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Archive for February, 2014

The Daily Playlist for February 28, 2014

  • Evian Christ – “Waterfall”
  • We’ve been hotly anticipating the nascent producer Evian Christ’s forthcoming EP Waterfall since we first heard…

    Read more articles like “Evian Christ – “Waterfall”” on PMA – Pretty Much Amazing.

  • Sky Ferreira – “Rancid Girl”
  • Sky Ferreira shares unreleased song written by Jon Brion, Cass McCombs, and Blake Mills.

    Read more articles like “Sky Ferreira – “Rancid Girl”” on PMA – Pretty Much Amazing.

  • New Album: Lykke Li – I Never Learn
  • Lykke Li has a new album called I Never Learn out in May.

    Read more articles like “New Album: Lykke Li – I Never Learn” on PMA – Pretty Much Amazing.

  • The Pains of Being Pure at Heart – “Simple and Sure”
  • If you’re a Pains of Being Pure at Heart fan, it’s probably been a pretty…

    Read more articles like “The Pains of Being Pure at Heart – “Simple and Sure”” on PMA – Pretty Much Amazing.

  • Damon Albarn – “Lonely Press Play”
  • After premiering it live, Damon Albarn shares the studio version and video for “Lonely Press Play.”

    Read more articles like “Damon Albarn – “Lonely Press Play”” on PMA – Pretty Much Amazing.

  • mp3: Vic Mensa x Smoko Ono – “Feel That”
  • Here’s a brand new song that Vic Mensa just posted to his SoundCloud.

    Read more articles like “mp3: Vic Mensa x Smoko Ono – “Feel That”” on PMA – Pretty Much Amazing.

  • Pia Mia x Chance the Rapper x Clams Casino – “Fight For You”
  • For some reason, the soundtrack to the upcoming sci-fi film Divergent is actually shaping up…

    Read more articles like “Pia Mia x Chance the Rapper x Clams Casino – “Fight For You”” on PMA – Pretty Much Amazing.

  • Santorini "Wax Not Wax (Conforce Remodel)"
    3:13, via XLR8R MP3s
  • Santorini "Wax Not Wax (Conforce Remodel)"
    3:13, via XLR8R MP3s
  • On his remix of Santorini‘s “Wax Not Wax”—the title track of the Italian producer’s upcoming EP for Out-ER—Boris Bunnik stays true to the moody techno sound he’s aligned himself with as Conforce. Hunkering into a deep, unrelenting four-on-the-floor kick pattern from the opening moments, Conforce’s “Remodel” stretches Santorini’s house-minded original into a much more icy excursion, one focused on creating elongated glacial soundscapes thoughtfully laced with rhythmic FX. Conforce’s remix of “Wax Not Wax” is set to appear on Santorini’s upcoming EP of the same name (out on March 5), which can be previewed after the jump.

    read more

  • Fennesz announces ‘conceptual follow-up’ to Endless Summer – hear new track ‘The Liar’
  • New album Bécs billed as a “return to florid pop”. Pioneering electronic artist Fennesz has announced a ‘conceptual follow-up’ to Endless Summer, the album he released on Austrian label Mego in 2001. Bécs (pronounced ‘baeetch’), which is the Hungarian word […]
  • Jerry Goldsmith’s score for ’70s horror classic The Omen reissued on vinyl
  • Damien’s back. Again. Soundtrack specialists Mondo have lined up a vinyl reissue of Jerry Goldsmith’s spectacularly terrifying score for ’70s horror classic The Omen. Riffing on the religious themes of the movie, a regular tale of a young boy, Damien, […]
  • Not Not Fun’s Sapphire Slows performs in latest New Music Cities episode
  • The Tokyo producer performs the title track from her debut record. Late last year, Dazed Vision and All Saints Studios launched a new documentary series, New Music Cities. Billed as “a unique blend of performance and music,” New Music Cities […]
  • “I can’t hide anymore”: Julio Bashmore comes to terms with his crossover appeal
  • Listen to Chance the Rapper guest on Pia Mia’s Clams Casino-produced ‘Fight For You’
  • The song features on the collaboration-heavy Divergent soundtrack. 17-year-old singer Pia Mia signed to Interscope on the strength of her cover of Drake’s ‘Hold On, We’re Going Home’, and she shows off her pipes on ‘Fight For You’. The song […]
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Manchester promoters Love Dose make their way into the world of record labels with an impressive first release from Motif and Wokeye.
  • Debut album from Audioglider coming soon
  • Audioglider is set to release ‘Accidental Beauty’, his first full-length album, on Section Records on April 21st.

    Audioglider a.k.a. Roberto Sodano’s blissed out electronica has won him fans across the downtempo community – from The Big Chill to DJs including Nick Warren, Hernan Cattaneo and Glenn Morrison.

    Audioglider releases have appeared on labels such as Global Underground, Morrison Recordings, Renaissance, Exceptional Records and FOEM, before finding a permanent home at Section Records, who released the ‘Summer Rainstorm EP’ in May 2013.

    Tracklist:

    01 End Titles
    02 Fluid Motion
    03 The Bells
    04 Dynamic Uno
    05 My Tru Blood
    06 Just Sound
    07 Sliders
    08 Disappear
    09 Polydirective
    10 Sundown (Cape Town)
    11 Cortexaphan

    Click Here to buy Audioglider music from Beatport

    Audioglider Soundcloud page

    Audioglider facebook page

  • New Deep House single from Andy Caldwell
  • Andy Caldwell goes back to his deep house roots with a great new track “Hold The Line” featuring Lisa Shaw on vocals.

    Here is a streaming preview of the song:

    Click Here to buy the single from Beatport

    Andy Caldwell facebook page

    Follow Andy Caldwell on Twitter

  • Free 3-hour dub techno mix from Kirk Degiorgio
  • Kirk Degiorgio is playing in London tomorrow night for Machine at Corsica.

    Click here for more info and to purchase tickets

    Here is the DJ mix of dub techno to stream and download:

    Here is the tracklist for the mix::

    DRONELOCK: Sonars (Weekend World)
    AURA FLESH: Desert Storm/An Aura Of Exclusivity (Biorecordings)
    OHMIKRON: Familiar Moodz (Evasion Room)
    WUNDERBLOCK: Wood People (Acrobdub) (Wunderblock)
    AURA FRESH: Robotics (Biorecordings)
    LEONID: Galax (Dolly)
    UNKNOWN: Assimilation (Unknown)
    FRANK HELLMOND: True Lines (ETUI)
    BRICKMAN: Vague (Inner Silence)
    PATRIK SKOOG & FONOS: Helix (We Are)
    BRICKMAN: Correlation (Inner Silence)
    MANUEL DI MARTINO: Eingetaucht In Eine Vaccum (Evasion Room)
    HD SUBSTANCE: Under Styled (Fanzine)
    DEFECTIVE UNITS: Phase Two (Broque)
    REGGY VAN OERS: Sinousity (Ness Remix) (Affin)
    NORM TALLEY: Analog XTC (Minimood Extra)
    UNKNOWN: Spacing (Unknown)
    ROBERTO BOSCO: Sonorous Waves 2 (Last Drop)
    HIVER: Blue Aconite (Curle)
    RECONDITE: Cleric (Dystopian)
    CULTURE HUB: Elevated Status (Invisible Circles)
    TRUS’ME: Hindsight (Marcelus Friction Remix) (Prime Numbers)
    EMANUELE PERTOLDI: Echelon Echo (Subself)
    HIVER: Eglantine (Curle)
    SKUDGE: Irie (Skudge)
    JULIXO: Everdub (Par)
    OSCAR MULERO: Second Layer (PoleGroup)
    S-TEK: Tiberium Infection (3rdWax)
    JONAS KOPP: Mountak (Sleaze)
    MATTIAS FRIDELL: Restrictive Influence (Gynoid)
    MATTIAS FRIDELL: Life Recycling Law (Affin)
    TUTTLE & CHICH: Stanislas (Modularhertz)
    MATTIAS FRIDELL: Geodesic Structure (Affin)
    HUBOT: Rm To Rm (Weekend Circuit)
    ROD: Hux (Klockworks)
    UNKNOWN: Forever Young (Unknown)
    SHEKON: Puzzle (Maxime Dangles Remix) (Skryptom)

    Click Here to buy Kirk Degiorgio music from Beatport

    Follow Kirk Degiorgio on Twitter

  • Hot New Techno Releases from Form Music
  • Hot New Techno Releases from Form Music
  • Hot New Techno Releases from Form Music
  • Form Music is a tech house and techno music label founded by French producer Popof. These two new releases are numbers 39 and 40 for the label.

    Release number 39 is The Sun EP from DJ Raid & DJ Fronter. Below are streaming preview clips of all five tracks from the EP – three original tracks plus remixes from Citizen Kain & Leonardo Gonnelli

    Click Here to buy the Sun EP from Beatport

    Release number 40 is the Gettin’ Funky EP from Mass Digital. The Gettin’ Funky EP has two original tracks plus remixes from Phil Weeks & Minota. Below are streaming preview clips of all four songs on the EP:

    Click Here to buy the Gettin’ Funky EP from Beatport

    Form Music Soundcloud page

    Form Music facebook page

    Follow Form Music on Twitter

  • Kings of Convenience – I Don’t Know What I Can Save You From (Röyksopp Remix)
  • Every so often, a song comes along that lodges itself not only in your ear, but in your mind. You relate to it, but aren’t sure why. Is it the wistful lyricism, or the hollow acoustics reminiscent of grandfather’s guitar? The puckering bass line, tripping through a bath of whirring starsplashes…it becomes the soundtrack your […]
  • IDҰLL – “Trouble”
    Angelina Lucero, whose voice has…

  • IDҰLL – “Trouble”

    Angelina Lucero, whose voice has appeared on several Jerome LOL tracks, has collaborated with producer and fellow Chicagoan JoJo Yang on a new musical project, IDҰLL. Their debut single is the stunning “Trouble”, a sexy, atmospheric piece of music that make us excited to hear more.

  • Lykke Li – “I Never Learn”
    Lykke Li will return with…

  • Lykke Li – “I Never Learn”

    Lykke Li will return with her new album, I Never Learn, on June 5. It’s the follow-up to 2011’s Wounded Rhymes.

  • Damon Albarn – “Lonely Press Play”
    Blur/Gorillaz…

  • Damon Albarn – “Lonely Press Play”

    Blur/Gorillaz mastermind Damon Albarn has unveiled the video for his new song “Lonely Press Play”. Taken from his forthcoming debut solo album ‘Everyday Robots‘ out on April 28th.

  • Helfer – ‘Air Drops’ EP
    Israeli vocalist and…

  • Helfer – ‘Air Drops’ EP

    Israeli vocalist and producer Helfer is streaming his debut EP, ‘Air Drops,’ in its entirety before its release on March 3. Highest recommendation.

  • Prides – “The Seeds You Sow”
    3:13, via The Burning Ear
  • New song by Chvrches co-horts Prides only makes me want more. Big, catchy, indie rock jams with insane sing along grooves.
  • Y LUV – “Jacques Cousteau”
    3:13, via The Burning Ear
  • Los Angeles’ Y Luv have been flying under too many radars for far too long. These guys consistently kick out some big shredding jams and “Jacques Cousteau” is no exception. Full of energy, grit, hooks, and no shortage of the guitar and bass licks that make me love these guys so much. Stay tuned for […]
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Bass Report #085
    3:13, via Salacious Sound
  • Mau5trap tops this weeks chart with a great remix of Le Castle Vania from a group of bass droppin’ Frenchmen. It’s got a real techno feel I think you’ll enjoy. […]
  • 5 Icy-Hot Tracks to Help Melt Your Winter-Mania
    3:13, via Salacious Sound
  • 5 Icy-Hot Tracks to Help Melt Your Winter-Mania
    3:13, via Salacious Sound
  • 5 Icy-Hot Tracks to Help Melt Your Winter-Mania
    3:13, via Salacious Sound
  • 5 Icy-Hot Tracks to Help Melt Your Winter-Mania
    3:13, via Salacious Sound
  • 5 Icy-Hot Tracks to Help Melt Your Winter-Mania
    3:13, via Salacious Sound
  • I know as you stare out your windows, begging the universe to cease the snow storms, for the sun to shine and for the dead icy grass below to make […]
  • Introducing PALMS TRAX
    3:13, via HUSH HOUSE
  • Introducing PALMS TRAX
    3:13, via HUSH HOUSE
  • Introducing PALMS TRAX
    3:13, via HUSH HOUSE
  • Berlin-based newcomer Palms Trax offered up his ‘Equation’ EP on the equally fresh-faced Lobster Theremin late last year. Coming out of nowhere, this three track release did enough to put both names on the map and warrant a repress (coming very soon).

    The first track, ‘Late Jam’, is a tidy, no-nonsense groover that punches its way through five-minutes of heavy-hitting kicks and warbled, nonsense vocals with aplomb. A stinging, electrified synth stab sits laboriously on top for good measure.

    Second track is the title number, ‘Equation’. Old school piano lines are brought into the mix, whilst the same razor-sharp synth hits found in the opener are deployed expertly once again. Shuffling along throughout is a heady mix of percussion; melancholic without being dreary, simplistically hard-hitting without being linear. Palms Trax has clearly been honing his craft steadily prior to this release, as the production value is very, so much so that it belies the artist’s seem inexperience.

    On the flip is a Tin Man remix of ‘Houses in Motion’. This track replaces the Willie Burns remix that featured on the original pressing and it offers something slightly different to the two previous cuts. Somewhat celestial, those same synths take on a gentler sound, floating high above percussion that glitters its way through eight minutes of acid-spiked bliss. If this release is anything to go by, there’s definitely more to come from both Palms Trax and Lobster Theremin in the future – we’ll be keeping an eye out for sure.

    Late Jam / Equation – Palms Trax [Lobster Theremin]

    In the meantime, go grab the repress of ‘Equation’ at Redeye.

