motion’, mixed by Hardy Heller. With rerubs on Timo Maas and James Holden tracks, I gamble that it won’t all be posh-trance (its released on Tiesto’s  Black Hole label) and decide to give it a go.

I pay the typically ill-mannered Russian behind the counter the fifty rubles, and carry on to the post office, where, along with yesterday’s Breakfast, I send the CD home, to await my eventual return.

Purchase:

DJ Hardy Heller – Mix In Motion – £1 [Tracklisting]

Total Purchases:

Club Azuli 1 – Mixed By Dave Piccioni – £0.48 [Tracklisting]

Club Azuli Part 2 – Mixed By Dave Piccioni – £0.79 [Tracklisting]

Chemical Brothers, The: Brothers Gonna Work It Out – £2.77 [Tracklisting]

Defected In The House – Mixed By Copyright – £0.79 [Tracklisting]

DJ Hardy Heller – Mix In Motion – £1  [Tracklisting]

DJ Shadow – The New Collection – £2.38

Le Le – Breakfast 12″ – £8.24 [Tracklisting]

Samim: Flow – £1.98 [Tracklisting]

Total Spend: £18.43

Timo Maas @ Umf Radio

Mirror

Timo Maas Live @ Dissonanze 2009
Mirror

Self-styled purveyor of ‘percussive wet funk’. Producer and remixer of more than 85 productions in three years, including classics like Orinoko’s ‘Mama Konda’ (Top 20 UK & US club charts). DJ’d everywhere from Germany’s ‘Love Parade’ to London’s ‘Turnmills’ and Chicago’s ‘Karma’. Not to mention a slew of forthcoming releases in Y2K, kick-started by the wickedly minimal ‘Der Schieber’, out March 27th on Perfecto Imprint 48K. Timo Maas is a man with a mission, a man sick of the “cheesy shit” that clogs up the clubs and the charts, stifling creativity: “I like the idea of building up a unique sound, of working with different sounds to create something new and fresh. I suppose I may always be the underdog but at least I won’t have sold out like some other German acts.

” Re-rewind to the early eighties: Timo, born and brought up in Hanover, Germany, is just thirteen – but already storming the decks: “I used to play at my friends’ house parties, whilst they were all too busy snogging each other.” And as both Timo and the crowds steadily grew over the next few years, he soon found himself playing the biggest commercial clubs in his hometown – yet still managed to drop the odd credible track into the mix…

It was Timo’s residency at The Tunnel in Hamburg, at the time one of the biggest clubs in Germany, that marked his breakthrough. Teaming up with resident Gary D, the duo produced an “aggressive trance” record that would prove a landmark in his career. ‘Die Herdplatte’ instantly won him acclaim overseas and led to his current involvement with hope recordings. Soon he was booked everywhere from ‘Lakota’ in Bristol to ‘Energy Parade’ in Switzerland, Austria, and of course his native Germany.

Lucky he’d quit his 9 year long job selling mobile phones for German Telecom by then… After the success of ‘Die Herdplatte’ Timo spent his apprenticeship at the renowned Peppermint Jam studios, learning “everything from recording to distribution”, and hooked up with resident producers Andy and Martin to record under the moniker Kinetic A.T.O.M. The track was the irresistibly funky ‘Borg Destroyer’, which sold an amazing 8000 copies – unaided by any marketing, press, or TV campaigns.

Yet it was the genre-defining ‘Mama Konda’, recorded in 1997 under the incarnation ‘Orinoko,’ that caused the biggest stir in the dance fraternity. A standard in the boxes of every DJ from Morales to Sasha, ‘Mama Konda’ was a Timo Maas Biog/ Page 2 percussive floorslayer that cemented Timo’s reputation as the hottest kid on the block, reaching the Top 20 in both UK and US club charts. Every record since the mighty ‘Mama Konda’ has sold around 10,000 copies, from its sequel ‘Vila Nova’ to Bush releases like ‘Eclipse’ and ‘Riding On A Storm.’

Meanwhile Timo’s remixes have been garnering acclaim from all quarters, from his mixes of Lustral’s ‘Everytime’ (Hooj) BT’s “Never Gonna Come Back Down” (Nettwerk) to ‘Dooms Night’ by Azzido Da Bass – “the mix that pulls together all the different pigeonholes in the UK scene right now,” according to one leading dance magazine. And so if you’ve set foot inside a niterie recently, the chances are you’ll have boogied to one of this man’s productions – as well as Hope Recordings and current label Perfecto, he has also recorded for Hooj Choons, FFRR and Bush.

