Premiere: Jeremy Olander – Shuttle (King Unique ’94 Remix)

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King Unique

King Unique sought to turn back the clock for a nostalgia-fueled re-work to Jeremy Olander‘s “Shuttle,” and it is safe to say that he succeeded in his mission to do so.

Like a piece labeled “’94 Remix” might imply, this interpretation of “Shuttle” is rife with influences from the decade. The original track’s touching progression is doused in punchy, classically-inspired percussion and dramatic builds that develop across a multitude of soundscapes. Tying together the overall effect, King Unique adds nostalgic filtering and laces the finished product with subtle guitar flutters — vintage indeed. Despite its classic elements, however, the piece still fits perfectly into the present, and makes for a well-rounded take on Jeremy Olander’s beloved single.

“Shuttle (King Unique ’94 Remix)” will be released on February 23. Pre-order a copy here.

 

Beyond The Booth 011: Kicking it with UMEK

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UMEK

Beyond the Booth is a feature dedicated to the hidden side of artists that exists outside electronic music— a side rarely discussed with those outside their immediate circle. We venture “beyond the booth,” so to speak, and dive into their deepest passions that tie into their unique personalities. After some self-introspection, each participant then returns to the booth, providing an exclusive mix for the Dancing Astronaut audience.

UMEK epitomizes the words, “dance music trailblazer.”

The pioneer carved his niche in the Slovenian dance scene in the 1990s, and has since expanded his influence to a global level, touring extensively and teaming up with powerhouse record labels and artists to frontline his own master class.

His discography is as impressive as his resume. His roots are embedded in the house and techno realms, though UMEK has never been one to shy away from new territory. He boosted his acclaim even further with a stint in big room, in which he took what he learned during his time in the spotlight to further enhance his rejuvenated work in the underground. More recently, UMEK has been rebuilding his 1605 imprint while also playing other cameos in labels like POPOF’s FORM.

While he is most notably known for his powerfully ethereal beats and widely acclaimed success, music is ultimately just one aspect of his wide array of interests. His appreciation for visual art almost equates to his passion for music — particularly, in the form of a well-designed pair of sneakers.

Dancing Astronaut picked UMEK’s brain about his adoration for shoes, and what both shoes and music mean to him personally.

Pick up a copy of his sinister new EP on Tronic here, and also enjoy an exclusive mix from the man himself to tie together this edition of Beyond The Booth.


When and how did your sneaker obsession begin?
The beginnings of it could be traced back to 2006, when I bought my first pair of sneakers in consignment store, though it finally escalated in full boom sometime around 2013. I just couldn’t resist buying a pair of Nike’s Fire Red Air Jordan 5, as these was a pair of sneakers I was longing to have as a teenager but could not afford to buy them at the time. To be honest, watching TV shows, on-line channels and talking to other collectors, I became aware this is quite common trigger for collecting sneakers, especially Jordan’s: most of us didn’t have money to buy sneakers we wanted when we were young, and we are catering to that desire now that we can finally afford to buy them. It seems most of the sneaker-heads are destined to become one because of a trauma that is a result of sneaker deprivation in their childhood. ☺ Pay attention when you are watching celebrities buying sneakers on some reality show – they always say they are buying ridiculous amounts of very expensive footwear because their parents could not afford to buy it for them while growing up struggling for money. And when I look to that, I actually feel lucky as I was an athlete and into sneakers – not into cars for example. That would be one very expensive obsession to cater to.

Most prized sneakers you own today, and why?
I don’t want to discus prices, but I do own a pair of Nike Air Jordan 5 Transformers, which are a rare collectors item, designed and produced for a crew of Transformer movie franchise. I like those for couple of reasons: Jordan 5 was (and still is) my favorite design of sneaker since childhood and it was also the first purchase for my collection. On top of that it’s rare and I also like sci-fi, including Transformers movies, though I didn’t particularly like the last one. All in all, I like this pair as it connects to me on couple of levels and it’s also hard to get.

Name a type of sneaker that you’ve been dying to get but just can’t get your hands on?
There are some pairs I’ll probably never be able to buy, as they were released long time ago and are also very hard to get by. Thought it would be cool adding to my collection two pairs of Carmelo Anthony Air Jordan 5 Retro PE. Nike made those when he played for New York Knicks and they are available in orange and blue, home and away game variation. There’s couple of other pairs that are on my list as well, but if I’ve had a chance to have one or two pairs that are out of my reach, I’ll choose these. Eminem’s edition of Jordan 4 is also a very popular pair, very expensive and cool, but I still prefer Carmelo’s to those.