  • Debut album from Audioglider coming soon
  • Audioglider is set to release ‘Accidental Beauty’, his first full-length album, on Section Records on April 21st.

    Audioglider a.k.a. Roberto Sodano’s blissed out electronica has won him fans across the downtempo community – from The Big Chill to DJs including Nick Warren, Hernan Cattaneo and Glenn Morrison.

    Audioglider releases have appeared on labels such as Global Underground, Morrison Recordings, Renaissance, Exceptional Records and FOEM, before finding a permanent home at Section Records, who released the ‘Summer Rainstorm EP’ in May 2013.

    Tracklist:

    01 End Titles
    02 Fluid Motion
    03 The Bells
    04 Dynamic Uno
    05 My Tru Blood
    06 Just Sound
    07 Sliders
    08 Disappear
    09 Polydirective
    10 Sundown (Cape Town)
    11 Cortexaphan

    Click Here to buy Audioglider music from Beatport

    Audioglider Soundcloud page

    Audioglider facebook page

  • New Deep House single from Andy Caldwell
  • Andy Caldwell goes back to his deep house roots with a great new track “Hold The Line” featuring Lisa Shaw on vocals.

    Here is a streaming preview of the song:

    Click Here to buy the single from Beatport

    Andy Caldwell facebook page

    Follow Andy Caldwell on Twitter

  • Free 3-hour dub techno mix from Kirk Degiorgio
  • Kirk Degiorgio is playing in London tomorrow night for Machine at Corsica.

    Click here for more info and to purchase tickets

    Here is the DJ mix of dub techno to stream and download:

    Here is the tracklist for the mix::

    DRONELOCK: Sonars (Weekend World)
    AURA FLESH: Desert Storm/An Aura Of Exclusivity (Biorecordings)
    OHMIKRON: Familiar Moodz (Evasion Room)
    WUNDERBLOCK: Wood People (Acrobdub) (Wunderblock)
    AURA FRESH: Robotics (Biorecordings)
    LEONID: Galax (Dolly)
    UNKNOWN: Assimilation (Unknown)
    FRANK HELLMOND: True Lines (ETUI)
    BRICKMAN: Vague (Inner Silence)
    PATRIK SKOOG & FONOS: Helix (We Are)
    BRICKMAN: Correlation (Inner Silence)
    MANUEL DI MARTINO: Eingetaucht In Eine Vaccum (Evasion Room)
    HD SUBSTANCE: Under Styled (Fanzine)
    DEFECTIVE UNITS: Phase Two (Broque)
    REGGY VAN OERS: Sinousity (Ness Remix) (Affin)
    NORM TALLEY: Analog XTC (Minimood Extra)
    UNKNOWN: Spacing (Unknown)
    ROBERTO BOSCO: Sonorous Waves 2 (Last Drop)
    HIVER: Blue Aconite (Curle)
    RECONDITE: Cleric (Dystopian)
    CULTURE HUB: Elevated Status (Invisible Circles)
    TRUS’ME: Hindsight (Marcelus Friction Remix) (Prime Numbers)
    EMANUELE PERTOLDI: Echelon Echo (Subself)
    HIVER: Eglantine (Curle)
    SKUDGE: Irie (Skudge)
    JULIXO: Everdub (Par)
    OSCAR MULERO: Second Layer (PoleGroup)
    S-TEK: Tiberium Infection (3rdWax)
    JONAS KOPP: Mountak (Sleaze)
    MATTIAS FRIDELL: Restrictive Influence (Gynoid)
    MATTIAS FRIDELL: Life Recycling Law (Affin)
    TUTTLE & CHICH: Stanislas (Modularhertz)
    MATTIAS FRIDELL: Geodesic Structure (Affin)
    HUBOT: Rm To Rm (Weekend Circuit)
    ROD: Hux (Klockworks)
    UNKNOWN: Forever Young (Unknown)
    SHEKON: Puzzle (Maxime Dangles Remix) (Skryptom)

    Click Here to buy Kirk Degiorgio music from Beatport

    Follow Kirk Degiorgio on Twitter

  • Hot New Techno Releases from Form Music
  • Hot New Techno Releases from Form Music
  • Hot New Techno Releases from Form Music
  • Form Music is a tech house and techno music label founded by French producer Popof. These two new releases are numbers 39 and 40 for the label.

    Release number 39 is The Sun EP from DJ Raid & DJ Fronter. Below are streaming preview clips of all five tracks from the EP – three original tracks plus remixes from Citizen Kain & Leonardo Gonnelli

    Click Here to buy the Sun EP from Beatport

    Release number 40 is the Gettin’ Funky EP from Mass Digital. The Gettin’ Funky EP has two original tracks plus remixes from Phil Weeks & Minota. Below are streaming preview clips of all four songs on the EP:

    Click Here to buy the Gettin’ Funky EP from Beatport

    Form Music Soundcloud page

    Form Music facebook page

    Follow Form Music on Twitter

  • [Indie Rock] Ruben Haze – City of Dreams
    3:13, via The Music Ninja
  • You might be asking yourself, “Wait a minute. Haven’t I heard this before?” Well, you’re right and you’re wrong. Yes, this tune was a <a …="…" Continue reading »
  • [Secret Ninja Pass] This Week at Beta 2/27
    3:13, via The Music Ninja
  • [Secret Ninja Pass] This Week at Beta 2/27
    3:13, via The Music Ninja
  • [Secret Ninja Pass] This Week at Beta 2/27
    3:13, via The Music Ninja
  • Alright, ninjas. We’ve been hooking you up with free entry to Beta over the past year. We know you’ve have some epic times, catching some … Continue reading »
  • [Chill/Funk-Step] MOSIS – You&Me + Two Fresh Remix
    3:13, via The Music Ninja
  • [Chill/Funk-Step] MOSIS – You&Me + Two Fresh Remix
    3:13, via The Music Ninja
  • There certainly hasn’t been any shortage of quality music emanating out of Denver as of late and we can chalk up another two polished electronic … Continue reading »
  • Sons et al. || Day By Day
  • Released: February 2014
  • JOSEPH || Swim Darker
  • Released: February 2014
  • Crisis Urbana is Detroit’s Most Delicious Secret
    3:13, via THUMP RSS Feed
  • Crisis Urbana is Detroit’s Most Delicious Secret
    3:13, via THUMP RSS Feed
  • Crisis Urbana is Detroit’s Most Delicious Secret
    3:13, via THUMP RSS Feed
  • Crisis Urbana is too good to be a tape label. That's not to say that cassettes are a subpar medium—it's just that it's maddening to know that music like this exists, but not on vinyl, so DJs both professional and amateur can't have the pleasure of rocking the label's offerings on dance floors or in bedrooms. But perhaps it's precisely because the fledgling imprint hasn't released a 12" that they have remained one of Detroit's most delicious secrets. Over the past year or so, the crew has quietly unleashed a handful of noise-influenced EPs from little-known local artists, which range from spaced-out ambient experiments to glacial, light-footed techno and rough-hewn four-on-the-floor synth jams. Its latest offering, Community Corporation's Salt Mines, is the first Crisis Urbana full-length. It's due for a cassette release in the coming weeks, but you can check out one of the tracks, a woozy syncopated beat embellished with squelching synths and swooshy pads, right here on THUMP.

    Pre-order Salt Mines on Bandcamp
    Connect with Crisis Urbana on Soundcloud
    Connect with Community Corporation on Soundcloud

  • Get Acquainted with Manchester’s Finest, Prime Numbers
    3:13, via THUMP RSS Feed
  • Get Acquainted with Manchester’s Finest, Prime Numbers
    3:13, via THUMP RSS Feed
  • Get Acquainted with Manchester’s Finest, Prime Numbers
    3:13, via THUMP RSS Feed
  • Imprints brings you weekly profiles of the most exciting independent record labels the world over, written by movers and shakers from within their own electronic music communities.

    Name: Prime Numbers
    Vibe: Six hours into a set of deep house and soulful techno with no intentions of winding down any time soon.
    Founded: 2007
    Location: Manchester, England
    Claim to Fame: Prime Numbers has released records from big names like Actress, but perhaps it's most known as the label run by Trus'me.
    Upcoming Releases: Its most recent offering, a package with remixes from Marcelus and Skudge, dropped this month.
    By the Numbers: Trus'me's outpost has pressed around 40 EPs, albums, and mixed CDs over the span of the last six years.

    What's the deal?
    Mancunian producer Trus'me cut his teeth on the Stilove4music and Fat City record labels. His early hits—"Nards" and "W.A.R. Dub," which got radio play from BBC's Benji B and Gilles Peterson when they dropped some six or seven years ago—encapsulate the style he has honed with the output of his own label, Prime Numbers. The more straightforward elements, like deep kicks and hi-hats as snappy as a whip cracked against wet pavement, are often offset by walking basslines or gossamer vocals, which adds a touch of class and idiosyncratic soul to a tried and true formula.

    Explain the name.
    "The Name Prime Numbers was derived from my favorite mix series at the time, 'Odd Numbers' by the infamous Eyes Down night here in Manchester. The night took in all kinds of music, from Brazil to jazz and techno. Somehow the boys Jon and Kelvin would meld together a coherent night of music, where essentially they would just play, in their words, 'prime cuts'.  So there, you now know both my main inspiration as a DJ and my ethos for the label selecting only Prime Numbers.  Later we played around with the word 'prime' in a mathematical sense for each release."

    What's the scene like in Manchester?
    "The expression 'the grass is always greener' comes to mind when I'm asked this question. Even though I reside in Manchester, I very rarely play here, as fellow Mancunians usually look for inspiration overseas. Nevertheless, I do know that the scene is healthy in the Rainy City with lots of fresh talent like Demdike Stare and labels like MEANDYOU to watch out for."

    What other labels are you into right now, besides Prime Numbers?
    "Mancunian-based label Modern Love as well as many Dutch labels, such as Delsin, Creme Organisation, Dekmantel are what I follow. Though, these days, lots of acts seem to release sporadically across various labels. So I find it's best to follow artists and even the record shops I trust, to be in the loop. My favorite shops are Boomkat, Clone, and Hardwax."

  • Renaissance or Recession: Talking Brooklyn DIY with Industry of Machines
    3:13, via THUMP RSS Feed
  • Renaissance or Recession: Talking Brooklyn DIY with Industry of Machines
    3:13, via THUMP RSS Feed
  • Renaissance or Recession: Talking Brooklyn DIY with Industry of Machines
    3:13, via THUMP RSS Feed
  • It's peak hours at Bossa Nova Civic Club; the fog on the dancefloor is so thick that you can barely see your hand in front of your face. Acido label boss Dynamo Dreesen is slamming through house records with local producer Madteo, and when the momentum comes to a halt in the middle of their marathon set, only a few people leave for a smoke break—the rest remain standing to witness Black Rain orchestrate live electronics. For Albert Freeman and Dan Meagher, the two Bushwick-based promoters who organized the event, this is the most important part of the evening. Their monthly party, Industry of Machines, "intentionally skirts the divide" between a club night and a live show and aims to bring out-of-town talent, like Dreesen, to intimate and unpretentious spots in New York City.

    So far, their go-to unpretentious spot has been Bossa Nova, a hotly-tipped dance club and bar that opened early last year and has since caught the attention of high-profile publications like the New York Times and New York Magazine. Bossa Nova is the official, licensed counterpart to Brooklyn's DIY culture; the founders cut their teeth running unofficial venues, and their authorized club maintains the low-key, homey vibes usually cultivated in lofts or basements. Industry of Machines has become one of its most popular regular events, which is no easy task in an increasingly competitive market. As the popularity of dance music rises, so too has the number of promoters vying for the opportunity to throw parties, means the competition for prime-time party slots is cutthroat—and it's intensified by the less-than-hospitable climate for local venues.

    As always, inexpensive, down-home, and rugged spots—especially the illegal ones—are in constant danger of being shut down. In recent months, Brooklyn has lost a handful of intimate venues, including the House of Yes, Gowanus Grove, Steel Drums, and, of course, the legendary warehouse 285 Kent. At the same time, new upscale venues have set up shop in the last year, mostly in North Williamsburg and Manhattan: Output, the posh nightclub on Wythe Avenue, competes with TBA Brooklyn down the street, the new three-floor club Slake in midtown, and the deep house event company Verboten has announced plans to open up a new spot in Williamsburg.

    For those who hope to cultivate informal vibes at low-cost events in grittier venues in New York, it's not clear if the city is experiencing a renaissance or a recession. Either way, it's created a "highly pressurized" situation for promoters like Meagher and Freeman, who sat down with us at Bossa Nova Civic Club one afternoon to discuss the great challenges and even greater possibilities that face New York nightlife.

    THUMP: Let’s start with your party, Industry of Machines. When did you launch?

    DAN MEAGHER: Before we started Industry of Machines, I ran a weekly party at Wreck Room, which is this dingy establishment down here in Bushwick. That’s how I became acquainted with the guys at Bossa Nova; they opened this bar, and they knew about that party, so they invited me to do one here. We’re actually the first ones to do live [electronic music] nights here. The first person I booked was Shawn O’Sullivan. He did a live set, and then Albert approached me with the idea of making it a regular night and concept.

    ALBERT FREEMAN: When Bossa Nova opened, it became the center of a lot of things happening in Bushwick pretty rapidly. Before it opened, there was a series of solo events, mostly done at Body Actualized Center, the yoga studio down the street from here. I think they were mostly run by a combination of artists themselves and the yoga studio, but they were kind of irregular, kind of unevenly attended, and as for the music programming, I wanted to do something more diverse.

    We conceptually developed [this party] to make it more about industrial music, more club-focused, and there was harder techno and more experimental stuff. It intentionally skirts the divide between a live show and a club night—which has been going on in New York forever, but it’s gotten a lot more popular in the last year or so.

    Why do you think live sets have gotten more popular?