Timo Maas Live @ Dissonanze 2009
Mirror

Self-styled purveyor of ‘percussive wet funk’. Producer and remixer of more than 85 productions in three years, including classics like Orinoko’s ‘Mama Konda’ (Top 20 UK & US club charts). DJ’d everywhere from Germany’s ‘Love Parade’ to London’s ‘Turnmills’ and Chicago’s ‘Karma’. Not to mention a slew of forthcoming releases in Y2K, kick-started by the wickedly minimal ‘Der Schieber’, out March 27th on Perfecto Imprint 48K. Timo Maas is a man with a mission, a man sick of the “cheesy shit” that clogs up the clubs and the charts, stifling creativity: “I like the idea of building up a unique sound, of working with different sounds to create something new and fresh. I suppose I may always be the underdog but at least I won’t have sold out like some other German acts.

” Re-rewind to the early eighties: Timo, born and brought up in Hanover, Germany, is just thirteen – but already storming the decks: “I used to play at my friends’ house parties, whilst they were all too busy snogging each other.” And as both Timo and the crowds steadily grew over the next few years, he soon found himself playing the biggest commercial clubs in his hometown – yet still managed to drop the odd credible track into the mix…

It was Timo’s residency at The Tunnel in Hamburg, at the time one of the biggest clubs in Germany, that marked his breakthrough. Teaming up with resident Gary D, the duo produced an “aggressive trance” record that would prove a landmark in his career. ‘Die Herdplatte’ instantly won him acclaim overseas and led to his current involvement with hope recordings. Soon he was booked everywhere from ‘Lakota’ in Bristol to ‘Energy Parade’ in Switzerland, Austria, and of course his native Germany.

Lucky he’d quit his 9 year long job selling mobile phones for German Telecom by then… After the success of ‘Die Herdplatte’ Timo spent his apprenticeship at the renowned Peppermint Jam studios, learning “everything from recording to distribution”, and hooked up with resident producers Andy and Martin to record under the moniker Kinetic A.T.O.M. The track was the irresistibly funky ‘Borg Destroyer’, which sold an amazing 8000 copies – unaided by any marketing, press, or TV campaigns.

Yet it was the genre-defining ‘Mama Konda’, recorded in 1997 under the incarnation ‘Orinoko,’ that caused the biggest stir in the dance fraternity. A standard in the boxes of every DJ from Morales to Sasha, ‘Mama Konda’ was a Timo Maas Biog/ Page 2 percussive floorslayer that cemented Timo’s reputation as the hottest kid on the block, reaching the Top 20 in both UK and US club charts. Every record since the mighty ‘Mama Konda’ has sold around 10,000 copies, from its sequel ‘Vila Nova’ to Bush releases like ‘Eclipse’ and ‘Riding On A Storm.’

Meanwhile Timo’s remixes have been garnering acclaim from all quarters, from his mixes of Lustral’s ‘Everytime’ (Hooj) BT’s “Never Gonna Come Back Down” (Nettwerk) to ‘Dooms Night’ by Azzido Da Bass – “the mix that pulls together all the different pigeonholes in the UK scene right now,” according to one leading dance magazine. And so if you’ve set foot inside a niterie recently, the chances are you’ll have boogied to one of this man’s productions – as well as Hope Recordings and current label Perfecto, he has also recorded for Hooj Choons, FFRR and Bush.

Spooky (the duo of Charlie May – Sasha’s behind the scenes do-all – and Duncan Forbes) are one of electronica’s pioneers and to this day quietly continue to help shape, redefine and innovate the dance music genre. Since 1993, when they released one of electronica’s all-time seminal tracks, Little Bullet, Spooky preferred to remain out of the spotlight and instead concentrated on making undeniably outstanding and forward-thinking music. With Tales of the Unexpected Vol. 4 (on historic trance label Platipus Records), it is clear that their persistence and motivation remain unwavering, and their goals once again achieved.

I didn’t have an expectation leading into purchasing this mix per se. I’d never heard them do a mix before. Yet, in electronica, and furthermore in the sub-genres of progressive house and tech-house, Spooky is a name that everyone pays attention to and gives a listen to. It seems that every production meets ever-increasingly high expectations – each effort of theirs is carefully thought out and nurtured, thus never do they fail to impress.

It was noted in an excellent interview with Charlie May that the goal behind every one of the duo’s creations (and presumably their mix sets) is to conceive original and perfect sounds in every way possible. Now, just about every artist you talk to will say that, but very few have the resources, sheer talent and unquestionable pedigree to back it up to any measurable extent. Spooky can, however. Ostensibly, this leads me to believe that they were extremely judicious about choosing the right sounds in each track for this mix. Often it is a matter of finding tracks that work well together and fit the ear of the composer, however I think Spooky likely took it a few steps further; perhaps redefining the description of anal-retentiveness.