Best sneaker to DJ in? Best sneaker to actually exercise in?
I like to DJ in Kanye West’s Adidas Yeezy Boost 350. This pair is fashionable, comfortable and just limited enough that not everybody can buy it. For gigs it’s important for me to feel cozy and be presentable at the same time, so I can’t wear just anything. On the other hand, I like Adidas NMD sneakers for doing all kind of sports, including running. This is a very light sneaker, with boost sole technology, very comfortable. I’d wear those even through the winter if I could. Sometimes they feel like wearing flip-flops for the beach, they’re so light, airy and comfy.

If you were to design sneakers for a particular brand, who would it be and why?
The first obvious choice would be Nike as this is my favorite brand since childhood, though I like a lot of things from Adidas as well, they have created some iconic models, so I’d be glad to do some designs for them as well. By the way this sneaker fever of mine didn’t stop just at buying and collecting sneakers – I also got into customizing my own pairs. At some point I’ve been so into it I’ve put together a decent workspace in the basement of my house where I became a really good friend with sandpaper, brushes and acetone, I learned a thing of two of color palette and even bought an airbrush. Once I came to the limit of my knowledge and skills doing this as a hobby, I decided to quit as after all I’m still a musician, not a shoemaker and have to focus on producing and mixing music. Thought I’ve had lots of fun pimping up shoes for myself and some of my close friends.

Why do you think that sneaker “collecting” has expanded so rapidly across cultures over the past years? What makes it so enticing to own a collection?
I’ve partially answered to this question already in the beginning. This also goes hand in hand with the influence of big rappers and basketball players in the fashion industry. Nowadays people do notice, and they are even impressed if you wear a pair of rare sneakers designed by a famous person, especially if the item is limited and not everybody can afford to buy it. Rare items are precious, some are willing to pay for that and some are even challenged to create collections of rare items, competing with like-minded people. There are not many sneaker-heads in Slovenia, so only couple of people may notice if I wear a rare pair of sneakers. Americans are much more into it, so total strangers frequently stop me on the street and compliment my footwear or staff ask me if they could photograph my sneakers when I’m in their store. They appreciate the effort you are investing in finding and collecting nice pairs of sneakers. Because, yes, once you get seriously into this, it takes lots of time, energy and also money, so it’s nice when people notice that. It’s not very different to collecting art, stamps, coins or likes on social networks – people like to see other people noticing and sharing their passions. By the way, I really don’t like putting photos of myself on Instagram, but I don’t have that much problem doing it with my sneakers – though I don’t show off with the most expensive models. I didn’t think much of this but that’s how it is, and it does make sense to me.

Do you bring your collection of sneakers on tour with you? Have you ever performed not wearing sneakers, and if so, what type of shoes did you wear?
Sure, I always take couple of pairs with me on tour though there’s not that much space for shoes in the language regarding that I’m quite a big man and one sweater takes quarter of a suitcase already. I never take as many as I’d like to, usually I pack three or four pairs: one comfortable for airplanes and exercising, one not too expensive for going around the city in any kind of weather and two to show off in the restaurants and at the gigs. That’s my tactic for touring USA and of course I always return back home with couple of new pairs I buy there. By the way, it’s not unusual I buy couple of the same design of sneakers I really like. I don’t actually know why, but I do that the same way as with vinyl I really like and I buy it in five or six copies. Just in case I guess. It’s kind of fetish, but I’ve become a bit more disciplined lately and got rid of most of the doubled items. For most of the gigs, almost all actually, I wear sneakers, but now or then I do perform in flip-flops if we are somewhere in the nature during summer or at the beach and it’s hot and I did a gig in my hometown Ljubljana recently wearing a nice pair of Pharell’s Timberland Boots. I guess now that I’ve developed an eye for nice footwear I can’t wear just anything.