    AF: A lot of people in Bushwick, younger people, are crossing over from indie or noise backgrounds. They’re used to going to rock shows, watching live performances, and—I think it’s changing—but a lot of people like that aren’t so turned on by the idea of just watching a bunch of DJs play, because it doesn’t connect to their backgrounds very well.

    You mentioned filling a gap. What was missing from the Brooklyn dance scene that you wanted to create?

    AF: I just noticed that people wanting harder techno stuff, nastier stuff, but people weren’t playing it in bigger clubs at all. And the young Brooklyn dance enthusiast doesn’t like going to a big club, anyway. They don’t have the money to go, it’s not in their neighborhood, and the music isn’t of interest to them.

    DM: I think a lot of them were tired of the cheesier elements of the dance scene, like expensive clubs and more uptight crowds. A few years ago, I think there were at least two separate spheres: there was a more uptight, expensive DJ dance scene, and then there had been a synth or noise scene. We’ve tried to find a crossover area where the artists we like can play live and in an affordable club. When I first moved here back in 2008, I would try to sway friends to come out and see dance events, and they would always be at $25 places, and the cocktails would be $10 or $15. They were at really expensive clubs, or they were exclusive warehouse parties. Everybody was like, “No way, I’m not going. That sounds cheesy, I don’t like that.” Bunker was one of the only cool parties around town, but even then, people were a little turned off due to the prices.

    AF: It’s really surprising how much of a gap there is between the more official clubs in New York and what’s going on in Bushwick and in other small venues. If you go out to a big club and see LIES artists play, the place is empty often, while there are hundreds of people that come out to see them here.

    It’s interesting that you mention the Bunker, because I can see a connection between the musicians they book and they style of music you guys showcase at your party. The thing is, the Bunker is so different now.

    AF: Definitely. I mean, in the last year, since they moved in and all of that, it really changed everything.

    They moved to Output.

    DM: Right. But the thing is, it’s good that people are doing different types of parties at different types of venues, because there’s room for different types of parties. There needs to be different options.

    In my eyes, Bossa Nova and Output represent the gap you were talking about between upscale, expensive clubs and the local low-key scene.

    DM: They have an amazing sound system at Output, but a lot of it comes down to affordability and location. This particular spot, Bossa Nova, which we’ve been using for all our parties up to this point—it’s affordable, it’s not uptight, it’s cool, and I think that environment actually transforms the way people perform their music. This is no criticism of Output, but I saw one of my DJ friends there over the summer perform at the Red Bull Music Academy, and he was on this big stage, and there was a big space between the spectator and the performer. Here, you can actually just peer over the booth, or just tap the DJ and be like, “What are you spinning?” It’s very intimate, and we like that. It’s kind of like there are no rules here.

    There are a lot of rules at Output.

    DM: For sure. I got in trouble for not checking my coat once—but again, that’s not speaking ill of Output. Bossa Nova and Output are two different concepts, and there’s room for both of them in New York. I don’t hate Output, it’s just not for me. It’s a particular concept; it’s not one that I’m interested in, but there’s nothing wrong with that.

    If Output isn’t the right space for Industry of Machines, what is? What are you looking for in a venue?

    AF: Well, we probably can’t stay at Bossa Nova moving forwards, because we’re going to have to move our bigger events to other venues. The venue problem is a real challenge in Brooklyn right now.

    DM: It is a challenge indeed. One thing is, as I’m sure you probably know, it’s always a fight with the community and the city to keep these venues up and running, especially the ones that operate in a more not necessarily 100% legal level. With neighbors, and noise problems, and the liquor license problems, it’s a constant hunt. Over the last six years I’ve literally seen countless venues go in and out. I can’t even remember all of them, because there have been so many venues that have been shut down, closed, robbed—the list goes on.

    This particular establishment, even though it’s not DIY per se, it has a DIY flavor to it and vibe. I think that’s why this has become the hub for this kind of underground music, because people feel comfortable here, but the more DIY venues are always in danger of being shut down. At the same time, it’s always good to keep the venues fresh and not stale, so people don’t get annoyed. People get sick of places.

    It almost seems like the DIY venues are getting shut down, while new official, more expensive, and stricter clubs are opening up. It seems a little grim, but at the same time, I’ve talked to other promoters in Brooklyn who say we’re in a DIY renaissance.

    AF: The scene right now for venues for dance music is incredibly pressurized. There are a lot of people who want to do events, quite a few of the viable venues don’t do dance music events. We’ve lost a number of venues recently, while the demand for this kind of music is rapidly rising in New York. Maybe right now is just a brief transitional period where people feel boxed in. Hopefully that will change.

    DM: Like I said, there’s just so many obstacles when it comes to opening venues in New York, it’s no surprise that they’re closing down, unfortunately. I’ve seen some other venues around town—especially in Bushwick—that are becoming more upscale, which unfortunately I don’t really like. I’ve always been attracted to the gritty underground venues. There’s some new venues around here that are more official, and even if that’s not my style, it’s definitely OK.

    I’ve reached out to several local promoters, and no one wanted talk to me about this issue. Several of them told me that they don’t want to propagate negativity in the scene, and that’s not my intention. I’m a part of this scene, I care about it, and I don’t want to contribute to its demise. But I do want to investigate the challenges and issues it faces.

    AF: If you can’t talk about things, you can’t improve them, either. Look, New York creates lots of frustrations when it comes to venues, but we still manage to hold on and grow. Obviously the pressure with the venue situation, it’s going cause a lot of people to get frustrated, and perhaps to lash out. I try not to be cynical about things, and we don’t want to be negative. I’m always going out to things and trying to find places that are viable for us, rather than getting dragged out by all the closings that have been happening. It is tough. We really miss 285 [Kent]. I used to go there every weekend.

    Places like Steel Drums and 285 were already skirting the boarder of legality, and it makes people not want to talk about all sorts of things. And now that we’re getting these big-money clubs that are competing with DIY venues, it puts even more pressure on the DIY venues. It puts a lot of pressure on them, actually.

    It can be a little frustrating for me when people don’t want to talk about important issues. Nothing gets done if you don’t talk about it, and there’s a mature and fair way to do it.

    AF: The best thing for New York would be if someone opened three or four more clubs that had their own identities and their own ideas about what they’re doing in music. If they got better established, people would feel more comfortable when go out, and it would give crowds more choices, and more interesting musical programming. The music scene in New York right now is really cool and interesting, without a doubt.

    There's definitely a lot of cool and interesting music being made in the city right now.

    DM: For sure. There are endless possibilities.

    Connect with Industry of Machines on Facebook
    Connect with Industry of Machines on Soundcloud

  • Lucy Is The Descartes of Techno Music
    3:13, via THUMP RSS Feed
  • If you're over reading about the trials and tribulations of another artist whose productions have been rinsed so thoroughly that even your Soundcloud stream scoffs at them in boredom, then you have come to the right place. Luca Mortellado, aka dark techno wizard and Stroboscopic Artefacts label boss Lucy, entertains thoughts as deep and tripped-out as his music, which means that what follows is no standard interview. Last week, the Berlin-based producer released Churches Schools and Guns, a full length effort that charges into the darkest corners of the techno catacombs, so we caught up with him to mine his creative abyss. 

    THUMP: I read a Facebook comment on your wall which said that your album title pretty much sums up America.
    Luca
    : [Laughs] Let‘s say there are different levels of interpretation to that title. As a label manager, I have artists that don‘t care too much about titles and words, but for me, it's something that's immensely important, because it‘s the first frame you give your work before the public has a chance to listen to it. I always spend a lot of time not just finding the right title for the music. 

    That Facebook comment is interesting, because the idea of the title came actually came to me when I was in the US. I arrived a couple of years ago and was tired on very little sleep in this hazy dream type mood. I was looking out of the window of the car and the first three things I saw was a church, a school, and a gun shop. I subconciously thought that I had to write this down, so I wrote: Church, School, Gun Shop. A long while after, when I was trying to figure out the main structure of the album, I read through it and I thought, "This pretty much sums it up." What was interesting about it is that we usually associate churches and schools with education and other positive things but when you put guns next to it, it reverses the meaning and shows another perspective. The sound frame of the album is very dark and critical. It‘s like looking at our own western DNA.

    Do you have a notebook where you note these things?
    Yes, a notebook, paper, my phone.

    When you read these words again, could you remember the moment?
    Of course, very well. I just changed it slightly from "church, school, gun shop" to Churches, Schools and Guns to make it more general. But I remember the moment because it was pretty strong, and these things appeared literally in a row.

    The situation you just described reminds me of the movie Memento.
    Yeah, that's one of my favorite movies of all time, and ties in to how music production often functions at a higher level. It's a sort of subconscious and conscious dynamic, because sometimes you never know how much of what you do is something you consciously wanted to say versus what is just coming out as a natural flow. For me it's like a struggle, a continuous battle between the conscious and subconscious. I have this flow coming out in a very wild way when I‘m in the studio and often what is hardest is to govern and control the flow. It's like trying to captain a boat in the wild sea.

    It's like when you decide to build up a complete architecture instead of just launching inputs. That‘s when you try to calm down that flow, or at least funnel it into understandable channels.
    But it‘s pretty common in the electronic scene to launch all these inputs. Albums don‘t have such a value as in other genres. I know it‘s a general attitude, but still a lot of people would never put something out just like that. And these kind of people are like my spiritual godfathers in electronic music. The main thing I like about them, besides their music, is that they are always conscious about the responsibility they have as artists.  

    Electronic music and music for clubs is followed by a very huge amount of people, so it's a powerful medium, and that carries with it a great responsibility. I don't think it's very smart to just put out stuff for the sake of having as many releases as possible. You don't just want to have "episodes," but an overall story. I'm more interested in the story then the individual episodes.

    For a lot of producers it‘s important to put out stuff constantly.
    Yeah, which in my opinion doesn't make a lot of sense for many reasons. If the point is that you want to get famous and gig around, then that's not the right way. Believe me. People get interested in you because you have a story to tell, because you can tell them something they didn‘t know or something they knew, but were are not able to say. And you are the one who can say those things. 

    People give you that position, and that‘s what I mean when I talk about responsibility. It‘s a matter of respect, even in a two-way relationship. You‘re alone in your studio, but these things come out. You can‘t think that this dynamic does not exist at all. For me music is still communication, even if it‘s something that in the end people perceive as a very personal product. The main point in my mind is still that I‘m trying to say something to someone.

    Do you try to give this point of view to all your label artists?
    There is a lot of communication in Stroboscopic Artefacts. There are a lot of ongoing main topics, like this one we‘re talking about. There is even a lot of friction and fights, but in friction comes creativity, at least for myself. When everything looks like a calm lake, I don‘t come to the studio. I need friction to be able to create something.

    Do you sometimes miss vocals and have the desire to say more in a lyrcial form?
    Yes. But at the same time, in friction and in contrast I see creativity. I wanted to say so many things about my thoughts, things I read, things I see and the way I see them, it was kind of a choice. So either I write an essay or I produce an album. When you take out the voices and lyrics that say things in a more [traditional] way, you're expressing your thoughts in a more universal form, the music.

    Language is much more restricted, it’s a very coded system. If I start talking to you in Italian, you probably wouldn't understand a word.  Music is different, because you still might recognize what i'm trying to say. When you avoid the lyrics and go into the music you use a much wider, more foggy, but incredibly powerful language. 

    You mentioned earlier that you come from a writing background.
    Yeah, I was writing a lot a few years back. At one point in my life, producing music took the place of writing. I've been writing since I was 14, and I was writing a lot of very strange novels, thoughts, all of which was very metaphysical and surrealist. At some point the music production started to be so strong that it was one or the other. I don’t know why but there was no space in me for both—I just needed one medium of expression which I could explore very deeply.

    Would you say you express the same things with the music as you did with writing?
    Yes, I satisfy the same lust that is inside my soul. I must say certain things, It’s not a choice. I would not say it’s a pleasure for me to come into the studio and produce music. It’s something I have to do. And this lust is now satisfied by the music while in the past it was satisfied by writing.

    So it’s complimentary?
    Yes, it’s a continued story in my head. I would say it’s the same asthetic in a wider sense, in a sense of structure and functions.

    Now I really would like to read a novel for this album.
    [Laughs] That’s actually an idea, to translate the album into a novel. That would be interesting to see.

    I saw that FACT Magazine had you in their "albums we actually give a shit about“ list.
    I saw that too.

    Is it important for you that people actually give a shit about you?
    To be sincere, I’m not that kind of artist that says, "I don’t give a fuck, I just produce the music." I don’t give a fuck while I produce the music, but after that, it’s very important to me. And I think it's very evident with the structure, the title, the artwork. There is a strong need of communication inside. This is something I learned about myself in the last years. I have a huge need of communicating things and I’m probably not that good at this when it comes to normal life.

    It’s important for me that people get it, it’s almost like on a survival level. I know if I go too much in my own way, I get into a state of mind that is on one side very beautiful and almost mystical on the other side, often I can completely lose contact with reality. So it’s very important to sometimes be grounded and get the feedback of people who love my music. It’s an incredibly magical way of staying grounded while being pushed to go ever further. It’s more of a need than a choice.

    So it’s a must to do the music and a need to get feedback?
    Kind of, yes. I feel pushed all the time. But it’s good. I don’t take it in a negative way, sometimes you are the medium of yourself. There are a lot of things that work in your mind, but you eventually learn and you start to analyze and then there is a huge part of you that acts subconsciously and keeps working even when you think you’re outside those things. And at that time you start feeling that you are a medium of yourself. 

  • MIXED BY Tchami
    3:13, via THUMP RSS Feed
  • These days people like to tack the word "future" on as a prefix to an already existing genre, then call it a day. It is perhaps indicative of a culture moving faster than nomenclature can keep up. Bearing that in mind, there's nobody forging more emphatically forward in house music than Tchami. The mysterious Parisian, who appears dressed in gothy religious vestments, emerged from nowhere last year with a series of classy and confident bassline-heavy house remixes.

