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.

The sound of the past often collides with current movements but never has it sounded so fresh than from Samuel L. Session AKA SLS. His skills and knowledge from the evolving electronic music scene create a stark and original album project to remind us what the real sound of techno is. Sounding as fresh as the early days of the 909, ‘The Man With The Case’ harks back to the house veins of Kevin Saunderson and Derrick May but in an inspiring new context, digging into the roots of techno while stamping the SLS classic and groovy print into each production.

The album opens elegantly with ‘Time’, drifting into a dreamy and evocative atmosphere glowing with luminosity. Bouncing straight into ‘Chimes’, the B side for the first EP release earlier this year sinks quickly into rolling grooves and soars with radiant melodies.

The tempo is raised with burning dancefloor cuts ‘Tronic’, ‘My People’ and Big Bad Drum’, the classic bomb released earlier this summer on Be As One, and simmers with the smouldering embers of the warmth of house music in ‘Lucious’ and ‘Past and Present’. Menacing flares and bold snares make ‘The Soloist’ shake the skull and the closing moments in ‘Tight Stack’ and ‘Pulse’ offer a chance for reflection and new insight.

Samuel L. Session’s career began in the late eighties when mixing hip hop and early forms of techno and house in his home of Sweden. His SLS guise soon became synonymous with groovy techno through a string of high profile releases on labels such Planet E, Soma and Intec and remixes for techno veterans such as Slam and Kevin Saunderson. SLS also founded a string of his own successful imprints, Solid Beat, Cycle and Klap Klap, each making a significant mark on the landscape of techno.

Having made his name as a true heavyweight of the techno scene with a string of seminal productions to his name, Christian Smith is undoubtedly one of the best-respected names in the genre. Often collaborating with his long-time studio partner, John Selway, Christian’s work has set the benchmark for quality techno; as his releases with Josh Wink’s ‘Ovum’ imprint, John Digweed’s Bedrock, Steve Lawler’s ever-innovative Viva Music and of course, Renaissance, attest. Over the last few years Christian has developed his relationship with Renaissance, with two EPs under his belt. Now he launches the new series ‘Platform’, which has been designed to allow the freshest talent from the scene to shine, and there is surely none more deserving to kick things off.

“I wanted to do something special… that stands the test of time, but that has not been done for Renaissance before.” – Christian Smith

To achieve this he has given each mix of this two-disc package a different flavour. Devoting the first CD to Detroit techno, Christian “picked tracks that are produced by European artists that are heavily inspired by the early Detroit sound.” He mixes up the hypnotic groove of Radio Slave’s remix of the Humate classic ‘Love Stimulation’ with standout tracks from Stimming, Nic Fanciulli & Steve Mac. Christian also adds a generous helping of his own unreleased original production to create a shimmering soundscape, that is as beautifully crafted, as it is compelling.

The second disc represents Christian in a more peaktime, club environment – big records that convey the energy that he always brings to the dancefloor. Incorporating tracks from such production luminaries as Timo Maas, Cirez D and Guy J (as well as a further sprinkling of previously unheard material from his own studio) this CD is best described by Christian himself:

“At the end of that day it’s all about a good party and this is exactly what this second cd is to me.”

We couldn’t agree more.

Christian Smith Platform is out 7th September 2009 at all good record stores – download available through iTunes

Kicking things off, the titular A-side production ventures into somewhat signature Umek territory, with a well paced and programmed arrangement that centers around some well placed stabs and delivers a powerful tension-and-release effect with its massive, dancefloor-rocking breakdown. “Hero Bill” on the other hand, takes a more subdued and discreet approach, opting for more attention to the groove and utilizing its tribal influenced percussion section and perfectly executed bassline.

Add to the mix a cleverly engineered ethnic/synth sample that rides atop the groove, and you’ve got a highly playable, genre defying surefire winner.

Don’t say we don’t spoil you!!!!

Label: 1605 Music Therapy
Cat. number: 1605009
Release date: 30 August 2009
Genre: Tech House – Techno

CD1 is a document of the current techno scene, and it’s all about Umek’s legendary mixing skills and his ear for a killer techno tune, no matter where it comes from. This is a masterclass mix session with Umek working his magic as he only can. For the Umek? Hell Yeah! mix has selected the best tracks and remixes from the freshest bouncing techno scenesters like Fergie, Koen Groeneveld, Spektre, Dyno, Piatto, Dandi & Ugo, Olivier Giacomotto, Tomy Declerque, then added a few of his own tracks and remixes, and blended everything into what really sounds like the techno mix of summer 2009.

