So ‘No Manners’ Ft. Spoek Mathambo is about a stripper with no manners and we’ve got links to a shit-load of footage of old strippers or shit-loads of old footage of young strippers depending on how you look at it, either way they’re old now. If you fancy it we’d like you to edit the footage into a music video for us, whatcha think? If you don’t wanna use the footage but have the resources and a good idea you’re welcome to do your own thing, email your ideas/videos to weaintgotnobudget@me.com in fact email us at weaintgotnobudget@me.com if you have any questions or wanna discuss your idea with us.

If you’ve got any copyright free video’s of strippers you wanna donate to the cause add links in the comments section below.

You can edit it how you like but we do have a few stipulations:

1. I guess that Youtube won’t like us having loads of boobies in our video so cover them up with something or blur them out or whatever. (funny is good)

2. Most of the video’s have ass shaking in them, the video must have an ass shaking section in it. In fact, if you like you can make the whole video a compilation of vintage ass shaking footage ‘cos that would be awesome. Yep, definitely liking the just ass shaking idea….

3. Be creative and give it a sense of humour, have fun. We like the idea of it being like a vintage version of BOOTY SHAKING.

We’ll post the lyrics on the blog as soon as soon as possible, you can hear the track on our MySpace. Email us with you’re ideas at weaintgotnobudget@me.com and we’ll send you a low res version of the track with annoying speaking over the top so you can’t plaster it all over the internet, ha!

Sheffield’s iconic clubbing institution is set to make a historic return to the city this year. Three years since world-celebrated Sheffield nightclub Gatecrasher burned to the ground, owners have revealed firm plans to develop a new flagship venue in the city which they hope to open on their 17th Birthday this September.

Plans have been submitted to Sheffield City Council to create the ultimate 30,000 square foot , 2000 capacity hyper-club in the heart of the city, just a few yards from the original Arundel Street site. Subject to planning permission, Gatecrasher intends to invest £5 million developing the basement of the infamous cheese grater car park (Q-Park) on Charles Street creating over 200 city jobs. The site has been chosen because it means that Gatecrasher can open the club in 2010, originally bosses intended to open on the old Arundel Street site but that would mean an extensive and time consuming rebuild.

Gatecrasher is urging the city to get behind them and ‘Vote Yes’ for the new club and have created an online petition for messages of support for the new venue which they intend to submit to the council to back-up their planning proposals.

Gatecrasher bosses hope to build a state-of the art venue like no other in the UK and intends to enlist the skills of celebrated international designer Callin Fortis from New York based Big Time design. Fortis is responsible for the award winning designs of the world’s most famous clubs including Crobar New York, Crobar Chicago, and the Cameo Theater in Miami. Fortis also designed Gatecrasher’s Birmingham club voted top UK club by dance music bible Mixmag. His clubs are revered the world over with fans including Paris Hilton, Harrison Ford, Lenny Kravitz, Cameron Diaz, George Clooney and Tommy Hilfiger. A Phase 1 drawing has been submitted details the layout of the venue which will include 4 different club rooms and a main auditorium designed for both DJs and live music. Fortis and his team at Big Team Design are currently progressing the finer details.

The loss of Gatecrasher in Sheffield sent shock-waves throughout clubland, no-one was hurt but dance music fans worldwide mourned the loss of a clubbing institution. Following the fire the club received over 5000 emails and letters of support. Club bosses vowed to return to their spiritual home as soon as possible and have spent the last three years trying to find a suitable location.

An application for planning permission has been lodged with council and Gatecrasher is urging the city to get behind their plans.

Simon Raine, MD of Gatecrasher, commented;
“Gatecrasher hopes to rise like a phoenix from the ashes. We were devastated at the loss of the Sheffield club in 2007 and have been searching tirelessly for a location so we can return to our spiritual Sheffield home. What’s been heartening is all the support we’ve had from the city, we get emails daily asking us when we are returning to Sheffield and now it is finally a reality, although there is still a long way to go”

Since Gatecrasher launched in Sheffield in the mid-90s, it has played a significant role in the development of the city and has been previously been praised by council officials for its impact on the economy and tourism. The clubs contribution to Sheffield’s thriving nightlife and entertainment scene firmly placed the city on the International map creating major interest and inward investment. The impact the club has had on the city is staggering with over 8 million people attending Gatecrasher in Sheffield in over 10 years. A survey carried out in 2001 also found Gatecrasher to be the number one reason that students decided to study in Sheffield.