    With his first forays into the US upcoming, Tchami is set to emerge from deep in the Fool's Gold roster and into the forefront of a house scene propelled by a fast-maturing American palate. His work is just so catchy and clever that it won't be ignored. It has a way of nestling into your brain and holding court like a time-traveller returned from six months in the future.
    THUMP got some time with the man and took a jab at unraveling the mystery. We may not have succeeded entirely, but at least we scored you an exclusive mix in the process.

    Check the tracklist below our interview.

    THUMP: Are there any major differences between "future House" and the house music upon which it builds, or have people's perceptions just changed?
    Tchami: I came up with that "future house" thing without thinking it would be important for anyone but me. Basically, future house means "something new in house music." So whatever goes outside the rules can be future house. It's up to you to make something personal or to do what everybody else is doing right now.

    Tell us as much as you can about THAT bass tone.
    I saw a lot of arguments about that bass but the only thing I did was tweak the knobs until I had something fresh in my ears and make it sound good within the song. As you know a good chef doesn't share his secrets even if the recipe is easy to follow.

    You're rockin' the clerical collar. What's that about? What is the gospel you preach?
    It's difficult for me to talk about this now. One thing I can say is that I am a spiritual person. I wanted it to be reflected in my vision of music.

    Can you tell us more about the experience in Africa that you got your name from?
    I used to travel a lot these past years and I have also met some awesome people. Tchami is a name that has been given to me when I was in Africa. It's a family name over there so it's an honor for me to use it as my artist name. Beyond this I want to give people some insights about real parts of my life and make it relevant with my music.

    You come off as having a near Zen-like perspective on your own success. How did you get that way?
    I'm trying to keep my attention on things that will last in my life. Success is cool but it comes and goes. So yes it may be my moment to shine one day but what about the day after? I just want to stay in my zone and connect people with my music. I'll keep doing it as long as I have something to express.

    I see you're booked for Sasquatch Festival. Do you have any more upcoming US plans?
    Yes I'm playing at HardFest in Miami on March 26. We should be able to announce some more upcoming shows in the US soon.

    Tracklist:
    Breach – Jack (Taiki & Nulight Remix)
    AC Slater – Gunplay
    Legitimate Scandal – Fu Gee La (Original Mix)
    GotSome Feat. The Get Along Gang – Bassline (Chocolate Puma Remix)
    Hector Couto – Rare Love (Josh Butler Remix)
    Martin Garrix – Wizard (Tchami Remix)
    Rob Base & DJ Easy Rock vs Tchami – It Takes Two
    Tchami – Promesses (feat Kaleem Taylor)
    Naughty Boy Ft. Wiz Khalifa & Ella Eyre – Think About It (Tâches Remix)
    The Aston Shuffle – Tear It Down (Low Steppa Remix)
    Elizabeth Rose – The Good Life (Charles Murdoch Remix)
    Kaytranada – At All
    Mincha – I Do Care (Compton Chic Club Remix)
    Jeannie – Boy Friend (feat. Anna Roxenholt)
    Chris Malinchak – So Good To Me
     

  • Newcomer Marshall McGee will blow your mind with "Freelancer" [Download]
    3:13, via EARMILK.COM
  • Unique sounds: they’re particularly hard to find these days, especially in a musical world where everyone samples different ideas from each other; however, after stumbling upon Marshall McGee in Gramatik’s Reddit AMA yesterday, I think I can pretty confidently say that this New York native’s refreshingly different take on sound design could…
  • Unknown Montreal group FanBoy revamps Beyoncé hit, "Blow"
    3:13, via EARMILK.COM
  • Today we want to introduce you to FanBoy, a mysterious duo based out of Montreal. To be honest, not much is known about these two as of yet, besides this Beyonce bootleg that was dropped into our inbox this morning. The “Blow” bootleg was released last week as their first public…
  • Contest winner Grant Bowtie’s fantastic remix of Emalkay’s "Tell Me"
    3:13, via EARMILK.COM
  • To end what was a fantastic 2013, Emalkay dropped a brand new EP on his own label Bring It Down Records.   As one of dubstep’s pioneers  Emalkay was responsible for much of the forward-thinking bass music that characterized dubstep at its heights and with his new EP continues to push forward into uncharted territory….
  • Avenue gives Miami Horror’s "Real Slow" the disco treatment
    3:13, via EARMILK.COM
  • Avenue isn’t a name that has been thrown around a lot lately but there is no doubt that it’s the name that will be on everyones lips very soon. At just 19 years of age the budding young talent out of Toronto is showing signs of mature production, just one listen…
  • Moon Boots and Kyiki master the feel-good on "Don’t Ask Why"
    3:13, via EARMILK.COM
  • On his new track “Don’t Ask Why,” French Express space man Moon Boots joins up with Crystal Fighters’ singer Ellie Fletcher under her solo project Kyiki. The two get together for an ultra-smooth, sensual pop sensation that holds true to the quality of soulful, disco-tinged house that we’ve come to…
  • Louis The Child remix Protohype’s "Fly" [Download]
    3:13, via EARMILK.COM
  • It’s barely one week after Chicago natives Louis The Child showcased their remix of Adventure Club’s “Wonder” and they have already presented a brand new remix of Protohype’s track “Fly” featuring the effervescent vocals of Alina Renae. Not only have this production duo been impressing listeners world wide with crisp all out electronic production,…
  • CR Black’s premieres new rap banger "Do My Thing" featuring ItsNate and Tee Stone
    3:13, via EARMILK.COM
  • The Slocal movement in London has been gathering up speed for a while now, with ItsNate at the forefront of the faction. Last years So Slocal mixtape from the Londoner was one of my own personal favourite projects of the year, whilst his track “All For The Night” was in…
  • "City Of Dreams" reinvented, as Dirty South and Rudy Sandapa team up as Ruben Haze
    3:13, via EARMILK.COM
  • “City Of Dreams” has become legendary, a classic track that will play years from now, striking strong feelings of nostalgia into any crowd. Hard to imagine that the Alesso/Dirty South collaboration officially dropped only last summer, though its instant status as a fan-favorite ensured it featured in most every festival…
  • Vindata teams with vocalist Kenzie May for instant hit "All I Really Need"
    3:13, via EARMILK.COM
  • Few songs come through these days that have instant remix factor. For reference, Breach’s “Jack” and Lorde’s “Royals” are two of 2013’s most remixed originals and it’s easy to see why. The instantly recognized vocals backed by the perfect simplicity of the production tend to provide a perfect formula for…
  • The emerging Shmallen revives Aaliyah’s classic "Rock The Boat"
    3:13, via EARMILK.COM
  • Gaining recognition on the East Coast, Shmallen aka Allen Hansrisuk has been touching listeners with his smooth deep rhythms for only a couple years. The 21-year-old DJ and producer originally gravitated to the sounds of nu disco and house, with his first successful remix of The Movement’s “Us”. After the…
  • Giraffage puts the golden touch on Mapei’s "Don’t Wait"
    3:13, via EARMILK.COM
  • Staying true to form, Giraffage is back yet again with another delectable music treat to please our ears. This time, putting the remix treatment on Stolckholm-native Mapei’s single “Don’t Wait”, the young producer enchants and entices listeners through whimsical twists and turns executed by his masterful production skills. Falling somewhere…
  • Newcomer Hugh Cosby plucks at your heartstrings with "Lover’s Holiday"
    3:13, via EARMILK.COM
  • Burlington-based producer and DJ, Hugh Cosby, has been making music for close to a decade. With 7 years of classical piano, 4 of jazz, and DJing since the Bar Mitzvah years, he’s certainly got an ear for a good melody. His first and latest release, “Lover’s Holiday” displays portions of…
  • Sizzy Rocket kicks off with "I Wanna Rob" [Download + Music Video]
    3:13, via EARMILK.COM
  • Sizzy Rocket kicks off with "I Wanna Rob" [Download + Music Video]
    3:13, via EARMILK.COM
  • Fresh to the scene is Sizzy Rocket, a 21-year-old from Las Vegas that is ready to show the world what she’s got to offer. Currently residing in Brooklyn, Sizzy Rocket has just released her genre-defying debut single, “I Wanna Rob”. We haven’t heard anything quite like this artist; her powerful vocals…
  • Space Jump Salute adds charismatic vibes to DCUP’s "Someone Told Me"
    3:13, via EARMILK.COM
  • Space Jump Salute is a producer from Birmingham, UK and he’s added a lovely, downtempo spin on DCUP’s new track “Someone Told Me”. The vocals are suited to this more relaxed and chill style as her voice is very light and breathy. It’s a wonderful track for lounging and easy…
  • Rick Ross recruits Kanye West and Big Sean for the godly "Sanctified"
    3:13, via EARMILK.COM
  • Mastermind may not be with us until March 4th but the 14th track on Rick Ross’ upcoming album just surfaced and is making waves around the web. “Sanctified” is streaming now on iTunes and features two of the Teflon Don’s go-to guys, G.O.O.D Music’s Big Sean and Kanye West. Yeezy…
  • Chris Malinchak releases "Forever"
    3:13, via EARMILK.COM
  • You may recognize Chris Malinchak’s name from his 2012 debut single, “So Good to Me,” which received praise and support from a handful of big names in music, including Annie Mac, Pete Tong, and Adele. Since then, he’s released more soothingly smooth and wonderfully percussive gems like “So Into You” and “Call…
  • Amp Live aims "Closer To The Sun" with his new single
    3:13, via EARMILK.COM
  • Amp Live comes crashing into the spotlight with a new genre crossing single. The visuals and music EARMILK brings today is the new video from Amp Live for his track “Closer To The Sun (Colorado Dreamin’).” This artist is commonly known for his alternative hip hop rooted in a DJing…
  • Cousin Matt’s track "Pelican" soars into your speakers [Premiere]
    3:13, via EARMILK.COM
  • There are a few things we love in life. One is great music. Another is being the first to know about it. And today we’re really happy because we get to introduce you all to “Pelican” – the first track from brand new duo Cousin Matt, a group appropriately comprised…
  • Well$ chills with his Grandmother and cruises around the city, in "Savoir-Faire"
    3:13, via EARMILK.COM
  • When one thinks of North Carolina, hip hop probably won’t be the first thing that comes to mind, especially with their well documented loyalty to collegiate basketball. Asides for 9th Wonder and J. Cole, who both released solid work with mainstream success,  the State hasn’t had a storied history of creating nationally recognized rap…
  • Stwo keeps it comin’ with a new remix of "Or Nah" [Download]
    3:13, via EARMILK.COM
  • Stwo (S + Two = “Stew”) has just been on an incredible grind lately. Really though. The French protégé has been completely pioneering this fusion between trap and garage, and honestly, there isn’t anything not to love. On this track, the HW&W signee took on The Weeknd’s “Or Nah” to create a very Cashmere Cat-esque sound,…

The Daily Playlist for February 27, 2014

  • M83 – “I Need You” from Divergent Soundtrack
  • M83 are at it again, contributing music to Hollywood. Don’t nobody stop them. “I Need…

    Read more articles like “M83 – “I Need You” from Divergent Soundtrack” on PMA – Pretty Much Amazing.

  • Rick Ross & Kanye West – “Sanctified”
  • Listen to the highly anticipated Rick Ross-Kanye West collaboration.

    Read more articles like “Rick Ross & Kanye West – “Sanctified”” on PMA – Pretty Much Amazing.

  • Duck Sauce Finally Announce Debut Album, Quack
  • Three-and-a-half years after the release of “Barbara Streisand,” Duck Sauce have announced their first album.

    Read more articles like “Duck Sauce Finally Announce Debut Album, Quack” on PMA – Pretty Much Amazing.

  • Shy Girls – “Sittin’ Up In My Room” (Brandy cover)
  • Shy Girls is really just a boy, but that’s ok.

    Read more articles like “Shy Girls – “Sittin’ Up In My Room” (Brandy cover)” on PMA – Pretty Much Amazing.

  • ScHoolboy Q x A$AP Rocky – “Californication”
  • An A$AP Rocky-assisted bonus track from ScHoolboy Q’s Oxymoron that should’ve been on the album proper.

    Read more articles like “ScHoolboy Q x A$AP Rocky – “Californication”” on PMA – Pretty Much Amazing.

  • Stream: Pharrell’s new album GIRL
  • Listen to Pharrell’s first solo album since 2006, featuring Daft Punk, Justin Timberlake, Miley and Alicia Keys.

    Read more articles like “Stream: Pharrell’s new album GIRL” on PMA – Pretty Much Amazing.

  • Wild Beasts cover Leonard Cohen’s “Hey That’s No Way To Say Goodbye”
  • iamamiwhoami – “hunting for pearls”
  • iamamiwhoami – “hunting for pearls”
  • The mysterious iamamiwhoami share a new single and video.

    Read more articles like “iamamiwhoami – “hunting for pearls”” on PMA – Pretty Much Amazing.

  • Album Stream: The Men – “Tomorrow’s Hits”
  • Listen to the Men’s (literally) barnburning new album, Tomorrow’s Hits.

    Read more articles like “Album Stream: The Men – “Tomorrow’s Hits”” on PMA – Pretty Much Amazing.

  • #PMAVILLAGE returns to SXSW 2014
  • MØ! Goodie bags! Coconut water! See you there.

    Read more articles like “#PMAVILLAGE returns to SXSW 2014” on PMA – Pretty Much Amazing.