Speaking of performing, what live shows are you excited about playing in 2018? Any festival appearances you are looking forward too?
To be honest, you’ve caught me at the well-deserved holiday with my girlfriend, so I really have no clue where I’m going next. But sure, there will be plenty of exciting gigs as always. I’m on never ending tour for the last 20 years and luckily it always takes me to some places I like to visit as well as new exciting ones. I know I’m going To India, Australia and to Miami Winter Music Conference, which I’ll combine with a Northern American tour and I’ll do plenty of club and festival gigs all around Europe and Ibiza as well.

Big plans for 2018? Any new EPs, singles or albums in the works?
There are bunch of Umek and Zeta Reticula releases already scheduled and there will be some more as I’m in the studio all the time creating great music, which you can also hear in my sets exclusively, but right now I’m really pumped for the upcoming EP “Certain Trace” on Tronic. We go way back with Christian Smith and his label. I’ve played a lot of Tronic releases already in the 90s, I liked the sound they’ve promoted after the Millennium and they’re still one of the best techno labels and as such they cater to my taste regularly. In the past I’ve licensed music from Tronic for our compilations, booked Christian for our festivals and we’ve became friends. When I was producing these tracks I’ve suddenly realized that the synth sounds I’ve used should fit perfectly in the sound of Tronic. We were taking with Christian for quite some time about maybe producing something new for his label, as it’s been ages since my last contribution. I’ve sent him couple of tracks for consideration, he liked couple of them, and we set the release.

On the topic of 2018, what do you think will be super trendy for the coming year? This can be fashion or dance music!
Let’s focus on fashion since we’ve discussed sneakers extensively in this interview: granny or grandpa looking sneakers from the 80s and 90s are doing a big come back this year. They seem really funny and retro looking, but they are hot stuff now.

 

Feature photo credit: Luka Kase

Meet the underground talent of CRSSD Fest: Nicole Moudaber

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Nicole Moudaber

CRSSD‘s 7th edition is a special one —it marks the official third birthday of the festival. Hosted at its usual location at the picturesque Waterfront Park in San Diego, the semi-annual event certainly hasn’t faltered in its lineup curation, inviting the likes of Cirez DEmpire of the SunHenry Saiz, and Tchami onto its bill across March 3 & 4. Dancing Astronaut joins organizers in digging a little deeper into its roster to unearth its top underrated performers to find out their backstories thus far.

Nicole Moudaber‘s deeply-rooted adoration for rhythms and percussion is evident in the way she carries herself musically and in her sets. Such infectious passion rubs off on her followers, earning her the title “Queen of Techno” for good reason.

The stalwart boasts an impressive, and expansive resume, cutting her teeth on the Lebanese scene by bravely putting together underground parties amid a tumultuous period of war and oppression. Her ardency carried her forward, however, until she was picked up by Carl Cox years later and thus began her ascent into the iconhood that she’s reached today.

These days, Moudaber dips her hands in many arenas of the techno and house world. She runs her wildly successful In The MOOD radio show every week, and launched MOOD Records in 2013. Through it all, she still manages maintain a heavy tour and production, breaking barriers with bold collaborations like her projects with Skin, and bringing the darkness in singles like her recent Hector collaboration “Retrosaw”

We were able to catch Nicole ahead of her CRSSD performance, where she’ll be dominating the City Steps stage over the weekend of March 3 & 4. She divulges details on her comeup, inspirations, and more.

Purchase tickets to CRSSD here

Nicole Moudaber

 

What catalyzed your love for dance music?
I’m a music fanatic, always have been. I’ve been hooked on music since I was very young. Growing up in Nigeria, I was listing to afrobeat, funk and soul music. I still love that tribal sound and rhythm, and it’s a big influence on my music now – there is something almost spiritual about coming together to dance to a strong beat like that. As I get older, my passion for music only gets stronger.

What was your first label release? Would you still play it?
I released a track called Dilemma on Plastic City in 2008 but I don’t play it anymore. Both the scene and my own personal taste has evolved and I’m working in a different space musically.

Describe the moment or event that made you realize that you were meant to be a full-time DJ.
I’ve always traveled around the world to experience different types of parties… I considered myself a professional clubber. I had my epiphany moment watching Danny Tenaglia playing in New York – that night was so magical, it really pushed me to pursue my own career in music.

What’s your opinion of the dance scene in the US right now?
There’s some cool things happening for sure, more and more festivals are embracing the underground, and I think finally the whole EDM thing is imploding, thank God!