During Gatecrasher’s reign in the city, the club played host to the most spectacular club nights which are now immortalised in clubbing history. The club kick started a dance revolution and helped forge the careers of DJs including Judge Jules, Tiesto, Mauro Picotto and Armin Van Buuren.

From humble beginnings to a world-conquering global club brand, Gatecrasher has continued to push boundaries and dominate dance music. It’s reputation as a flamboyant, individual and hedonistic brand continues to grow and the Gatecrasher name remains emblazoned in the heart and soul of clubbers throughout the world. The Gatecrasher lion has always sat proudly at the forefront of clubland, responsible for many of Sheffield’s never-to- be- forgotten events.

With the launch of the new club hopes to define a new decade of clubbing. Simon Raine added;
“The new site will exceed all expectations bolder, bigger and a lot more edgier than before. We want to build the best nightclub in the world that has always been our aim!.”

Gatecrasher is looking to engage the city of Sheffield in the quest to launch its new club and is looking for suggestions and support from city dwellers. They also intend to work closely with residents, local police and Sheffield City Council, Simon added;
“Having worked as part of the community in Sheffield for over a decade, we are more than aware we need to work in close partnership with the residents, the local authority and police to address any potential issues before they arise. We are currently in close consultation with the relevant authorities to ensure that our policies around noise, anti-social behaviour and dispersal satisfy each party.”

GATECRASHER IS URGING THE CITY TO ‘VOTE’ YES FOR THEIR PLANS TO RETURN TO THE CITY. PEOPLE CAN REGISTER THEIR SUPPORT FOR THE PROPOSED VENUE BY LOGGING ONTO: WWW.GATECRASHER.COM/SHEFFIELD

The Emmy-nominated New Zealand comedy duo will be joined by co-stars Kristen Schall (fan-turned-stalker Mel) and Arj Barker (shop owner Dave) as they perform 15 dates in the Netherlands, Scandinavia, Ireland and the UK from May 10.

“We’re coming back to say we’re sorry, Flight Of The Conchords has had a great relationship with the UK in the past – in some ways you could say we got our start there, and we were always over at the UK’s house – but then one night, some heated words were said and Flight Of The Conchords left in a huff,” quipped Jemaine.

“We haven’t been back since. That was five years ago,” he added.

Flight Of The Conchords, featuring the duo’s second full-length album, I Told You I Was Freaky, will play dates in Birmingham, Manchester, London and Glasgow. Kristen will open for the Birmingham, Manchester and Glasgow dates, while Arj will support the London shows.

The acclaimed TV series, starring Jemaine and Bret as hapless musicians trying to make a living in New York, ended in 2009 after two seasons.

Tickets go on general release on March 5 at 9am.

5th May- Dublin, Ireland at Olympia
6th May- Dublin, Ireland at Olympia
10th May- Birmingham, UK at NIA
11th May- Manchester, UK at Apollo
12th May- Manchester, UK at Apollo
14th May- Glasgow, UK at SECC
15th May- Glasgow, UK at SECC
16th May- London, UK at HMV Hammersmith Apollo
17th May- London, UK at HMV Hammersmith Apollo

Copyright © 2010 The Press Association.

TICKETS ON SALE TUESDAY 23rd FEBRUARY AT 9AM
Weekend Early Bird tickets: £72.50 + Booking Fee
Sunday Early Bird tickets: £37.50 + Booking Fee
Saturday Early Bird tickets: £37.50 + Booking Fee
Tickets available from: www.ticketmaster.co.uk / 0844 847 2467

THE SOUTH WEST FOUR WEEKENDER HAS LANDED!

2010 marks a new chapter in the history of the UK’s premier inner city dance festival. Having brought alive London’s favourite field Clapham Common for six consecutive years, we are delighted to present the first ever South West Four Weekender!

With the world’s biggest DJs, electronic live acts and leading dance labels hosting our arenas, South West Four returns bigger and better than ever before. Falling on the Bank Holiday Weekend of Saturday 28th and Sunday 29th August, SW4 presents an unforgettable gathering featuring the capitals most discerning disciples of dance.

“Following six sensational sell-out years and phenomenal demand from the SW4-loving public, it was only natural that South West Four would evolve into a two day spectacular” says SW4 director Danny Newman. “This is the dawn of a new era for SW4 and with everyone off work on Monday we hope you can join us and see out the summer in style!”

NO MUD! NO CAMPING! NO HASSLE!

From a never before seen line-up to world-class production, we’ll once again be putting in place everything a great festival should… with the added luxury of catching the last tube home! This includes a variety of freshly made global food, four music stages, toilets galore and an atmosphere as good as you’ll find anywhere on the planet!