CD2 is a limited edition treat for collectors, and contains 12 exclusive unreleased electronic workouts by Umek. All recorded between 2000 and 2006, and sourced from Umek’s own “Hidden Folder”, and only ever available on this bonus disc. The result is a fascinating retrospective way to discover the roots of a real techno authority and his varied and astonishing productions, from early electro, to warped little melodies, through to the wild funky techno grooves he became known for at the beginning of his career.

HELL YEAH!!!!

CD1 – mixed by UMEK

CD2 – UMEK unreleased exclusive tracks straight out of his Hidden Folder

Label: Hell Yeah Recordings (Italy)
Format: Limited Edition 2CD + Digital
Cat No: HYR7041d
Release Date: 14/07/09
File Under: Techno

Artist: SLOK from Paris, France
Label: Electronic Petz from Paris, France
Distributor: Beatport / Believe Digital
Websites: SLOK MySpace
Discography: Discogs
Track: SLOK – Deesgustocosmicow (available on the FOEM forum)
Aha??: Remix the track. Two remixes per artist allowed this time.
Style: Tech House, Progressive House, Electro, Minimal, Electronica, Techno, HOUSE MUSIC and so on. Should be a tuff DJ tool, floor filler, something original with taste. Don’t think too much, if the link to the original is not obvious, it will be no problem. It’s about dance music of the future. Forget nostalgia. This is open. Develop something NEW.

Prizes: Best remix
Digital release on Electronic Petz.
The track will be included on one of the Tsugi magazine CD compilations (30.000 CDs).
Free radio dj slot on Magma Italian syndication radio show for (1hr DJset) + personal DJ page.
Interview on iBeats (UK) and via phone interview on Syndicated Beats (Miami) by Birago Jones.
Electronic Petz T-Shirts designed by Italian designers collective Real DC.

Runners up
Digital release on Electronic Petz label on Beatport exclusive (8 weeks) and then on all of the major digital stores via Believe Digital.
Electronic Petz T-Shirts designed by Italian designers collective Real DC.
All the best remixer names will be featured on a newsletter sent from all the partner supporters.
10 free tracks from the Electronic Petz back catalog.

Schedule: June 1 to August 31, 2009 (three full months)
Jury: DJ Paulette (Radio FG, Pacha Radio, Mix Club resident DJ, London UK / Paris, France)
Hans Temmerman (The Mystic Force, Top Radio Belgium, Rotazionz DJ resident and journalist)
Lisa Loco (Loco Rites Communication manager, Leeds, UK)
Alessandro Russo aka ‘SLOK’ (Musician, Producer, DJ and Electronic Petz label manager)

Material: Get the samples and midi files on the FOEM forum
Submit: Upload your remixes via the FOEM forum
Notes: Don’t send your tracks directly to the artist or the label
Make your very own style… Take your time to remix, remember, a winning track takes time.
Master your track but keep a raw version so Electronic Petz can master it.
No legal recourse. The judges’ decisions are final.
Chillax….

CLICK HERE TO GET DIRECTLY TO THE CONTEST

“One day, I found myself in a studio with Paul Waller. That was when I saw a sampler for the first time, and over a series of months I worked out how a sampler works and how to sequence: I had found my calling. I could be a DJ, I could do my soundsystem, but I could also buy a sampler and carry on making music where I had left off with the piano. So I got my first sampler, and the first track I made was ‘Logical Progression’ in 1990. It was a whole transitional period musically, but ‘Logical Progression’ was at a time when drum & bass wasn’t really there – only a few producers were losing the kick drum and making the breakbeat the main part of the tune – and my track had a big breakbeat in it; so it was kind of the start of drum & bass.” – LTJ Bukem

Whilst the likes of the Ragga Twins were fusing breakbeats with ragga samples and creating proto-jungle, Bukem’s masterpiece, firmly rooted in his jazz piano background, was melodically and musically of another planet. His early productions that followed – including ‘Demon’s Theme’, ‘Atlantis’ and ‘Music’ – which built the foundations of the nascent Good Looking empire – carved out a defined niche in the developing scene. It wasn’t long before other young beat makers rushed to get their music into Bukem’s hands, from PFM to one Rupert Parkes aka Photek (“no one had heard of Photek until I was playing out all these sets of his productions”). As the 90s moved on and drum & bass began to develop as a distinct genre, Bukem and long time friend and supporter Fabio set up Speed at the Mars Bar in London’s West End, a night that became integral to D&B’s development.