What are you looking forward to most about CRSSD Fest?
Sunshine, beautiful people and of course, techno baby!

Where are your favorite places to play in the world, and why?
It’s hard to pick just one, but some of the clubs where I’ve had amazing experiences are Stereo Montreal, Output New York, Space Ibiza (RIP), DC10 Ibiza, the list goes on.

What are the biggest things in your pipeline at the moment?

I just released the Retrosaw EP with my friend Hector on his new label VLack. It’s available on Vinyl now. Other than that, I’m really excited to be continuing to tour the states after CRSSD, and getting back in the studio to work on music.

If you could recommend three artists to catch from the lineup, who would you pick?
Sasha, Cristoph and Alan Fitzpatrick.

Weekend Rewind: Kevin Anderson enthralls in two-hour 2017 Desert Hearts set

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Kevin Anderson is the life of the party.

The artist rolls with a cheeky crew whose house, techno, and love mantra permeates through all possible facets of their work — paramount to the Desert Hearts ethos. His eccentricity  stands out not only in his propensity for finding rare tracks, Anderson also manages to impress with his of injection of love and non-stop danceability into his sets.

His involvement with Desert Hearts dates back to the 2014 edition of the festival, and since then the producer’s become a staple in the underground community. Much of his work is with fellow producer RYBO, although the Los Angeles-based artist recently released a brand new EP with Ghostea titled Kablam!.

Now, he’s shared his enthralling two-hour set from this Spring’s Desert Hearts festival and it’s a thrilling mix to kick off the day with.

 

 

Scene rising: Ocaso Music Festival is a testament to the searing underground potential of Costa Rica

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Tamarindo, Costa Rica’s Ocaso Music Festival is already finding its sweet spot.

Such a feat is not an easy one to accomplish — especially in an increasingly saturated festival market where success rides a fine line of talent booking, production, and risk-taking. Nailing a major festival production can take years, even with a strong team and a prime location. However, Ocaso only took two editions to get its footing in the contemporary event-organizing arena.

 

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What originally began in 2017 in Tamarindo as a free event has since transformed into an unparalleled, explorative venture diving deep into the realms of underground house and techno. This year, Ocaso Festival focused on delivering a more concise lineup of house and techno artists than it had last year. 2017’s lineup boasted artists like Hot Since 82Art DepartmentLee Burridge, DJ Tennis, Doc Martin, Cristoph, Anthony Attalla, Dance Spirit, Edu Imbernon, and Andreas Henneberg. Although 2017’s curation doesn’t appear to be any less concise than this year’s artistic assemblage, the main shift for 2018 was allowing extended DJ sets from a plethora of acts throughout the weekend.

Found on the 2018 lineup were underground house and techno pioneers like Doc Martin, Hector, Claptone, and Carlo Lio, plus live sets from Rodriguez Jr and Tone Of Arc, as well as a local takeover from Costa Rican DJs like Javee, Oneiro, Maria Wabe, Samu, and more. The rambunctious, SoCal Desert Hearts party crew featuring Mikey Lion, Lee Reynolds, MARBS, Porkchop, and RYBO also held it down for two surprise nights of the festival.

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Tamarindo, Costa Rica’s appeal lies in a multitude of offerings: great weather year-round, a party atmosphere near the beaches, ease of air travel, and a somewhat equidistant geographic location to major markets such as North America, South America, and Western Europe. Aside from the music, the Tamarindo Playa can be explored in a number of ways, from snorkeling the coral reef to scuba diving, surfing, or zip lining through nearby jungles. For those looking to err on the side of relaxation, Tamarindo offers luscious, local cuisine, as well as a superfluous number of bars and spas.

What Tamarindo’s nightlife lacks, one could argue, are the gargantuan dance venues similar to those of Ibiza. Though Costa Rica’s San José does bolster an array of nightlife institutions and party organizations, Club Vertigo and ANTIK being on the leading edge of the scene, the city is significantly less developed than much of the leading destination festival world. Rolling green mountains stretch beyond the city limits, where the jungles carry on as far as the eye can see. In this regard, one could argue that Costa Rica is ripe for its growth in the scene, but cities like Las Vegas and Dubai are light-years ahead. Even other “would-be Ibizas” such as Punta del Este in Uruguay, Cyprus, Bali, Romania, and Croatia, are too.