  • Hasta "CHNL (Neue Grafik Remix)"
    3:13, via XLR8R MP3s
  • Hasta "CHNL (Neue Grafik Remix)"
    3:13, via XLR8R MP3s
  • Hasta "CHNL (Neue Grafik Remix)"
    3:13, via XLR8R MP3s
  • Earlier this week, the Apothecary Compositions imprint (run by stateside producer Druid Cloak) has released the Floral EP from Hasta, who likely serves as the youngest contributor to the fledling label at the age of 17. His three original productions for the record each come backed with a remix, including this one from French artist Neue Grafik.

    read more

  • Rioux "Maze1"
    3:13, via XLR8R MP3s
  • After having shared his “Trails” single last month, Connect label co-founder Rioux returns to XLR8R with a fresh freebie, the aptly titled “Maze1.” The DJ/producer’s new production drives in a multitude of directions, heading through sentimental vocals, sleek synth arrangements, and soft woodwind constructions. It’s a simultaneously pensive and spirited production, as the forlorn tone of the fragmented voices juxtapose with an array of bright, lustrous keys.

    read more

  • Solar Bears "Interzone"
    3:13, via XLR8R MP3s
  • It could never be said that Solar Bears doesn’t stick to what it knows.

    read more

  • Pinch’s Cold Recordings announces first digital release, CO.LD compilation
  • The formerly vinyl-only imprint goes digital. When Tectonic boss Pinch launched Cold Recordings last year, the label planned to focus on “new movements in the ever evolving UK hardcore-continuum — taking inspirational vibrations from a long standing heritage that ran […]
  • Download a pack of Roland AIRA TR-8 drum samples
  • Preview Roland’s new take on the legendary TR-808. While Roland’s much-discussed AIRA range won’t be premiered until April’s Brighton Music Conference, we’ve already seen pictures and prices. But the question remains: how does it sound? Ableton Live users are in […]
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Motif and Wokeye step up for the first release on Love Dose
    3:13, via Phuturelabs
  • Manchester promoters Love Dose make their way into the world of record labels with an impressive first release from Motif and Wokeye.
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Stay Plugged In 01
    3:13, via LessThan3
  • Producers are always on the lookout for new plugins in the quest for sonic diversity. We at LessThan3 have decided to aid in that search by launching a bimonthly series called Stay Plugged In, which will showcase plugins available as free downloads. These babies will not make a dent, dimple, or blemish in your wallet–your […]

    The post Stay Plugged In 01 appeared first on LessThan3.

  • WATCH: Skrillex, KTN, Fatman Scoop Collab + SF Takeover Official Recap
    3:13, via LessThan3
  • With videos from Skrillex‘ Takeovers still supplying fans with tastes of his new material, NEST HQ released the official recap for the Bay Area leg today, offering an intimate look into the tour that’s been filled with priceless moments and brand new tracks. Among the new goods debuted during the takeovers, Skrilly unleashed a ferocious, […]

    The post WATCH: Skrillex, KTN, Fatman Scoop Collab + SF Takeover Official Recap appeared first on LessThan3.

  • Gorgon City – Ready For Your Love Feat. MNEK (Florian Paetzold Remix)
  • It is not a typical situation and declaring the moment takes as much guts as the act of letting someone in when we’re most vulnerable. No one’s ready to jump on love. At least not me. I first heard Gorgon City’s original when it came out upon seeing MNEK on the track’s title. I dug […]
  • Different Sleep – “Damage”
    Chicago-via-San Diego…

  • Different Sleep – “Damage”

    Chicago-via-San Diego producer Rafa Alvarez, better known as Different Sleep, is the latest signee to Friends of Friends, an imprint that’s put out material from the likes of Ryan Hemsworth, Shlohmo, and Kyson. His newest single, “Damage,” will arrive on his ‘Conflict‘ EP on April 22, but it’s already available for you to stream.

  • Fear of Men – “Luna”
    UK indie-pop quartet Fear of…

  • Fear of Men – “Luna”
    UK indie-pop quartet Fear of…

  • Fear of Men – “Luna”

    UK indie-pop quartet Fear of Men are gearing up for the release of their debut album Loom, which is available from April 22nd via Kanine. We’ve already heard the amorphous dream single, Alta/Waterfall,” and this new one, “Luna,” is equally arresting.

  • Tei Shi – “Nevermind The End” (Saint Pepsi Remix)
  • Tei Shi – “Nevermind The End” (Saint Pepsi Remix)

  • GAPS – “I Know It’s You”
    [directed by BISON]

  • GAPS – “I Know It’s You”

    [directed by BISON]

  • Barnaby. – “Things We Could Do”
    New talent here for…

  • Barnaby. – “Things We Could Do”

    New talent here for you to check out, with the sublime sound of Southampton newcomer Barnaby. and his sugar-sweet new single “Things We Could Do”. Those into James Blake and Sampha this is for you!

  • Glass Animals – “Gooey”
    [directed by The Apiary]

  • Glass Animals – “Gooey”

    [directed by The Apiary]

  • River Tiber – “Atlantis”
    River Tiber is the moniker…

  • River Tiber – “Atlantis”

    River Tiber is the moniker of young Canadian multi-instrumentalist, and producer Tommy Paxton-Beesley. Multitracking all the instruments, vocals, samples and sounds on his recordings, River Tiber has emerged as an original voice in Toronto’s music scene, with a dark, gritty electronic sound that continues to evolve. His latest track “Atlantis” is a swirling, haunting thing of beauty.

  • Oceaán – “Turned Away”
    Rising Manchester producer…

  • Oceaán – “Turned Away”
    Rising Manchester producer…

  • Oceaán – “Turned Away”

    Rising Manchester producer Oceaán has released a new track from his forthcoming debut, self-titled EP in the form of “Turned Away”. The track follows the release of To Lose which has seen Oceaán’s name top the Hype Machine charts and receive great support from the likes of Rob Da Bank and Annie Mac on BBC Radio One.

  • iamamiwhoami – “Hunting For Pearls”
    iamamiwhoami…

  • iamamiwhoami – “Hunting For Pearls”

    iamamiwhoami continue promoting their upcoming third studio album, still untitled, scheduled to be released this year via To whom it may concern. Following the video for Fountain last month, the mysterious Swedish duo has unveiled a new video for the single “Hunting For Pearls”. 

  • Y LUV – “Jacques Cousteau”
    3:13, via The Burning Ear
  • Los Angeles’ Y Luv have been flying under too many radars for far too long. These guys consistently kick out some big shredding jams and “Jacques Cousteau” is no exception. Full of energy, grit, hooks, and no shortage of the guitar and bass licks that make me love these guys so much. Stay tuned for […]
  • [PREMIERE-MP3] Rhye – “Open” (Wiley Webb Remix)
    3:13, via The Burning Ear
  • [PREMIERE-MP3] Rhye – “Open” (Wiley Webb Remix)
    3:13, via The Burning Ear
  • Wiley Webb flips things on their head. His remix of Katy Perry’s “Roar” was fearless, turning the formulaic chart topper into a spastic body mover that has been in every DJ set I’ve played all year. Rhye’s 2012 slow burner “Open” is a bit more sacred than “Roar” but Wiley handled it beautifully, adding just […]
  • Tune In Crew – Don’t Go Go
    3:13, via Salacious Sound
  •   While this track is just begging for a VEVO original video with cute girls riding Vespas away from a setting sun, Tune In Crew’s latest begs comparison to ODESZA […]
  • Av.i – L’esbroufe
    3:13, via Salacious Sound
  •   Channeling the likes of Parov Stelar and hip-hop giants like Outkast, Av.i’s  L’esbroufe, comes off as a sweet instrumental track, filled with a tight baselines and sweeping strings.   […]
  • Amati – Lifted
    3:13, via Salacious Sound
  •       If you have been sleeping on Amati, then you have a lil’ catching up to do. The Minnesota-native has been releasing smooth tunes over the past couple […]
  • Madeon – Cut The Kid
    3:13, via Salacious Sound
  • We haven’t heard from the young prodigy Madeon in quite some time, but he’s assured us of much more to come, and in the meantime, this. The fact that he […]
  • Esseks – Sequel EP
    3:13, via Salacious Sound
  •   Brooklyn-based producer, artist and musician, Esseks, has just released a brand-new EP entitled Sequel and it’s got a little bit of everything.  From Lorde to Tetris to summery vibes, this three […]
  • NYC Show Alert – Sinjin Hawke, Thriftworks, P. Morris, Subset @ SRB Brooklyn 2/28
    3:13, via Salacious Sound
  • NYC Show Alert – Sinjin Hawke, Thriftworks, P. Morris, Subset @ SRB Brooklyn 2/28
    3:13, via Salacious Sound
  • NYC Show Alert – Sinjin Hawke, Thriftworks, P. Morris, Subset @ SRB Brooklyn 2/28
    3:13, via Salacious Sound
  • NYC Show Alert – Sinjin Hawke, Thriftworks, P. Morris, Subset @ SRB Brooklyn 2/28
    3:13, via Salacious Sound
  •   Mark your calendars and shove everything else off your plate for this one because this Friday, Februrary 28th, Sinjin Hawke /w support from Thriftworks, P. Morris and Subset will […]
  • Embryonic Electronic
    3:13, via ReqEffect
  • The Shadowbox featuring ‘Embryonic’ which closes the recently released ‘Ghosts Of Then And Now’ album from Illum Sphere has been described as ‘a hypnotic electronic lullaby’, and is one of three collaborations with the Brooklyn artist otherwise known as Bonnie
  • [Electronic] Golden Features – Golden Features EP
    3:13, via The Music Ninja
  • [Electronic] Golden Features – Golden Features EP
    3:13, via The Music Ninja
  • [Electronic] Golden Features – Golden Features EP
    3:13, via The Music Ninja
  • [Electronic] Golden Features – Golden Features EP
    3:13, via The Music Ninja
  • Somewhere between the lines of lush, gorgeous ambient electronica, bass-heavy dance music and avant-garde hip hop lies Golden Features. This up-and-coming producer … Continue reading »
  • Dog in the Snow – Factory
    3:13, via The Music Ninja
  • Black pepper on watermelon, and Sriracha on mangoes. Who would have ever thought that many of us would have a palette for combinations like that? … Continue reading »
  • JOSEPH || Swim Darker
  • Released: February 2014
  • Glass Animals || Gooey
  • Released: February 2014
  • Coldplay || Midnight
  • Released: February 2014
  • Stream a Crunchy House Burner from Tom Demac
    3:13, via THUMP RSS Feed
  • Stream a Crunchy House Burner from Tom Demac
    3:13, via THUMP RSS Feed
  • This coming Monday is going to be a big day for London producer Tom Demac. Not only is he scheduled to appear on the prolific livestream series Boiler Room, but he's also got an EP ready to drop that same day. Linda's Theme, his debut on Aus, features three trundling dance floor burners, one of which we have available as a stream below. The leaden kick drum on "Days With Poly" is decorated with minuscule percussive noises and equipped with crunchy tech-house hi-hats, forming a sturdy framework for dreamy ethereal vocals and gliding synth pads.

    Connect with Tom Demac on Soundcloud
    Connect with Tom Demac on Twitter

  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • 10 Rave Classics That Took the Pop Charts
    3:13, via THUMP RSS Feed
  • The Great EDM Boom has finally carried over to music sales. As Spin recently pointed out, sales of dance music recordings have surged in the last year: Daft Punk and Avicii both snagged high rankings on the Billboard Top 200, and artists like Zedd, Martin Solveig, and Afrojack sold 1 million downloads each. And then, of course, there's the barely-legal electro-house heartthrob Martin Garrix, whose single "Animals" topped the UK charts a few months ago.

    All this makes it seem like EDM has finally "made it" in America—and in a way, it has, because dance music has never sold so many recordings, even during the disco and electronica booms of decades past. But let us never forget the house hits that reared their kandied heads on the international singles charts of yesteryear. I graduated high school in 2007, meaning I can only remember as far back as Aqua and the Vengaboyz, so I had to make a couple phone calls and hit the history books to assemble this list of historic rave crossovers. We wouldn't want to forget the classics, right?

    1991: THE SOURCE AND CANDI STATON – "YOU'VE GOT THE LOVE"

    In 1991, a British synth-pop remixer by the name of The Source released his version of “You Got the Love.” Believe it or not, the 1986 single by soul singer Candi Staton was originally recorded to soundtrack a film about a 900-pound man on his quest to lose all of his excess weight. It didn't reach widespread claim until The Source dug it out of the vaults.

    “They were calling my house saying I had a number-one record in England,” Staton told The Guardian in a 2006 interview. “And I said, 'What song? I haven't released any song.'” Initially unaware that the single had even received the remix treatment, she had to get lawyers involved to make sure she got properly paid when the single sold 2 million copies. "The English releases can't rip me off any more—hopefully," she said.

    PS: don’t skip the XX remix of the 2009 Florence and the Machine cover of the 1991 version of the 1986 single. Honestly, I can’t even make this shit up.

    1990: BLACK BOX – "EVERYBODY, EVERYBODY"

    Speaking of rip-offs, the Italian superstars Black Box have seen more lawsuits than a self-accelerating Toyota. They were initially busted for sampling disco diva Loleatta Holloway without permission on their 1989 number-one single “Ride on Time." Later, they were sued by their own vocalist Martha Wash, who felt snubbed because she was replaced by a lip-syncing French model at the group’s live engagements—and because she initially never received credit on their albums and singles.

    Is it embarrassing that the first time I heard this was when I bought a Girl Talk CD in 2007? Yikes.

    1991: THE PRODIGY – "CHARLY"

    Few synthesizer sounds are more iconic than the big bad motherfucker of a Hoover synth that opens the Prodigy's 1991 debut single, "Charly," which reached No. 3 on the UK singles charts in September of that year.

    They call it the Hoover because it sounds like a vacuum—a huge, cosmic vacuum that will suck the ego out of your skull and leave you a frothing, hysterical shell of a human, writhing in ecstatic communion with the gods of rave. But who wore it best, really?

    1991 saw Joey Beltram harnessing the same synthy black magic on his single "Mentasm" for Belgian techno label R&S, under the name Second Phase. Then there's another R&S track from the same year: "Dominator," by Dutch techno pioneers Human Resouce, which is so hardcore that it makes me want to go throw this fresh pot of green tea on sombody's face and spraypaint an anarchy symbol on the doors of the VICE office. Either way, Prodigy went biggest on the pop charts.