Furthermore with more people than ever expected to experience SW4, we have teamed up with the best hotels in the area to offer you rooms at unbeatable rates! Check out the accommodation section of the SW4 website to receive a 20% discount when you quote SW4 on booking!

With no mud, no camping and no re-mortgage plans needed to finance your fun, the South West Four Weekender is your one-stop festival shop, right here in the heart of London.

AND YOUR SW4 HEADLINERS ARE…

SATURDAY

[ONLY LONDON APPEARANCE OF 2010]

As the world’s undisputed no.1 DJ it’s a great honour to announce that Armin van Buuren has chosen South West Four for his only London gig of 2010. Armin follows in the footsteps of Paul van Dyk, Carl Cox, Sasha and John Digweed by headlining South West Four for the very first time.

Not only has Armin officially been voted the most popular DJ on the planet for the past three years, A State Of Trance continues to set the standard as the world’s most popular radio show. It now appears on a remarkable forty worldwide FM stations and attracts more than thirty million listeners a week. His record label Armada Music is now one of the premier labels in dance music, whilst Armin’s remixes of The Killers and BT sell by the lorry load. This is all achieved whilst Armin tours the four corners of the globe headlining the world’s leading nightclubs and festivals, holding down an epic weekly summer residency at Amnesia Ibiza and regularly playing ‘Armin Only’ gigs to over 10,000 fans. Currently working on a new album which will be showcased at SW4, this will be the first time he has headlined a festival in the UK. A true landmark gig for Armin, this will be a guaranteed pilgrimage for any trance lover.

SUNDAY

[ONLY LONDON APPEARANCE OF 2010]

With SW4 extending across two unforgettable days in 2010, we needed an act that had been there, seen it and done it all to headline the Sunday night. To use one of dance music’s most loved cliché’s we needed an act who needs no introduction. And for us there was only one contender. That man is Fatboy Slim.

As one of the most consistent songwriters of the modern era, not to mention one of the very best remixers in the business and one of the most popular DJs of all time, Fatboy Slim is the big man for the big occasion. From DJing infront of 250,000 people on Brighton Beach and at the Rio Carnival, through to headlining the world’s leading festivals and selling out concert venues the world over, Fatboy Slim’s DJ sets are the stuff of legend. With an astounding ability to connect with thousands of people in one instant, Fatboy Slim is the ultimate performer that we are truly privileged to welcome to SW4 for his only London appearance of 2010.

MORE HUGE NAMES FOR SW4 COMING SOON!

Hot on the heels of the news that Armin van Buuren and Fatboy Slim are to headline the first ever South West Four Weekender will be the full additions to the lineup in the coming weeks. Weekend Early Bird tickets are on sale on Tuesday 23rd February at 9am priced just £72.50 + booking fee with Saturday and Sunday Early Bird tickets only £37.50 + booking fee. Do not miss it!!

And make sure you join the mailing list at www.southwestfour.com to hear all the latest news and gossip first, as we keep the line-up announcements coming thick and fast!

TICKETS ON SALE TUESDAY 23rd FEBRUARY AT 9AM

So what is it?
James is embarking on a headlining world tour from March 2010 to coincide with the album, at the club shows the compilation will be given away for free to a majority, if not all, the music-lovers who have bought their regularly priced ticket to the event.

The album will be presented in a shrink-wrapped, full-colour wallet on a flexi-DVD that’s both eco-friendly (50% less carbon emissions) and lightweight (again, 50% less than standard CD/DVDs). Alongside the 2 mixes that comprise the compilation, the package will also feature two exclusive videos: a tour diary and making of the Masters Series, alongside custom screensavers, desktop wallpapers, icons and more!

The real magic of this concept is that the party-goers won’t have to pay more than a regularly priced club ticket for their entry where they will collect the free album. Also, all artists that feature on the album will receive their royalties. This is a point James and Renaissance felt passionately about so ensured it remained part of the concept.

James comments “A bit like my previous Masters Series this mix is another snapshot into life through my ears. Rather than make 2 distinct journeys (one home listening and one club) I tried to carry the theme of ‘life’ over the span of both mixes, this time blurring them together, making for a single soundscape. The fact we’re going to be distributing this mix in a unique way alongside traditional methods also makes this project all the more exciting for me to put together.”