Though it’s important to understand: Costa Rica’s not aiming to be “the new Ibiza.”  

Unlike other destination festivals, Tamarindo’s Ocaso Festival points to a budding underground and a scene whose deserving musical and cultural celebration is deeply embedded in the country’s very livelihood.

Costa Rica will likely not in two lifetimes approach what Ibiza has done for the dance music — it’s unlikely any new “hotspot” will, for that matter. Providing a niche destination and unique attraction between that of a boutique and underground festival experience for the scene though is growing increasingly appetizing. To this effect, Costa Rica is well-positioned, and Tamarindo’s Ocaso Festival is leading the front.

ocaso-festival-tamarindo-by-pablo-murillo-04-01-2018-0528

Tamarindo is the biggest beachfront city in the area on the Pacific side, also within an hour drive of the new international airport in Liberia, making the ease of travel to Ocaso Festival a major attraction. Being on the Pacific side of the country is also incredibly important, the festival’s founder Devin Ellis has articulated to DA; Costa Rica’s dry season occurs only on the Pacific side of the country from mid-December to May, making the destination a key player in attendee’s delight.

Having organized underground warehouse style shows in the early nineties, “We have always had house and techno as our main attractions but added genres like hip-hop, drum & bass, and jungle at some of the bigger events,” the sonically well-rounded founder of Ocaso Festival is unequivocally rinsed in the underground scene.

After traveling to Acapulco Mexico in 2001 for an event called the ACA Soundfest, Ellis became drawn to the hedonistic and ground-breaking open-air possibilities a music festival could offer, and so he incorporated these elements into Ocaso.

It was “unlike anything I had ever experienced,” he’d said of ACA, also telling the Huffington Post prior to Ocaso, “I wanted to find a similar setting for my own destination festival. Removing people from the everyday stresses of life, and immersing them in an isolated setting produces a truly paradisaical experience full of freedom. In my first full night in Tamarindo a few years ago, I knew then Costa Rica was going to be home for Ocaso.”

After traveling extensively for a few years, Ellis remembered how much he enjoyed good music and its versatility no matter where he was.

“We just wanted to throw a destination festival to give people the opportunity to listen to world-class techno and house music in some of the most amazing locations on the planet,” Ellis told us of the mission behind Ocaso.

To pull off a world-class party, Ellis and the Ocaso organizers capitalized on a threefold relationship with the natural environment.

Beginning with the beach, the lifeblood of Ocaso festival was the relationship cultivated between the attendee and musical setting. Named after the Spanish word for “sunset,” it was incredibly apt that Ocaso’s second incorporation of an environmental element was a driving force of the country’s ethos: its sunsets. Ocaso’s decision to move from the opening party on the beach to a rooftop of a hotel for its days and final evening was a masterful one. In doing so, they displayed a threefold understanding of the need to entertain, but also to delight with the country’s natural beauty, and aid in attendees’ cultivation of a memorable experience with one another.

The most integral piece of Ocaso’s environmental planning though was its ascendance into the Costa Rican jungle for two nights. A sublime union between attendees and their environment, Ocaso’s underground roots were elongated with the use of the “La Senda” venue. Ocaso’s organizers paved the road leading from Tamarindo to La Senda, which was previously a dirt path, and quite literally allowed attendees to descend into the festival’s jungle accolade.

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Citing natural beauty as one of the number one attractions of Costa Rica, Ellis’ move of Ocaso to a natural amphitheater and next to an open Labrinyth structure for two evenings was immensely felicitous.

Besides the musical venue lied the Tamarindo Labyrinth, which according to both its website and locals, serves as “a maze you get lost [in] and have to find your way out, a labyrinth has only one path which symbolizes our life’s journey and takes us inward guiding us to find out who we really are. ”

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Photo Credit: La Senda Costa Rica

Translated into the design of a labyrinth by Ronald Esquivel, the jungle’s labyrinth uses sacred geometry and the number three, uniting two opposing centers — the feminine and the masculine into a third center, the Vesica Piscis — which is believed to be the point of creation.

In sacred geometry, the Vesica Piscis is the passageway from “the One to the many,” or the portal through which all forms and patterns of our universe are created. Since symbolism flows so deep within many, this figure is intended to allow inner expansion, exploration, inspiration, and spiritual self-discovery.