    1999: ZOMBIE NATION – "KERNKRAFT 400" 

    Ugh. This fucking song.

    Not only did it take the number-two spot on the UK charts, but you Americans out there may recognize "Kernkraft 400 (Sport Chant Stadium Remix)" from any number of beer-soaked college basketball games. And while most of these throwbacks never made a splash with us across the pond, this one definitely tapped something in our tiny American pea-brains. I even remember hearing the 1999 high-NRG anthem at my eighth grade after school dance, though I can't be sure because I was fixated on touching a titty for the first time underneath the bleachers in the gymnasium. 

    1998: SONIQUE – "IT FEELS SO GOOD"

    Fun facts from Wikipedia: "On 27 June 2008, the Official UK Charts Company named 'It Feels So Good' as the biggest selling dance song of the 21st century." In the UK alone it sold over 650,000 copies. In the US, this catchy trance hit peaked at No. 8, and clocked in at the end of the year at No. 34 in the Billboard Hot 100 chart. 

    Singer, producer, and DJ Sonique was a resident DJ in Ibiza for a few years in the late 90s, grew up playing in a reggae band, and then beat breast cancer in 2010. This lady is too cool. Sonique—you can roll with me and the homies to the club any time you want. We will steamroll that dancefloor.

    1988: INNER CITY – "GOOD LIFE"

    Songs like "Good Life" inspire fierce and nauseating debates over the terms "house" and "techno." The track was made by Kevin Saunderson, a pioneering producer from Detroit, a city known for its contributions to the development of techno—but it sounds like house! Those chords! That unforgettable Paris Grey vocal! What does it mean??

    Well, it means that "Good Life" is a track as timeless as the hackneyed controversies it inspires. Saunderson unleashed the classic anthem in 1988 under the moniker Inner City, the name he used whenever he teamed up with Paris Grey. By January of 1989, "Good Life" hit No. 4 on the UK charts. In 2013, the track proved to be as powerful as ever when Saunderson played it during his closing set with Derrick May at Movement. It was cold as fuck, and it was raining, and the two Detroit kingpins were late to take the stage. But when Grey's voice ripped through the amphitheater with the words "No more rainy days," the freezing, soaked ravers rejoiced. It was a super PLUR moment. (Elissa Stolman)

    1997: THE CRYSTAL METHOD – "BUSY CHILD"

    The undulating synths and cosmic voiceovers of “Get Busy Child” take me back to a time of UFO pants, Surge soda cans from the video arcade in Somerville, and that fantastic Rob Zombie rave scene where Neo first meets Trinity at a leather club in post-apocalyptic Los Angeles. 

    I first heard this jam when I was ten years old and my cool uncle bought me a copy of N2O: Nitrous Oxide, the 1998 Playstation sleeper that was soundtracked by this homegrown rave-rock duo. Did you know they just released their fifth studio album? Yeah, neither did anyone else. This one came in at No. 17 on the Hot Dance Club Play in the US.

    2000: CRAIG DAVID – "FILL ME IN"

    If you listen to enough 2-step / garage mixes, you'll start to recognize certain tracks that pop up over and over. There's "Scrappy" by Wookie, Dem 2's "Destiny," Colour Girl's "Joyrider," the Resevoir Dogs Vocal Mix of "You Don't Know" by 702, and Artful Dodger's "Rewind," which features vocals by Craig David. The R&B stud faded into obscurity after releasing a few albums and lending his sensual singing to a handful of Artful Dodger productions, but in 2013, he burst back into the spotlight after he tweeted a picture of his insanely yoked body and exchanged tweets with Justin Bieber.

    The track that David mentions in his tweet to Bieber, "Fill Me In," was originally released in 2000. David's vocals are as silky as a pair of satin boxers, and the lyrics are as corny as the type of douchebags who wear satin boxers; The song details David's love affair with a girl whose parents are "trying to find out what we were up to" as the couple does "things that young people in love do." In other words, perfect fodder for a radio hit, and still better than anything Bieber has made to date. (Elissa Stolman)

    1995: THE BUCKETHEADS – "THE BOMB (THESE SOUNDS FALL INTO MY MIND)"

    The Bucketheads was an alias of New York City house legends Kenny Dope and Louie Vega, aka Masters at Work. You know, the guys also responsible for “Deep Inside” as Hardrive and “The Ha Beat,” which became anthemic in New York ballroom house music and the worldwide voguing scene at large.

    The unedited version of this track is one of the longest house records of the 90s, apparently because producer Kenny Dope left the drum machine on repeat by accident. “The record's 14 minutes long but it was actually a mistake,” he told the audience at his Red Bull Music Academy lecture. “If you play the original song it doesn't do that: the way the hooks are laid out, the way the anticipation is with the whole horn intro and all that… it was me missing the sequence.”

    The whole point of a perfect groove is that people won’t even notice that they’ve been dancing for 15 minutes to the same seven-second loop.

    2001: DJ RUI DA SILVA – "TOUCH ME"

    Comments on this one include: "second best song of the earth," "Beefy track this how i feel in side of me," "junkie fuck," and "Shaggin tune" [all sic]. Trance fans are a special bunch, aren't they?

    This euphoric slammer—by Portuguese DJ Rui da Silva and singer Cassandra Fox—charted in almost every country with a decent dancefloor, soaring at No. 1 on the UK chart for a week. It was the first time that a Portuguese single took the No. 1 spot on the British singles chart—and he promptly disappeared back into weird progressive house circles afterwards. I did, however, find his remix of Yoko Ono, which is pretty tits.

    Max Pearl has opinions. Follow him on Twitter. -@maxpearl

  • It’s Now Been Over a Decade Since the RAVE Act
    3:13, via THUMP RSS Feed
  • Photo from a 2002 protest against the proposed legislation via

    Early this week we looked up at our calendars and realized it had been over ten years since the proposal of the RAVE Act—a bill that aimed to crack down on the United States' "ecstasy epidemic" in the early 00s. The bill was sponsored by then-Senator, now-Vice President Joe Biden, who attached it to the legislation that launched the nationwide kidnapping alert system in place today, AMBER Alert.

    The RAVE Act was an extension of the 1986 crack house law that held tenants and owners responsible for drug sales and use that occurred on their property, and a precursor to the California regulations that persecute parents when minors drink booze at their homes, even if the parents weren't home and didn't know about the party. 

    By the time it passed, Biden had renamed it the Illicit Drug Anti-Proliferation Act, perhaps because the initial name was a little too perfect. According to Biden's press secretary, the bill seeks to combat the use of Ecstasy "where it was taking place most often," which "happens" to be at raves. "Senator Biden is not against electronic music," he clarified. So the name of the legislation—an acronym for Resisting Americans' Vulnerability to Ecstasy—was obviously a coincidence.

    According to anecdotal reports on message boards, US military troops toting assault rifles enacted the RAVE Act when they shut down a rave in Utah in 2005. "A few 'troops' rushed the stage and cut the sound off and started yelling that everyone 'Get the fuck out of here or go to jail,'" one poster, who claimed to be the DJ at the event, wrote. "They had police dogs raiding the crowd of people and I saw a dog signal out a guy who obviously had some drugs on him. The soldiers attacked the guy (4 of them on 1), and kicked him a few times in the ribs and had their knees in his back and sides." As the ravers were fleeing the scene, one of the troops allegedly unloaded a can of teargas into the audience.

    Despite these message board claims, a New Orleans site reported that the RAVE Act was enacted for the first time in Louisana, when DEA agents scoured the State Palace Theatre before an event thrown by dance music promoter Disco Donnie. It's not clear whether or not Disco Donnie had to pay a fine, but one poster on Dallas Dance Music asserted that the police were handing out massive price tags for promoters who violated the RAVE Act. "The fact is this law is the reason that warehouse and field parties went away," wrote the disgruntled raver. "The day they started handing down $250,000 fines to warehouse owners for renting them out as rave venues was the day the rave died."

    Rather than ending dance music culture altogether, the RAVE Act arguably drove the renegade parties out of business and led to the rise and boom of licensed commercial events—however, there are plenty who assert that making the parties illegal only drove them farther underground, to abandoned warehouses and remote fields where there were no regulations at all.

    Just remember: It's laws like these that drive everyone to Berlin, where you can walk naked down the street while smoking a joint and drinking a beer on your way to the clerb.

  • Techno Girl Problems: I Think I Like EDM
    3:13, via THUMP RSS Feed
  • Last week, I was in an elevator with Skrillex. We had just finished an interview for another magazine, which took place right after his cover shoot for its upcoming issue. I showed up at the studio around noon, long after the photographers had arrived to set up, and a while before he rolled in with his entourage (long-haired, bearded manager, cute girl, I think one other guy), and now we were touching shoulders in a crowded elevator. 

    Sonny Moore was surprisingly easy to talk to, because he has that special charismatic ability to make you think he's genuinely interested in whatever it is you're discussing. "So, you're into electronic stuff?" he asked. I had a fraction of a second to panic, because I knew what was about to happen. That's when Skrillex asked me, "What kind of music do you listen to?"

    The truth is that Skrillex informed and shaped my taste in electronic music. When I first dabbled in programmed beats, I didn't know what I liked about house and techno, but I was certain that I did not like Skrillex, and I definitely didn't want to be mistaken for someone who did. I spent years strategically distancing myself from Skrillex and EDM at large. I started a (now defunct) Twitter persona called Rave Snob, which began as a parody of my own pompous tendencies, and over time it merged with my IRL personality until the two became increasingly difficult to tease apart. One of the founding tenets of the @RaveSnob philosophy was that Skrillex sucks—but I did not tell him that. I lied to Skrillex.

    I believe my exact words were, "Mostly house and techno, but you know, I'm not a snob or anything. I can get down with whatever." This was a bold deception. I also mentioned that I like the music at Berghain, the most famous nightclub to ban Sonny from ever controlling its sound system. By aligning myself with a stronghold of "good taste," I hoped to subtly communicate the depths of my arrogance, but the lie just slipped out. And when I look back on it, I think I know why it happened, why I decided to tone down my typically acidic taste-making tone in front of this celebrity DJ: for the first time, I was ashamed of being a snob.

    I had become fed up with the limited-press DIY labels and faceless anti-hype machine artistes whose records I frantically pre-ordered weeks before their release—because the producers I respect don't seem to respect me. Niche house and techno artists aren't exactly keen on press. They see the media as an adversarial arm of a culture industry that transforms their artistic creations into commercial products. From this perspective, any engagement with the press serves commercial interests, and underground artists stake their credibility on putting creativity first and distancing themselves from profit motives.

    Although we here at THUMP may sometimes take a shot or two at this stubborn integrity (which makes us even more reviled by the artists I love) I also admire their attitudes, because I'm that way, too. I don't want my craft to be boiled down to its PR function, or to be used as fodder for advertisers and venture capital firms that own the publications I write for. But here I am, an employee at the Willy Wonka's Chocolate Factory of content creation, hoping to shine a lasting light on the artists I find the most stimulating and exciting. I'm a fangirl at heart—a feisty or inquisitive one, maybe—and my interest goes beyond attracting readers to the latest hype darling. But it's a strange line to toe when you realize that many of your favorites don't even want to talk to you.

    Interviewing Skrillex was different. With Sonny, there was no mistrust or judgment. He didn't seem to feel like doing an interview with me was some banal duty he had to complete, when his real job was to make the music. It was refreshing to hang out with him, because my interactions with the artists I fawn over made me feel like a subordinate, or a parasite, or a necessary evil, or a contrived industry apparatus.

    It was the perfect storm. When I went home that day, I listened to Sonny's BBC Radio 1 Essential Mix, and I liked it—a lot. I listened to it again, and again, and again, and each time, I discovered new charms. I realized that Skrillex is an incredibly dynamic DJ, and his skill at rapidly shifting between styles and moods reminded me strongly of the reasons I admire underground hero Ben UFO. He's partial to short, catchy vocal samples over long verses, as am I. And his sets are truly and undeniably unpredictable.

    These reasons to like Skrillex existed prior to that moment, just as the reasons I had to resent the underground preceded my frustration with it—but none of it mattered to me before. There are reasons to like or dislike any kind of music, but the way you feel about it is determined by which reasons matter more to you at certain times in your life. If you surveyed a million people about why they adore or despise a given genre of music, you'd get a million different and equally valid reasons to love or hate it simultaneously. Taste isn't inherent in the music or the people listening to it, even if it feels like it develops naturally; taste is social, all the way down. It's informed by non-musical, personal, and political factors, and those concerns lead to genuine musical enjoyment.

    I know, I know. You guys think I'm a poser who only likes underground house and techno because it makes me feel enlightened—and now I've decided to like EDM just because Skrillex was nice to me. Yes, like any human, my ability to appreciate music is couched in social considerations, but I also legitimately enjoy the physical, emotional, and mental sensations of listening to it.

    After all, Skrillex's recent sets draw omnivorously from the mainstream and the underground. Sonny's BBC mix incorporates a shiny house tune from crossover duo Disclosure, as well as an old hit from seminal ghetto house label Dance Mania, an outpost that has gotten plenty of love from mysterious underground producers in the LIES universe. Furthermore, he debuted an edit of Blawan's massive below-the-radar anthem "Why They Hide Their Bodies Under My Garage," and all the Pitchfork-reading indiebots were scandalized at the idea that Skrillex would dare poach tracks from their turf.

    I get the feeling that if I had been honest with Sonny and showed him some of the stuff I've been digging recently, he wouldn't have wrinkled his nose in disgust, as I would've done if he had eagerly played me a hot new moombahton track. Sonny's Essential Mix is a hand reaching across the aisle, and I don't want to be the asshole who slaps it away.

    Read the last #TechnoGirlProblems here.