Tour Dates February – July 2010

February 25 Classico Veracruz, Mexico
February 26 La Huasteca Monterrey, Mexico
February 27 Foro Alterno, Guadalajara, Mexico
February 28 Mamitas Beach Club, Playa del Carmen, Mexico
March 3 Merida Grounds, Merida, Mexico
March 4 Piramides de Cholula, Cholula, Mexico
March 5 Avalon, Los Angeles, USA
March 6 Bosque de la Cuidad, Mexicali, Mexico
March 12 Sankey’s, Manchester, UK
March 13 The Plug, Sheffield, UK
March 19 Orange Rooms, Bournemouth, UK
March 20 Digital, Brighton, UK
March 24 DJ Mag Party @ The Shelborne, Miami, USA
March 26 Pete Tong Pool Party @ The Shelborne, Miami, USA
March 27 Beatport Pool Party @ The Gansevoort, Miami, USA
April 03 Ministry, London, UK
April 04 Tall Trees, Yarm, UK
April 06 Snowbombing, Mayrhofen, Austria
April 10 Cocoon, Frankfurt Germany
April 16 Studio, Budapest, Hungary
April 17 Club Kristal, Bucharest, Romania
April 23 Expo, Kiev, Ukraine
April 24 Expo, Kharkov, Ukraine
April 30 The Pod, Dublin, Ireland
May 01 Shine, Belfast, UK
May 02 High Tide, Southampton, UK
May 02 Electric Carnival, Birmingham, UK
May 07 Stealth, Nottingham, UK
May 08 Vox Festival, Modena, Italy
May 14 Pavillion, Tbilisi, Georgia
May 15 Exit, Kaunas, Lithuania
May 20 Ambar, Perth, Australia
May 21 Chinese Laundry, Sydney, Australia
May 22 Brown Alley, Melbourne, Australia
May 23 Lot 33, Canberra, Australia
May 28 Zouk, Singapore
June 18 Metro Theatre, Bogota, Colombia
June 19 Loop Arena, Lima, Peru
July 02 State, Buenos Aires, Argentina

For those unable to make any of the world wide shows the album is available at all usual outlets, released officially on April 12th.

Having discretely passed from international chart topping success with the ubiquitous ‘Put Your Hands Up for Detroit’ back in 2006, to establishing position as one of the industry’s premier DJ’s, Fedde Le Grand continues to purvey his talent to worldwide dance floors bringing his unique blend of fine House music in all its glorious forms.

Fedde’s first release on Toolroom; ‘Just Trippin’ was a huge anthem, cementing his status within the Toolroom family. Also producing under his moniker F.L.G, which allows Fedde to experiment with a more stripped-back, darker, minimal Tech House sound; he released his double A-sider ‘Amplified’ / ‘Pink Bird’ on Toolroom last year, garnering massive attention on the dark and sweaty dancefloors of the world’s best clubs. It only seemed right that Fedde be next in line for this illustrious series.

Reflecting his world renowned DJ sets, CD1 is mixed under Fedde’s F.L.G. moniker and delivers a stripped back attitude, manifested through the deployment of varied rhythmic and skittering percussive elements. Beginning deep, in a slick and smooth style, with tracks from the likes of Solomun and Ramon Tapia, the mix lays a distinctive groove. Tracks from Noir, Saeed Younan, Joey Negro, Mark Mendes & F.L.G.’s new exclusive for Toolroom; ‘An Old Technique’ are intertwined with flowing Tech House, as F.L.G’s craft fully winds up rolling beats, and sends them marching and stomping into a field of de-tuned vocal stabs and pressure-building peaks.

You will find bouts of light tribalisms and throbbing cuts on CD2, as Fedde Le Grand finds himself on his excursion into more underground tastes; a statement that sits comfortably in the grey and somewhat surprising area between House and Techno. The inclusion of tracks such as Joris Voorn’s remix of Steve Bug’s ‘Swallowed Too Much Bass’ results in an undulating, hypnotic but ultimately highly energetic and uplifting mix. Also featuring his remix of Fatboy Slim’s ‘Praise You’, Fedde uses tracks like Ntfo’s ‘Filter’, Mark Knight & Koen Groeneveld’s Toolroom smash ‘Put Your Hands Up’, alongside another compilation exclusive; Johnstar’s ‘Tick Tock Track’, to narrate full on Fedde Le Grand mode – a chunkier and tougher approach that indulges in epic gut-busting synth melodies.

Fedde’s mix simply inhales and exhales life, striking the right balance between refined Techno tweaks and genre-busting House music that provides a soundtrack that stimulates the ears and feet at the same time.