Both discs are rife with tribal-infused rhythms and carefully intonated percussion. Bucking the obsessed trend of electro, this mix could  be vaguely (or perhaps definitively) labeled tech-prog-house. Consider the consequences if Charlie May had conspired to produce something with Richie Hawtin and Steve Lawler circa 2003. The best tracks are Spooky’s own (Bambou is a particular favorite) and I was pleasantly surprised to hear some captivating new material from the likes of Timo Maas and Behrouz, who’ve been off my radar for a few years now.

There is an undeniable musicality to this set. Whereas so many minimal and tech-house mixes deviate or digress into (or perhaps never expand upon) beats and drums, Spooky are careful to frequently and tactically substantiate their rhythms with instruments and chords. Less marching, more dancing. Jagged edges become padded and more comfortable, which helps maintain flow, progression and complete listener interest.

The beauty of this mix set is how perfectly it represents Spooky. I don’t mean to say that each track sounds like a Spooky song, though I suppose that could be argued; rather it is the subconscious sense of anticipation and fulfillment you get from listening to it. Just as with their individual productions, listening to this set is incredibly satisfying and you can’t wait to hear what’s next. In fact, broken down farther, each sound is compelling. Forget disc to disc, track to track or minute to minute; I’m talking second to second and sound to sound. This is electronic music production in its purest form – a display of raw talent, conscientious decision-making and sonic exploration, whether microscopically analyzed or enjoyed as a whole.

Surely, just as with some Spooky productions there are songs that won’t agree with everyone, but artistic license must surely be extended to these talented gents. If you’re looking for a dirty, rhythmic and sonically infectious ride through tech-house, house and progressive (dare I call it that these days), this is your mix. I am glad I bought this mix and happy to hear that Spooky have not lost direction or their quest for perfection.

I recommend a good set of headphones and two hours without distraction.

9.37/10

OCELOT – JULY 2009 MIXTAPE

1. Discount Rhinos – Pills & Champagne (Christopher Norman Vicodub Remix)
2. Mic Newman – The Aries (Afrilounges Dirty cut)
3. Patrizio Mattei & Danny Omich – FI.SA. (Steve Nocerino Remix)
4. Paul Thomas & Kalva – Flightmare
5. Alan Fitzpatrick – Amsterdam (Pirupa & Pigi Remix)
6. Christian Fischer – Schlachthof (Motor Remix)
7. Green Velvet – La La Land (Accapella)
8. Fergie – To The Core (Spektre’s Ground Zero Remix)
10. Toxic Avenger – Rush Hour (Ocelot Remix)
11. Timo Maas – Jetstream
12. Felix Da Housecat – Kick Drum (Club Remix)
13. Daniel Briegert – Konterwodka (Depont & Blocktunes Remix)
14. Beckers & Hatfield – You’re Not Me
15. Ricky Ambilotti – Construkt
16. Tiga – Shoes (Noob Remix)
17. Federico Milani – Hooker (Alex Di Stefano Remix)
18. NTFO – Filter
19. SQL – Distorted Reality
20. Size – Koebel (Nihad Tule Remix)
21. Youth Attack – Yo Paris (Ocelot Remix)

Das vergangene Wochenende war ich seit längerer Zeit mal wieder in München.  Während tagsüber vor allem große Entspannen angesagt war, ging es Abends auf die Piste.  Freitag zu Timo Maas im Pacha.  Dort gab es gute Musik gepaart mit einem überteuerten Catering. Kleines Beispiel gefällig ? Für die Pizza Margaritha waren 8 Euro fällig. Für das billigste Bier (San Miguel)  musste man stolze 5 Euro berappen.  Samstag stand dann eine kleine Kneipentour auf dem Programm. Cafe Kosmos & Co.  Ein Wochenende was mal wieder Spaß gemacht hat.