Respectively, Ocaso didn’t disrupt the landscape of La Senda, instead, they laced the jungle stage beside it, but the natural labyrinth’s proximity to the music and the natural amphitheater where it instead took place still beckoned an embracement of the country’s holistic energies — indeed propitious to the festival’s spiritual ideology.

Other than Ocaso’s optimal choice of venues, and its oneness with its destination, the festival soared in its palpable energy, although such a feat is rendered impossible without a diverse booking of world-class acts like Doc Martin, Claptone, Kenny Glasgow, Desert Hearts, and more.

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Ocaso’s not looking to make any drastic changes in its programming in the years to come, though Ellis hopes to continue to build on the vibes that have exploded since they began. 

Ultimately, it’s the energy of the underground that will keep people coming back to Ocaso. After all, that’s what’s kept the underground scene bubbling beneath the surface worldwide. With both Ellis’ and Ocaso’s investments in the Costa Rican scene, as well as their dedication to creating goosebump-inducing moments, and allowing the spaces to do the rest; its no surprise that Ocaso will be returning to Tamarindo next year with the same devotion to its natural environment, and most importantly, with the same love for the music that keeps it going.

All Photos Courtesy of Pablo Murillo

Stream deadmau5’s set as techno alias Testpilot on Holy Ship! 11.0

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Bassiani invites CEM for podcast #35

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Bassiani, the biggest techno club in Tbilisi, Georgia, began hosting their acclaimed podcast two years ago. Since then, the club’s curation has featured such underground techno artists such as Joel Mull, Fabrizio Lapiana, Jeff Derringer, and JP Enfant, to name a few.

Back for their 35th episode, Bassiani invites CEM — resident and co-founder of gay club night series Herrensauna — to the show for an unforgettable hour of experimental techno. Known for his meticulous selection, charismatic sets, and diverse range of influences, CEM explores both “experimental and dance floor oriented tracks to reveal darker and harder side of his taste in music.”

 

 

Photo courtesy of: W Magazine

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Palms Trax makes rousing Essential Mix debut

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Cheekily dubbed as the west country-born, Berlin-based underground star by BBC‘s Pete Tong, Palms Trax has finally made his debut in the Essential Mix DJ booth.

Real name Jay Donaldson, Palms Trax’ ubiquity in the dance world is becoming increasingly deserved as time carries on. He has bold sonic inclinations and an unabashed M.O. where he moves between genres and decades with ease — rare for someone as young as he. Despite being just 26-years-old, Donaldson’s encyclopedic musical expertise has situated him as an artist who’s talented beyond his years, if one were to see age as but a limit on such a thing.

Donaldson’s Essential Mix is steeped in a resplendent arrangement of classic dance tracks, from Angela’s 1984 “I Gotta Little Love,” to hidden gem house tracks from World Building records’ “Paraíso ’89” by Azura. His splicing of Azura’s track alone is a testament to his adroit crate digging, especially considering that Azura’s breezy Balearic business was extremely short-lived in the Italian house realm, she’s an act who’s slipped through the cracks for most.

Palms Trax has expressed he’ll be working on material for Dekmantel throughout the beginning of the new year and after listening to his deliverance of just the second Essential Mix of 2018, just following Carl Cox, one can only hope to see big things from Donaldson in the new year.

Listen to Palms Trax’s Essential Mix here

 

Photo credit: Camille Baker

Tracklist:

Guillaume Teyssier- Vortex Disco (Murray Lake Remix)
Lord of The Isles- Geek Chic (Kuniyuki’s Journey Remix)
Toulouse Low Trax- Second Trip
JC Project- Andromedia
Nicole Willis- Heed The Sign (Jimi Tenor Remix)
Plus Instruments- Love Is Enough (Jamie Paton Remix)
Angela- I Gotta Little Love
Tony Moore DJ- Tonight
Salentino- You’l Be In Paradise (Instrumental)
Lemonade-Dancer On The Shore (Jex Opolis Dub)
Collins- Autophobia
Mario Moretti- In Love With Nebula
Passarini- Wonky Wonky Wonky
Uabos- Mystic Force
Deutsch Amerikanische Freundschaft- Brothers (Mix Gabi)
Lipelis- Children Song
Colm III- Take Me High (Mansion Mix)
Virginia- Blue Pyramid (Khidja Remix)
Azura- Paraiso ’89
The True Underground Sound of Rome- Sonic Crystals
Mr Raoul K- Africa (12″ Version)
Ess O Ess- Cantillate (Chida Remix)
Pussycat- Le Chat
Lucy Montenegro- Lucy In The Sky
The R- Higher
Jeff Mills- Imagine
DJ Normal 4- Purity 0%
Thursday Club- Westway
Bushwhacka!- 4 Da Night
Jackson Changura- Niyekele
Bob Holroyd- African Drug (Rhino Mix)
Lars Bartkuhn- Elysium
Nu Era- Octahedron
Shokazulu- Part 4
Brown Sugar- I’m Going Through Changes Now
Philip Balou- Ain’t Nothing Like The Love

 

 

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MUST LISTEN: The Black Madonna makes her stunning BBC Radio 1 residency debut

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The “riot girrrl” of dance music, The Black Madonna, has made her 2018 BBC Radio 1 residency debut.

Marea Stamper kicked off her residency with zeal, digging into the crates and serving up an archetypically Black Madonna array of deeper cuts from the likes of Talamanca System, Detroit’s Parliament, and the groove-God Kiki Gyan.

It’s going to be a decalescent ride through the new year, as Stamper’s already gathered a healthy bevy of her prized disco, techno, and house expertise in the very first episode. She’ll be dropping off an array of new tracks throughout the show, all while enlightening the masses to some of the should-be-known cultural pioneers. Right off the bat, she threw on Juan Maclean’s new project Ambivalent and made the world debut of his galvanizing new cut “Faded Pictures,” featuring Shaun J. Wright.

Stamper spliced in acid house, literally, from fellow BBC resident Artwork, and a range of tunes that were aptly out of the very city that bred her DJ prowess. She closed out the show with the tear-jerker classic, Gloria Ann Taylor’s “Love Is A Hurtin’ Thing,” and brought back her  History of The World segment which was the title of her first residency series in London at XOYO, a three-night collection of expansive music selections. The series will see Stamper selecting a track at the end of each mix, talking about its origins, as well as its socio-economic and artistic significance. “It’s one of the most gorgeously arranged pieces of dance music or soul music that’s ever existed,” she said of Gloria Ann Taylor’s “Love Is A Hurtin’ Thing,” and we couldn’t agree more.

Stamper’s Radio 1 residency kicked off January 11 and will continue through June of this year.

Listen to The Black Madonna’s BBC Radio 1 residency debut here

Tracklist:

Talamanca System- The Past Is The Future (Beatless Stars In Space Mix)
Parliament- P-Funk (Wants To Get Funked Up)
The Dynamics- Miracles
The Trammps- VIP
Kiki Gyan- Disco Dancer
Prince- Sexuality
Roni Griffith- Love Is A Drug
Ambivalent- Faded Pictures (feat. Shaun J. Wright)
Artwork- Let Go Of This Acid
Mike Dunn- DJ Beat That Shhh
Kirk the Flirt & Peter Pressure- My One Desire
Kitty Grant- Glad To Know You
Gloria Ann Taylor-Love Is A Hurtin’ Thing

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Maceo Plex is set to revive his electro Mariel Ito alias after 12 years

This post was originally published on this site

Considering the recent resurgence of electro, and more widespread attention given to acts like Helena Hauff and the seminal DJ Stingray, it’s fitting that Eric Estornel —otherwise known as Maceo Plex — is reviving his electro-focused alias Mariel Ito for the first time in 12 years.

Estornel’a returns to this project in a big way, as he’s set to release two new EPs — one on R&S records and one on his Lone Romantic Label — and a retrospective album on R&S records, entitled 2000-2005.

His first EP, 2e Komst, via Lone Romantic, will arrive on January 26. The retrospective album, 2000-2005, is set to arrive on R&S in May, and the second EP will follow later in the summer.

Listeners can get a taste of Estornel’s electro and IDM release on the new cut “Process,” which is taken from the upcoming retrospective album 2000-2005 due out in May of 2018 on R&S.

2e Komst Tracklist:
1. Sintex49
2. Dmode90

H/T: Resident Advisor

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