“We first started Speed on a Tuesday night and about twenty people turned up – a few producers came to hear their tracks and that was kind of all it was. I remember to a certain extent Fabs wanted to give up, and I was like, ‘It’s a perfect place for us to play our music, just give it a few more months.’ He agreed, and then I remember about three weeks later, I walked up to the Mars Bar and there was an almighty queue round the block. And from that moment on, for the next few years every week was packed, and I still don’t know to this day why or what happened to turn it around. The night had a massive effect on me and Fabio personally, because it was around that time that I started getting loads of enquiries from abroad, and it was becoming an international thing – people were flying over to come to Speed.” – LTJ Bukem

In 1996, Bukem released ‘Logical Progression’ – a compilation whose impact on the scene is considered by many to be the equal of Goldie’s ‘Timeless’ and Roni Size & Reprazent’s seminal ‘Newforms’ – bringing together some of the finest moments of the Good Looking catalogue. This has become a hallmark of Bukem’s career: the constant development of the Good Looking empire, a collection of labels that transcended the drum & bass scene for the best part of a decade, sometimes at the expense of his own artistry. For running the Good Looking stable and developing their ever-talented roster was time consuming, and it substantially reduced his beloved studio time: “I had no time to sit and write music…I am at heart a music maker, and I’ve had to sacrifice my art to do some other things, things that benefitted other artists or the label.”

After clearing his release schedule and releasing his artists to pursue label plans of their own, Bukem took a well-earned sabbatical from the Good Looking operation in 2004, and over the subsequent few years experienced a personal and musical rebirth. “I met my original mother two years ago, I was adopted at a very early age. As you grow up, as a person, you need to know who you are, and I never did actually know who I was until a couple of years ago when I met my mother for the first time, and now I feel a totally different person because of it.” – LTJ Bukem

And as he was being given a new lease of life on a personal level, he was also being reinvigorated musically by a glut of new producers: “I just suddenly became engulfed in a world of new music. This is the music that I represent, and I’ve got to support it, so about three years ago I decided to go for it and get the label going again. Now every day I get up feeling inspired, the music that comes through my computer, the new artists, their way of thinking, their work ethic, everything.” – LTJ Bukem

And it’s these artists that Bukem is representing on FABRICLIVE 46. A bold mix of new and burgeoning talent, this is a seventy minute sneak peek at the future of drum & bass. It’s a simple formula – one genius, two decks and 18 great records. This is the mix which will re-establish LTJ Bukem as one of electronic music’s maverick selectors – not afraid to shun the big tunes and, instead, stick to his principles, support the fam and remind the record buying world that Good Looking is still the relentless musical force it always was.

“With the mix I really wanted to highlight what I’m doing as a DJ. I could’ve sat there with a computer and done what a lot of people do: a computer mix, which is great fun as you can do what you can’t do live. But for me personally, I wanted it to be exactly what I do on a Friday night, strictly dubplates and records. I also wanted to represent people on the mix that I am working with on Good Looking, who I have a strong belief will have some longevity in what they are doing, and are going to be prolific artists in their own right. For me, it doesn’t matter who the artist is, it’s just about good music. That’s been my ethos since day one.” – LTJ Bukem

Released
UK/R.O.W. on 15th June 2009
USA on 14th July 2009

We give you Balance 014 – Joris Voorn.

Disc 1: Mizuiro Mix

Disc 2: Midori Mix

2xCD RELEASED ON EQ/STOMP: UK/Europe March 2nd 2009 / USA March 9th 2009 / World Tour Feb-End 2009

That tracklist is insane, i’m looking forward to seeing how he pulls this off – GJ.

MINIBOY is back with his latest work “New System EP”. Opening with “Dreams Come True” that is a track more deep, walking between deep house and Techouse, this is one of those tracks perfect for starting the night in great style, and as ideal for warm-up.

“New System” has a modern sound, which for sure will surprise you. This is one of those songs that is impossible to be stopped and certainly deserves your attention.

Artist: MINIBOY
Title: New System EP
Label: Chakaboom Records
Cat Nº: CKB007
Format: EP / Digital Download
Genre: Eletronic
Style: Techouse / Techno
Release Date: 03/11/2008