     

     

     

     

  • Marcus Schossow explores new production style in remixing Coldplay’s "Midnight"
    3:13, via EARMILK.COM
  • Swedish dance producer Marcus Schossow is a real man of the people, progressive in his music adventures and sometimes literally in his music as well. While we are used to hearing massive, underground takes on club house with booming masucline personality, Schossow has launched something special today involving a creative…
  • The Dopplegangaz remind us of rap’s good ol’ days with "Fall Thru"
    3:13, via EARMILK.COM
  • I didn’t even know they made Hip Hop like this anymore; The Doppelgangaz have revived a completely unpretentious style of Hip Hop that many thought was lost to the depths of the 90’s; no gimmicks, auto tune or ridiculous samples – instead the New York duo bless us with a…
  • Collin McLoughlin revamps Deathcab For Cutie’s "Transatlanticism" [Download]
    3:13, via EARMILK.COM
  • It appears that today is a day for classic tracks to undergo the remix knife. Earlier OVERWERK did his magic on Linkin Park’s beloved anthem, “Faint”, a song that fueled many an angry high school teenagers’ lives but now recalls fond memories of days long past. What better contrast to…
  • JayCeeOh and Terror Dactel drop melodic festival anthem with "Hear You Calling" [Download]
    3:13, via EARMILK.COM
  •  JayCeeOh has been capitalizing on his victory at VH1/Smirnoff’s “Master of the Mix” competition in tremendous fashion. The DJ/producer is establishing himself as a household name in the trap realm with a consistent schedule of impressive releases, highlighted by hits like his popular original “Damn” with DJ Scene, and his recent…
  • OVERWERK reimagines Linkin Park’s "Faint"
    3:13, via EARMILK.COM
  • One of my longtime favorite producers, the Canadian electronic artist OVERWERK (aka Edmond Huszar), just dropped this remix of angst rock classic, “Faint”. Huszar let loose Conquer last December, the 3rd of his EPs to continue his signature melodic electro style.  Starting off by sampling the famous lyrics, the remix…
  • Malea’s track "Give" gets remixed by Promise Land
    3:13, via EARMILK.COM
  • DJ/producer duo Promise Land has been on a hot streak providing remixes to some of the hottest names in dance music and they’ve also been busting out some rad original tracks on top of that. But their newest release comes in the form of a remix for Malea’s track “Give”….
  • TÂCHES releases "Turn Of Phase"
    3:13, via EARMILK.COM
  • London-based producer TÂCHES has been on a fast roll so far in 2014 and is not showing any signs of slowing down. After releasing two original tracks “Paris” and “Something Blue” less than two weeks apart from one another, TÂCHES is back at it yet again to release another original…
  • Stadiumx and Taylr Renee’s new track will make you "Howl At The Moon"
    3:13, via EARMILK.COM
  • Hungarian duo Stadiumx is killing it on their collaboration with female vocalist Taylr Renee . Their new track, “Howl At The Moon”, received a ton of hype when they released a preview, and now that the whole track has dropped, you’re guaranteed to hear this flooding speakers near you soon enough. Taylr…
  • Madeon is back on form with "Cut The Kid"
    3:13, via EARMILK.COM
  • The French producer we have come to know as Madeon has been on an exponential rise since finding a huge fan base off his “Pop Culture” mash-up, along with an abundance of remixes. Six months after the release of his single “Technicolor”, he has given the world access to his newest creation…
  • The "Circus" pops up with Sunnery, Ryan & Ariyan
    3:13, via EARMILK.COM
  • Enter the intriguing world behind the curtain, or in this case the DJ booth, of the energetic Dutch duo Sunnery James & Ryan Marciano. This pair of progressive house ringmasters, who know how to inspire and awaken fans through the grandeur of their music, recently brought Canadian producer Ariyan into…

The Daily Playlist for February 26, 2014

  • London post punks Telegram are back with a brilliant new song…
  • London post punks Telegram are back with a brilliant new song “Rule Number One”. Erupting with barely any notice, this is three minutes eighteen seconds of detonating riffs, preening vocals and cement mixer drums. Check it out now. [via]

  • Burlington, VT duo Pours is the new project of Bryan Parmelee…
  • Burlington, VT duo Pours is the new project of Bryan Parmelee…
  • Burlington, VT duo Pours is the new project of Bryan Parmelee and Christopher Shar, the latter of whom was previously a touring member for Man Man and Santigold. For this project, they’re making atmospheric indie pop led by Bryan’s airy falsetto which mixes electronics and live instrumentation. Their self-titled debut LP comes out this May via Section Sign Records. Ahead of the release, you can stream two tracks – “Carry the Oar” and “Unveiled” – below. [via]

  • video: Sivu – “Can’t Stop Now”
    [directed by…

  • video: Sivu – “Can’t Stop Now”

    [directed by Adam Powell]

  • LO feat WONDA [x Brandy] – Long Distance
    3:13, via Salacious Sound
  • Where did this guy come from? It would appear Germany but with a remix this hot of Brandy do we really care? I know its a bit poppy but the […]
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • Featuring HAPPY SKULL
    3:13, via HUSH HOUSE
  • The Kelly Twins really are great DJs and selectors, reaching for a wide range of choice acid and jaunty electro cuts. It’s no surprise then that their label Happy Skull has been very well received with initial releases from Systems of Desire (Kowton and Hyetal) and Adjowa (with a gritty Funkineven remix).

    Rhythmic Theory haven’t strayed far Bristolian labels Brstl and Idle Hands, and fit nicely with Happy Skull’s machine-funk aesthetic. A-side ‘Decadence of Delay’ features distorted drum machines and whispering synths, whilst B-side ‘Endocrine Creatures’ hits harder with a resolute acid line.

    Decadence of Delay – Rhythmic Theory [Happy Skull]

    All three releases are available now from Juno.

  • Something In The Air
    3:13, via ReqEffect
  • Hypercolour has delivered for the latest of the London label’s releases with Kowton, Bonobo and Dark Sky all putting some fresh, forward-thinking spin on tracks from the ‘Don’t Put Me In Your Box’ EP from 2011 by Maya Jane Coles.
  • Bad Penny Blues
    3:13, via ReqEffect
  • Old Apparatus member Asher Levitas proved he had more than one string to his creative bow when the self-titled, four-track collaborative ‘Saa’ EP with Linn Carin Dirdal was released through Left Blank. Whereas that venture focussed more on dark avant-garde
  • [NEW] Rick Ross – In Vein (Feat. The Weeknd)
    3:13, via The Music Ninja
  • A week prior to its release, it looks like Rick Ross‘ latest album has already sprung a leak. Earlier tonight, we shared with you one … Continue reading »
  • ZHU – Moves Like Ms Jackson (Pete Tong BBC Radio 1 Rip)
    3:13, via The Music Ninja
  • MovesLikeMsJackson-coveraret
    A lot of speculations around this flawless Cover of Outkast, but we finely have an official … Continue reading »
  • [NEW] Madeon – Cut The Kid
    3:13, via The Music Ninja
  • cut the kid
    A FREE track from one of our favorite French prodigy’s? Yes please. MadeonContinue reading »
  • [Event Preview] Red Bull Sound Select Showcase at Larimer Lounge – Denver, CO – 2/27
    3:13, via The Music Ninja
  • [Event Preview] Red Bull Sound Select Showcase at Larimer Lounge – Denver, CO – 2/27
    3:13, via The Music Ninja
  • [Event Preview] Red Bull Sound Select Showcase at Larimer Lounge – Denver, CO – 2/27
    3:13, via The Music Ninja
  • [Event Preview] Red Bull Sound Select Showcase at Larimer Lounge – Denver, CO – 2/27
    3:13, via The Music Ninja
  • Red Bull Sound Select brings an extraordinarily diverse and eclectic lineup this Thursday for their first ever Denver showcase helmed by <a …="…" Continue reading »
  • Coldplay || Midnight
  • Released: February 2014
  • FKA x inc. || Untitled
  • Released: February 2014
  • Halsey || Ghost
  • Released: January 2014
  • Maya Jane Coles || Something In The Air (Bonobo Remix)
  • Released: February 2014
  • Output and THUMP Present: Butane
    3:13, via THUMP RSS Feed
  • Output and THUMP Present: Butane
    3:13, via THUMP RSS Feed
  • Obviously the team here at THUMP loves to party, and when we're not in the office blasting techno in our headphones, you can usually find us praying to the Funktion-One system at Williamsburg's dance mecca, Output, which is conveniently located down the street. This club is very well on it's way to being the number one spot in all of NYC, if not the entire country, and to help celebrate the awesome programming they've been holding down, we're teaming up on a mix series that will showcase some of the stellar talent consistently found in their four walls. For the first installment, we present a stripped down techno joyride brought to you by Butane, who's label Alphahouse Records has been pumping out techno bangers faster than Technotronic was pumping jams back in '89. 

    Check out Output's schedule here!

     

  • All Gone Pete Tong: Benoit & Sergio
    3:13, via THUMP RSS Feed
  • THUMP is proud to present an exclusive new interview series helmed by UK dance music legend Pete Tong. With 30 years of DJ experience under his belt, Pete is showing no signs of stopping—what with his Evolution show on I Heart Radio and headlining parties around the globe. Plus, he's currently living it up in LA and hosting a monthly party at Sound Nightclub in Hollywood, where he books the cream of the crop of techno and house artists. 

    Pete has been interviewing his top-notch DJ guests—including Lee Foss, Moby, and Benoit & Sergio. This first episode features the latter—two rad guys from DC who made club tracks after work and eventually got to ditch the day jobs all together for a life of excess, globetrotting, and the biggest of kickdrums. With big releases on Visionquest, Culprit, Ghostly, and even DFA, their emotive tracks have proven to shake up all different corners of the techno and house game. This interview reveals a side of Pete and Sergio that you've never seen before—a must-watch! 

    Music featured in this episode: Benoit & Sergio "Shake Shake" and "Adjustments," both on Culprit.
    Buy them now: http://btprt.dj/1gxTw1O

    Follow Pete Tong
    Follow Benoit & Sergio
    Visit Sound Nightclub

  • DJ Green Lantern’s ‘Know About Me’ Mix is for Turning Up to a Gazillion
    3:13, via THUMP RSS Feed
  • DJ Green Lantern continues his cannonball into the world of trance-ified hip-hop with his Know About Me mix—which is 39 minutes and 40 seconds worth of aggressive-as-fuck basslines, jagged synths, and layers upon layers of heavy hooks. It’s the kind of stuff you pop on after eating an unidentified party favor that you got from a stranger at a gymansium rave in Rochester, NY.

    The mix is really a chaser following DJ Green Lantern’s remix of his original track, also called “Know About Me,” which features fellow producer Valentino Khan and the bearer of a GQ-approved booty, Iggy Azalea. 
     
    When I asked DJ Green Lantern why keeps calling his latest string of productions "Know About Me," his explanation was simple: he's currently on the road, and wants "the Know About Me mix platform to keep fans up to speed with what I’m doing—what my musical tastes are, and what’s to come next." A Facebook check-in, in musical form, I suppose. As for the mix itself, Green says “it’s dance-y, trance-ish at times, but still carries a hip-hop backbone.” Green promises that the mixes will be coming out “on a regular basis,” so keep your antennae swiveled in this direction. 
     
    Tracklist: 
     
    1. GREEN LANTERN "TRIUMPH" (PREVIEW)
    2. GREEN LANTERN "THE CHAMP IS HERE" (V.I.P. SNIPPET)
    3. GENT AND JAWNS "SWIZZY"
    4. MEAUX GREEN & TROPKILLAZ "PUMP UP THE VOLUME"
    5. MAYHEM AND ANTISERIUM "CRY BABY"
    6. HENRY FONG "STAND UP" (MILO AND OTIS REMIX)
    7. GLADIATOR "FEELING"
    8. GREEN LANTERN AND VALENTINO KHAN FEAT. IGGY AZALEA "KNOW ABOUT ME "
    9. PAPER DIAMOND AND LOUPVCK "WYLIN"
    10. M.I.A. "YALA" (BRO SAFARI AND VALENTINO KHAN REMIX)
    11. A-TRAK AND LEX LUGER FEAT. TRAVIS SCOTT "100 BOTTLES"
    12. CARNAGE AND BREAUX “LA MARA" (V.I.P.)
    13. GREEN LANTERN "MONSTER" (PREVIEW)
    14. SIDNEY SAMPSON "THUNDERBOLT" (HEROES X VILLIANS EDIT)
    15. DEBROKA "THAT BUMP"
    16. PETEY CLICKS "DA FEELIN"
    17. KEYES 'N KRATES "DUM DEE DUM" (PARTY FAVOR RMX)
    18. ORI SHOCHAT "GIRL"
    19. TRIPPY TURTLE "POISON"
    20. CHILDISH GAMBINO "HEARTBEAT" (GRIZ BOOTLEG)
     
    @MichelleLHOOQ
     

     

  • Meet the Man Behind the Essential ‘Future Disco’ Compilations
    3:13, via THUMP RSS Feed
  • Meet the Man Behind the Essential ‘Future Disco’ Compilations
    3:13, via THUMP RSS Feed
  • Meet the Man Behind the Essential ‘Future Disco’ Compilations
    3:13, via THUMP RSS Feed
  • Meet the Man Behind the Essential ‘Future Disco’ Compilations
    3:13, via THUMP RSS Feed
  • Meet the Man Behind the Essential ‘Future Disco’ Compilations
    3:13, via THUMP RSS Feed
  • Future Disco founder Sean Brosnan

    What happens when you take the shimmering sound of disco, throw in a dash of modern house groove, and flick your lighter? The answer is Future Disco. This London-based outfit was founded by local resident DJ and producer Sean Brosnan, who released the imprint’s first compilation, A Guide to 21st Century Disco, back in 2009. Since those days they have gone on to release seven compilations, their most recent being Future Disco Vol. 7: Till The Lights Come Up. Over five years the series has held it down for retro-fitted house music with an uplifting disco edge.

    Many of today’s house music masters like Maceo Plex, Aeroplane, and Tensnake have made early appearances on these compilations and every track that appears on these disks is carefully re-edited and retouched to give the listener a new, and satisfying experience.