Release Date: April 5th 2010

Now onto its second release the Platform series gives musicians an outlet to produce something noteworthy. Always exceptional and pioneering in his craft, Paul Woolford was an esteemed choice to curate the latest edition in the series.

Never one to compromise, Paul comments, “Immediately I had a list of records that I knew I wanted to include – every record has been picked from the heart… It was imperative to me that I used only these tracks, with no fillers at all. My aim was not to give a ’snapshot’ mix of what I’m playing on the floor at this time, but to provide what is hopefully a lasting document of my approach to music.”

Titled Surgery ‘One’ and ‘Two’ Paul said the idea of how to construct the first mix came to him after 3 days deep in thought in Brazil. He was in Sao Paulo for a gig at D-Edge and instead of wondering around the Latin American mega-tropolis exploring the city and looking at the Oscar Niemeyer architecture, he was locked in a hotel coming-up up with about 70% of the sequence for Surgery One, something that surprised even Paul himself.

The second mix uses Oni Ayhun’s ‘OAR3-B’ as its anchor, which Paul describes as, “One of the most beautiful pieces of electronic music I have encountered.”

The breadth of tracks Paul has used here is staggering, there are even records dating back to the early 90s, yet his unique approach and deft touch gives them a contemporary feel and brings them into present day. The mix also pays homage to the American mix masters, skillfully incorporating some of their tricks with tracks blending and threading throughout, in some cases appearing over both discs. Paul even takes to using two versions of his remix of Morgan Geist to kick start proceedings on the second disc, although his authorship of this mix reaches far deeper as he features 9 tracks that are comprised of new productions, remixes and specially constructed edits.

The result is a proper ‘mix’; an effortless listen that explores the full spectrum of techno, jazz, cinematic electronica and house.

To conclude Paul adds “I have had so much fun constructing these mixes, and after repeated listens in various states, altered and otherwise… I think they will last for some time. I sincerely hope you do too.” We’re sure we will…

Released 15/03/10

The dusky atmosphere of Future Chaos has given way to a more radiant sound, buoyed by waves of synthesizers and propelled by clean-lined grooves. Raising the tempo, Simenon takes inspiration from classic techno, while vocal contributions from Richard Davis, Kelley Polar, The Battle of Land and Sea, and Paul Conboy bring Bomb the Bass into newfound melodic focus. It’s a brighter, more immediate sound than before; warmer, too, with the singers’ voices positively glowing inside intricately woven electronic nests. But there’s no lack of nuance. Every track is a delicate balance of intimate delivery and cosmic sonics, underscored by a faint sense of melancholy.

The album came together quickly. While the shrink-wrapping still cooling on copies of Future Chaos, Simenon was already sketching out tracks for a new album, and in late 2008 he headed into a São Paulo studio to work with a new collaborator: Gui Boratto, Brazil’s master craftsman of deep, melodic techno, known for his records on Kompakt and Kompakt Pop, as well as a thrilling remix of Bomb the Bass’ own “Black River.”

“The idea came about when I heard his remix of ‘Black River,’ which I adored,” says Simenon. “It was a very comfortable environment, very easygoing. Gui’s got a small studio in his house, and I had the basic sketches drawn up a few months beforehand, so we could just work together on one computer, bouncing ideas back and forth.”

The tropical environment proved fruitful. It took just two weeks to give the album its basic shape. “It just happened,” says Simenon, “right from the offset, when Gui and I sat down in the studio. Even though some of the stuff he does is dark, a lot is quite uplifting. A lot of those melodies really began in that first couple of weeks in Brazil.”

Back home in Amsterdam, Simenon sent the unfinished tracks to a select group of singers; New York avant-disco maven Kelley Polar and occasional Swayzak collaborator Richard Davis each tackled two songs, while The Battle of Land and Sea (Portland, Oregon singer-songwriter Sarah O’Shura) contributed one. Longtime Bomb the Bass collaborator Paul Conboy lent his deep, distinctive voice to four songs on the new album.

A final guest appearance is made by none other than Depeche Mode’s Martin L. Gore, who plays synthesizers on the closing song, “Milakia.” The original tapes were recorded more than a decade ago, after Simenon had produced the band’s album Ultra. “It’s a track I’ve always loved, but could never find a home for, really,” he says. “It seemed like a perfect closer for this particular album.”