This is my album of the week now, yeah
The Last Atlant – Cloudburst Of Colour

Artist : The Last Atlant
Title : Cloudburst Of Colour
Genre : Electronic
Format : 1xCD
Label : Global Underground
Catalog# : GUMU013CD
Release Date : 18/08/2008
Tracks : 13
Play Time : 77.17

Debut album from rising French progressive French star Guillaume Sionis aka The Last Atlant.
Heavily influenced by Daft Punk’s classic ‘Homework’ in 1997 Guillaume’s melodic energetic progressive house sound was inspired by such musical influences as Terry Lee Brown Jr., Sasha, John Digweed and Timo Maas.
Guillaume’s debut album, ‘Cloudburst Of Colours’, reflects his insistence on the eclectic and un-definable, preferring to produce music that reflects life and personal experiences…

Tracklisting:
01. Time And The Other
02. Randomly Yours
03. Everything Is Illuminated
04. Anima Mundi
05. Essential Will
06. Berlin Ist Geil
07. 1111
08. Lucid
09. I Can’t Live Without Chocolate
10. À La Vitesse De La Vague
11. Going Nuts
12. Nandi
13. Yeah Really

Part1 \\\ Part2

Source: http://sashasretroemporium.blogspot.com

Timo Maas – Global Perception 133 Guestmix on Party107

Mirror

Timo Maas -Star 69 Radioshow

Mirror

Düsseldorf’s Timo Maas is mostly associated with his involvement in Germany’s trance scene as a DJ and producer. Often misspelled by Americans as Timo Mass, he gained a large global at the height of the global trance music scene, which had a large push from DJs such as Paul Van Dyk and Sandra Collins in the mid- to late ’90s.

Maas’ first exposure to music came via listening to the radio when he was young. He bought his first record when he was nine and his first pair of turntables when he was 17. His earlier gigs were around Germany playing mostly Top 40 records at bars, sneaking in the occasional techno record. In 1982 he played his first real official set in the basement of a friend’s house at a party and was booked a lengthy six years later for his first official all-techno gig. He was introduced to the rave scene in 1992, in its early German days, through a booking at an Easter rave. Following were a long string of big rave events and local exposure. The production bug first bit Maas in the early ’80s, but his first record, “The Final XS,” was not released until 1995. Called cheesy by Maas himself, the record did not do very well in most markets. Shortly after, he teamed with producer Gary D on the more successful “Die Herdplatte” record. Gary D also landed Maas a residency at one of Hamburg’s better-known clubs, Tunnel, from 1994 to 1996.

Connections in England later brought Maas to the Bristol-based progressive house club Lakota and the label Hope Recordings. During 1996-97, he released singles through labels including Hope, Lakota, Phuture Wax, and UK44, as well as an album under his Orinoko moniker. He also recorded with manager and mate Leon Alexander under Mad Dogs and Englishmen. In 2000, Timo Maas took a residency at the New York City mega-club Twilo with colleagues Deep Dish. Following the massive success of his Azzido Da Bass remix “Dooms Night” and his own track “Ubik,” Maas released 2000’s Music for the Maases, a mix album largely composed of his own productions and remixes. After one more mix album, Connected, his production debut Loud appeared in early 2002.

Düsseldorf’s Timo Maas is mostly associated with his involvement in Germany’s trance scene as a DJ and producer. Often misspelled by Americans as Timo Mass, he gained a large global at the height of the global trance music scene, which had a large push from DJs such as Paul Van Dyk and Sandra Collins in the mid- to late ’90s.

Maas’ first exposure to music came via listening to the radio when he was young. He bought his first record when he was nine and his first pair of turntables when he was 17. His earlier gigs were around Germany playing mostly Top 40 records at bars, sneaking in the occasional techno record. In 1982 he played his first real official set in the basement of a friend’s house at a party and was booked a lengthy six years later for his first official all-techno gig. He was introduced to the rave scene in 1992, in its early German days, through a booking at an Easter rave. Following were a long string of big rave events and local exposure. The production bug first bit Maas in the early ’80s, but his first record, “The Final XS,” was not released until 1995. Called cheesy by Maas himself, the record did not do very well in most markets. Shortly after, he teamed with producer Gary D on the more successful “Die Herdplatte” record. Gary D also landed Maas a residency at one of Hamburg’s better-known clubs, Tunnel, from 1994 to 1996.

Connections in England later brought Maas to the Bristol-based progressive house club Lakota and the label Hope Recordings. During 1996-97, he released singles through labels including Hope, Lakota, Phuture Wax, and UK44, as well as an album under his Orinoko moniker. He also recorded with manager and mate Leon Alexander under Mad Dogs and Englishmen. In 2000, Timo Maas took a residency at the New York City mega-club Twilo with colleagues Deep Dish. Following the massive success of his Azzido Da Bass remix “Dooms Night” and his own track “Ubik,” Maas released 2000’s Music for the Maases, a mix album largely composed of his own productions and remixes. After one more mix album, Connected, his production debut Loud appeared in early 2002.

gioplatin.wordpress.com