    By night, Future Disco has expanded into a successful club night, making stops at Space Ibiza (co-hosted by Carl Cox's Revolution night), countless festivals stages, and even a radio show that takes place in association with AIAIAI. Recently I got the chance to chat with Future Disco's Sean Brosnan to get the inside scoop on this funky, party-starting imprint.

    THUMP: Can you tell me how the idea for the Future Disco series came about?
    Sean Brosnan: It was pretty simple. A new sound was emerging a few years back that was carrying a heavy disco influence, I was DJing a lot in London at the time and someone mentioned to me that I should do a compilation of this type of music—so I got to work. There was no master plan really, I just the idea to put this type of music on a CD as up to that point no one had done it. 

    What was your early relationship with disco music?
    I’m too young to have been around for the main disco heyday in the 70s and 80s, so for me disco has always been about discovery. I found the genre through heavily disco-sampled house and then just started digging out old vinyl at markets, charity shops and represses.

    Tell me about your background as a DJ and radio host.
    I’ve been DJing for 15 years. I was lucky in that I got a residency at a major club on the South Coast and I don’t think I was even 18 and legally allowed to be in there! I’ve been DJing ever since as a resident. It’s a position I feel comfortable with—I like the idea of playing the same room or party again and again. I’ve been a resident at Space Ibiza on Tuesdays for the past three years. As far as radio, I just present the Future Disco show when needed. I think I’m a bit less natural in that environment but I enjoy music in all it’s forms, whether it’s radio, with the label, or as a DJ—it all works together for me.

    What were some of the earliest tracks and artists you featured on the compilation? What were some surprise success stories of artists you have featured early on?
    On the very first album I think I had Tensnake, Crazy P, Aeroplane, The Revenge, Greg Wilson, Mario Basanov, Hercules & Love Affair, Beyond The Wizards Sleeve, DJ Koze and lots more. All were relatively unknown at the time. It sounds odd to say but I expected all of them to go on to be successful. I take real care in picking the tracks that go on the compilations and I’m always looking for depth in the various productions; if I pick a track it’s because I think that the producer has a real edge. With artists like Mano Le Tough, Storm Queen, Maceo Plex, its been great to see them get as big as they have gotten because when I chose to include their tracks, I was doing so purely on their musical merit, it had nothing to do with who they were at the time.

    How would you describe the sound of Future Disco? What do you love most about it?
    I don’t really have a real description for it except that it's house music with a disco influence, and for me that’s often wide-ranging. Disco has had a big influence on all types of music—it pretty much created house music, so while drum & bass wouldn’t be right on the compilations, many different type of genres are often fitting. 

    What has been your favorite compilation you have put out thus far?
    I like all of them for different reasons—they are all a little snapshot in time for me. So I have to say it’s always the most recent one, you are only as good as your last one as they say.

    Can you tell me a bit about the club nights you guys have hosted? What's on tap for this summer, will you be back at Space Ibiza?
    We’ve done lots of shows all over the world. There was a point when myself and Dom Chung, who I do the nights with, were on a mission to clock up as many air miles as possible. Now we tend to focus on London, Amsterdam, Croatia and Ibiza.

    This summer we will host a boat party at Unknown Festival in Croatia, a stage at Gotwood festival, more parties in London, and as far as Ibiza, expect to hear some news coming soon on the White Isle!

    What's the process like for putting one of the compilations together? Are you the only one who selects what tracks will make it on the comp?
    Other people in the office may suggest a track but mainly it’s me going over lots of promos and releases. I just hear a track I like and then add it to the list, and slowly whittle the tracks down. It’s quite a long process for me, I should probably speed it up a bit but I care so much about the end result and the overall flow of the compilation. I just want each one to be as good as the last.  

    Can you explain what goes on with the "Future Disco edit"? How are these tracks different when featured on the compilation versus when they would be heard elsewhere?
    I actually edit most the tracks on there in some way, so you may have drums from a record sitting under another or I'll take part of a track out if it’s a bit too long. If you check the unmixed disc and then listen to the original, it can often sound quite different. I started doing the full Future Disco edits a couple of years ago. I was getting tracks and loving them but wanted to rearrange them a bit, so I asked permission if I could do this and people are very gracious in letting me do my thing. I go in the studio and just do what I think would help the track work on the compilation.

    Tell me about the latest installment in the series. What was the overall vision on this one?
    One night this summer I was in Ibiza at Pacha and I stayed all the way until the club's close. It was around 7AM and the lights keep flashing and then finally they just stayed on. The club had thinned out by then so you have your few hundred hardcore fans there and the music just has an epic feel. This is the point where everyone has that feeling but also is pretty out of it because it is 7AM after all!

    There’s something about this time of night (or morning), thats feel like having to face reality. The DJ knows this is the end of the set and the security is itching to get everyone out. I wanted to try and create that feeling tracing the journey from the peak of the night when the dance floor is full to the eventual slow slide into the end of the night.  

    Finally, what is the last song you want to hear before the lights come up?
    I always used to play Closer Musik from Kompakt—or sometimes a love song is the best way to send everyone home at the end of the night. I went through a period during a residency where I would use Rose Royce's "I Wanna Get Next To You" to close it out. 

    London people, be sure to check the Future Disco album launch party on March 8 @ The Basement, and pick up your copy of Future Disco Vol. 7 'Till The Lights Come Up Now!

    – @DLGarber

  • Infinite Machine is the Most Prolific Label in Canada
    3:13, via THUMP RSS Feed
  • Infinite Machine is the Most Prolific Label in Canada
    3:13, via THUMP RSS Feed
  • Infinite Machine is the Most Prolific Label in Canada
    3:13, via THUMP RSS Feed
  • Imprints brings you weekly profiles of the most exciting independent record labels the world over, written by movers and shakers from within their own electronic music communities.

    Name: Infinite Machine
    Vibe: Stoned adolescent robots fiddling with broken beats.
    Founded: 2011
    Location: Montreal, Canada
    Upcoming Releases: In the first semester of the year, we can expect EPs from Liar, Pixelord, Ansome, and Effy.
    By the numbers: IM has digitally released 40 EPs, on album, one remix album, and two anniversary compilations since it launched.
    Artists-to-watch: Liar, Pixelord, Ansome, Effy, and Seafloor

    What's the deal?
    Infinite Machine arrived like a dust storm in the desert: no one saw it coming, and suddenly it was everywhere. Although the label launched just three years ago, the crew has already cranked out over 40 releases on its Bandcamp page. Its expansive discography maps the links between future garage, broken beat, house, and techno, with nods to the innovations in dubstep that occurred over the course of the last decade. We caught up with label founder and manager, Charlie. 

    THUMP: Explain the name.
    Charlie:
    "I wanted to use the word 'machine,' but something was missing. The idea of the label was to release EPs one after another without stopping, so I could put the label in the map in a matter of months. Half of the credit goes to my roommate at the time and partner in crime, producer Seapoint. One day he came out of the bathroom and straight up said, 'Infinite. I think you should add that word to the label name.' I instantly related to it and added it."

    What's the scene like in Montreal?
    "Montreal is definitely a mecca for electronic music. The city exports numerous acts, styles, and movements—the problem is [in] exposing people to the music. There are a handful of venues and clubs where you can perform—Le Belmont, Stereo, SAT, Blue Dog and Blizzarts—but there's a lack of shows, the reasons for which I personally don't understand. I might be harsh on this one, but promoters are not accessible or supportive [here]. That’s why I’ve been keeping things low-key and I only come out when I have to. That’s what everyone does here, and a few of them, including myself, have a sense of union and family with other movements and labels. The audience is very supportive and most of the shows have a special feel and a great vibe."

    What is your favorite label, besides Infinite Machine?
    "I would say R&S. I love the dark aesthetic of their artists, the design of the tracks, and the productions they release. They are also a home for numerous innovative artists that are constantly making a difference in electronic music and making me evolve and change my vision of music. Names like Pariah and Tessela have [made] a huge impact in my life. Not to mention [the fact that R&S] has been around for 30 years—that is something to admire and respect. "

    Matt Earp is the DJ and writer Kid Kameleon. He currently lives in Berlin. Follow him on Twitter @kidkameleon.

  • Old school meets the new in DJ Dan and Whitenoize’s disco collab "Engine No. 9"
    3:13, via EARMILK.COM
  • The latest release out of DJ Dan’s InStereo Recordings is every disco fan’s wet dream, and might convert some fervent hip hop-only fans to like the genre of music as well. The American house music pioneer and label head has paired up with the San Francisco-based production duo Whitenoize on…
  • Download Ziggy’s "Raptor" from Dim Mak
    3:13, via EARMILK.COM
  • Dim Mak certainly knows how to get you hooked on an artist, and a free download of stomping, high quality production wins hands down. Following on last fall’s “Amilio”, Ziggy returns with his latest track, the prehistoric thriller known as “Raptor”. For me this work goes a bit beyond the…
  • Enferno sets Drake’s "Pound Cake" afire in live remix [Exclusive Video + Download]
    3:13, via EARMILK.COM
  • Enferno sets Drake’s "Pound Cake" afire in live remix [Exclusive Video + Download]
    3:13, via EARMILK.COM
  • Lately there has been a significant amount of controversy in the electronic music world over what makes a “real” DJ – but regardless of what anybody thinks or says, it is undeniable that East Coast slugger Enferno blows most of his competition right out of the water. Already with an established career…
  • Dr. Fresch releases "You’re My Obsession" inspired by Grand Theft Auto V [Download]
    3:13, via EARMILK.COM
  • I have grown quite fond of Dr. Fresch’s silky smooth arrangements, and his audacity to take songs he loves and put his twist on them. His pure love for the music he edits serves as a good enough reason for me to listen. After he released his twangy, soulful cover…
  • AUCAN incites a "Riot" [T-Shirt Giveaway + Interview + Download]
    3:13, via EARMILK.COM
  •  There’s an exciting sound coming out of Italy intent on arousing your human instincts and desires. Fresh out of the studio from the hit-making machine Ultra Records, AUCAN has released “Riot,” an aggressive and transcendent trap record driven by melancholic yet energetic melodies that will make you lose control of your body….
  • RAC features Alex Ebert of Edward Sharpe & The Magnetic Zeros in "Tear You Down" [Premiere]
    3:13, via EARMILK.COM
  • With part 1 of his debut album STRANGERS due out on March 4th and part 2 set for a month later this marks a monumental time in RAC’s career. After the success of his Don’t Talk To EP, which featured contributions from the likes of Bloc Party’s Kele, MNDR and Tokyo Police Club, RAC’s Andre…
  • Schoolboy Q gets first remix of "The Purge" courtesy of 20syl
    3:13, via EARMILK.COM
  • There is undeniable hype swarming around Oxymoron. ScHoolboy Q’s major-label debut has been in the works since 2012, and (several delayed sample clearances later) received the nod as one of Complex’s most anticipated albums of 2014. To perpetuate the album buzz, Q stopped by MTV’s Sway Calloway-hosted RapFix, where he cyphered alongside Vado…
  • Tobtok opens up with an exclusive listen to ‘Tobtape Pt. 1’ [Interview + Mix]
    3:13, via EARMILK.COM
  • Tobtok opens up with an exclusive listen to ‘Tobtape Pt. 1’ [Interview + Mix]
    3:13, via EARMILK.COM
  • With his most recent release out via Kitsune, Tobtok aka Tobias Karlsson is feeling inspired as he looks forward into 2014. Taking a minute to chat with EARMILK, the 21-year-old Swedish producer gets into the deep meaning of music as he opens up about his career, his influences and his struggles…
  • Chester Watson invites us into his "Lair", with first track from ‘Tin Wooki’
    3:13, via EARMILK.COM
  • When young St Louis native Chester Watson first came to my attention around this time last year, Radio 1 DJ  Zane Lowe heaped praise on the then 16 year old and the flow and style he had. Whilst some people called him an Earl Sweatshirt copycat, I’ve always felt that…
  • Fear of Dawn takes Stevie Wonder’s "Love Light in Flight" to the deep end [Premiere]
    3:13, via EARMILK.COM
  • I’ll admit it: I’m a sucker for Stevie Wonder, and Australian production duo Fear of Dawn has totally figured me out. Continuing their artistic exploration after a recent move away from electro club house more toward the deeper side of things, the guys made a phenomenal discovery in their crates:…
  • A$AP Rocky producer MP Williams brings new life to Glasser’s "Shape"
    3:13, via EARMILK.COM
  • MP Williams is a talented young producer forged in the fires of the five boroughs. He is known, perhaps most notably, for his contribution to the Long.Live.A$AP-standout “Ghetto Symphony” as a co-producer. Back in September, MP was featured in Pigeons & Planes’ Best Up-And-Coming Hip-Hop Producers list, which cited him…
  • You’ll take to Racing Glacier’s new track like "Moths" to a flame [Premiere]
    3:13, via EARMILK.COM
  • We wrote about UK indie pop outfit Racing Glaciers & their breakout track “New Country” last month, and now we’re privileged to premiere their newest song, “Moths” – a dreamy and dramatic offering that takes listeners on an ebbing, flowing musical jaunt. Unlike their last track, “Moths” starts out modestly with…
  • #Mashup Monday – Week 102
    3:13, via EARMILK.COM
  • #Mashup Monday – Week 102
    3:13, via EARMILK.COM
  • #Mashup Monday – Week 102
    3:13, via EARMILK.COM
  • #Mashup Monday – Week 102
    3:13, via EARMILK.COM
  • #Mashup Monday – Week 102
    3:13, via EARMILK.COM
  • These are the mashes that are worth hearing, so stop your searching and instead settle down at your computer… turn up your speakers… and get ready for that sweet nectar that only EARMILK can give ya. Let’s GO! As February winds down, the only thing that I’m more excited about than these new…

    The Daily Playlist for February 25, 2014

    The Daily Playlist for February 24, 2014

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