The results add up to a compelling set of interlocking songs that each have a specific sound and feel, from the ’80s-inspired “Boy Girl” (featuring Conboy) to the jewel-toned minimal techno of “Up the Mountain” (featuring The Battle of Land and Sea), and from Kelley Polar’s dizzying harmonizations on “X Ray Eyes” and “Start” to the unforgettable heartbreak Richard Davis brings to “Price on Your Head” and “Happy to Be Cold,” two of the album’s most enthralling songs. It’s a rich, rewarding album that makes the most of its particular tensions—tough/sentimental, guarded/yielding. Its brightness draws you to it, and its shadows draw you in: Back to Light.

It goes without saying that an album this rich offers a wealth of material to inspire remixes—and so old hands and upstarts alike are jumping at the chance to put their spin on the music. Four digital singles feature an impressive cast of characters: Gui Boratto, John Tejada, Extrawelt, Atom TM, Mark E, Jake One, Kwesachu (Kwes + Micachu), Anderson Noise, Leo Zero, FM Radio Gods, and DJ Marky & S.P.Y. Even Simenon himself gets in the act, with an additional Bomb the Bass remix of “The Infinites.” And why not? After Simenon’s many years spent producing other people’s records, Bomb the Bass is making up for lost time—and it’s our gain.

I’ll leave it entirely to your discretion, whether this can be considered a publishing-worthy news item. It’s why the subject is complemented with a question mark. The text isn’t probably ready for print as such either. Sorry about that.

Anyway.. It seems that our demoscene group Kewlers has gotten “fanboyed” by Deadmau5 in a fashion slightly too obvious. First up, the Kewlers PC-demo ‘Protozoa’ from 2003:

http://www.youtube.com/watch?v=1khU3CycA#t=00s

..followed by Deadmau5′ tune ‘FML’ from his album ‘For Lack of a Better Name’ released last fall:

http://www.youtube.com/watch?v=YMKcmomGg#t=50s

..a clip from a Deadmau5 interview where he briefly mentions his musical roots and influences:

http://www.youtube.com/watch?v=_ZhO-Qy3U#t=55s

..and finally, a comparison video of the aforementioned tracks:

http://www.youtube.com/watch?v=3EQmXAxU0

I have no other official evidence, but a reliable source confirmed off-the-record that Deadmau5 had been very interested in demoscene during summer of 2008. Mau5trap Records hasn’t yet been reached for a comment. If you’re not familiar with the demoscene as a cultural phenomena, you can read about it on Wikipedia here:

http://en.wikipedia.org/wiki/Demoscene

If you have any further questions please forward them to me. Being the other one of the main composers of the tune used in ‘Protozoa’ (Mel Function being the other one) I’m acting as the representative of Kewlers and can answer or forward questions accordingly. Also, if you decide to publish this as a news item please notify me about it as we’d like to keep track of how people perceive this.

Kewlers doesn’t have the financial resources (or the interest, for that matter) to take any legal action. It has been a demoscene tradition, that clearance/permission is usually given sometimes even to lesser commercial derivatives if the permission asked and it’s creators properly credited for in the derivative.

Unfortunately this is not a clear sampling case as the demoscene related controversy of 2007 involving the producer Timbaland and demosceners Tempest & GRG was (http://en.wikipedia.org/wiki/Timbaland_plagiarism_controversy). However, given the apparent similarity between these two tracks and the fact that no permission has been asked for, the least we can do is to present the evidence and let everyone draw their own conclusions.

Best Regards,
Little Bitchard / Kewlers
http://www.kewlers.scene.org/bitchard/
http://www.kewlers.scene.org

Sian is now becoming recognised as a truly unique figure in electronic music. His list of aficionados reads like a whos who of contemporary dance culture, from Luciano, Loco Dice, Ricardo Villalobos, Steve Bug, Carl Craig and M.A.N.D.Y to Sasha, John Digweed and James Zabiela. While Funk D’Void is a very well established DJ and producer in the techno fields, with a string of successes over the years (Jack Me Off, Bad Coffee, Emotional Content, not to mention Diabla) & praised as an inspiration by a list of luminaries that includes Andy Cato (Groove Armada), Tom Middleton and Nick Warren. With such impressive CVs anything this pair produces is a sure-fire player.

The strikingly titled A Wasp in a Wig grabs the attention with sub-heavy, rumbling bass and wobbly synths, pierced by a very much wasp-like buzz. That buzz sends the track into a spiral before everything kicks back in with the track climaxing in a whirl of dark sound.

A Scream Dressed in Feathers offers a dark musical vision with deep bass melting into a range of swelling warehouse sounds. These industrial textures progress in wonkiness throughout and build tension with their distorted tones.