samurai.fm
New Music Generation
| House | Techno | Electro | Trance |
| Disco | Funk | Soul | R & B |
| Breaks | Dubstep | Broken | Drum & Bass |
| Hip-Hop | Glitch | Garage | Scratch |
| Electronica | Downbeat | Ambient | Noise |
| World | Reggae | Jazz | Rock |
| Crossover | Mash-up | Eclectic | Verbal |
| Deep | Balearic | Future | Anthem |
| New | Cosmic | Tribal | Prog |
| Dark | Hard | Bit | Dub |
| Urban | Jazzy | Funky | Hardcore |
| Classic | Abstract | Retro | Minimal |
| Dirty | Latin | Afro | Punk |
フィーチャー
samurai.fm presents Savage Skulls
Stockholm party-starters Carli Löf and Måns Glaeser joined forces to form Savage Skulls, injecting some much-needed tropical booty-shaking vibes in to Swedish nightlife.
They pride themselves on their particular brand of high-octane, slick and off-the-wall club tracks, bringing together heavy techno beats with a Jamaican dancehall flavor to create a refreshingly fun outlook on electronic club music.
Enchufada Record were so impressed with their debut EP 'Bumps' on Switch's label, Dubsided, as well as their collaborations with Crookers on 'Crookers Presents Dr. Gonzo' and Douster for the Mad Decent single ‘Bad Gal’ that they knew they had to work with them. After contributing to the fourth 'Hard Ass Sessions' volume with a bass-heavy French Fries collaboration named Marawa, it's now time for a fully-fledged single release on Enchufada with two huge tunes that are sure to bring the ruckus to your favorite club.
To celebrate the release of this new EP the guys have supplied this superb mix for your listening pleasure.
www.facebook.com/savageskulls
www.facebook.com/enchufada01
They pride themselves on their particular brand of high-octane, slick and off-the-wall club tracks, bringing together heavy techno beats with a Jamaican dancehall flavor to create a refreshingly fun outlook on electronic club music.
Enchufada Record were so impressed with their debut EP 'Bumps' on Switch's label, Dubsided, as well as their collaborations with Crookers on 'Crookers Presents Dr. Gonzo' and Douster for the Mad Decent single ‘Bad Gal’ that they knew they had to work with them. After contributing to the fourth 'Hard Ass Sessions' volume with a bass-heavy French Fries collaboration named Marawa, it's now time for a fully-fledged single release on Enchufada with two huge tunes that are sure to bring the ruckus to your favorite club.
To celebrate the release of this new EP the guys have supplied this superb mix for your listening pleasure.
www.facebook.com/savageskulls
www.facebook.com/enchufada01
Jon Rundell Live at Warung + Daryl Stay Studio Mix
This month's Intec Digital show features a live recording of Jon Rundell at Warung from 28/12/2011.
The second part of the show includes a slick studio mix from Daryl Stay who recently released a hot 2 track EP for the label.
intecdigital.com
facebook.com/IntecDigital
The second part of the show includes a slick studio mix from Daryl Stay who recently released a hot 2 track EP for the label.
intecdigital.com
facebook.com/IntecDigital
samurai.fm presents Oli Furness
A rocking Hip House mix from Oli Furness to promote his new EP Death Of A Musicbox out on Recore Records at the end of this month.
Oli Furness - an artist who has been steadily releasing his 90s infused house tracks on various UK labels over the past few years and developed a refined, mature style of production that draws on classic House and Garage tropes.
Furness utilizes drum machines, outboard synths, mixers and effects units to create a warm analogue sound that reflects his involvement in the long running Manchester House scene. Oli has been heavily involved with the Acid House movement over the past decade and subsequently has become a member of the infamous Hacienda Nightclub booking agency.
www.facebook.com/OliFurness
Oli Furness - an artist who has been steadily releasing his 90s infused house tracks on various UK labels over the past few years and developed a refined, mature style of production that draws on classic House and Garage tropes.
Furness utilizes drum machines, outboard synths, mixers and effects units to create a warm analogue sound that reflects his involvement in the long running Manchester House scene. Oli has been heavily involved with the Acid House movement over the past decade and subsequently has become a member of the infamous Hacienda Nightclub booking agency.
www.facebook.com/OliFurness
EPM Podcast 029 - Carl Taylor
Next up on the EPM Podcast we welcome a man whose techno oozes soul and depth whilst his house has plenty of dirt under its fingernails, South Yorkshire’s finest - Carl Taylor. True to his techno and acid house roots, Carl’s podcast features some of the most exciting names in techno and house around as Mike Dehnert, Shed, Orlando Voorn, Ben Sims, A Made Up Sound, Abe Duque, Detroit Grand Pubahs, Terrence Parker, Redshape, Robert Hood, Paul Johnson, Quince and of course Carl himself get caught up in the Barnsley beat blender! This is straight up booty shaking, floor killer action.
Following July’s single release of ‘Perplexer/Violet’, which featured a remix from Orlando Voorn and November’s second single ‘Only U’ with re-workings provided by Mark Broom and Luis Martinez, Carl Taylor now releases his second studio album ‘True Faith’, this January.
Carl’s previous releases can be found on the likes of Bugged Out, F-Comm, Dust Science, Advanced and F1 Recordings, as well as his Warehouse Trax series, which has built him a reputation for delivering a range of techno from tougher, dirty edged, dancefloor beats to blissfully melodic tracks, yet always feature his signature depth and soulfulness.
http://epm-music.com/epm-music-label/item/155-#14-carl-taylor-true-faith.html
Q&A with Carl Taylor
1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?
I usually select tracks that say something to me. I like a variety of mood and energy level (as well as style) as I’m a big believer in set dynamics. Also, I'm not afraid to play older tracks along side brand new music. I think the selection reflects this ethos and hopefully people will appreciate the variety.
2. You once stated: “thinking too much often kills the art - which then reduces it to a refinement of over consideration and reflection.” Does this mean that you are always trying to capture the ‘moment’ live in the studio?
Yeah exactly. When I was younger I used to get obsessed with things that didn't matter. Don't get me wrong, I can appreciate attention to detail; but I noticed a positive difference when I went back to Jamming sequences live on the MPC instead of spending ages drawing automation curves and moving dots / blocks around on the computer screen. It was common for me to change elements a ridiculous amount, and then I’d mix a track over and over again… after all that I still wouldn't be happy. A recipe for madness in my book. All I can say is the less I think about what I'm doing, the more I enjoy it. Follow your instinct.
3. Your second studio album has just been released on EPM. Is ‘True Faith’ about your conviction in electronic music or belief in yourself to continue producing music?
There is definitely an element of both. I would define what I do as a labour of love, it’s certainly no 'get rich quick scheme' that’s for sure. Certain sectors of dance music are obsessed with trends; I love new music as much as the next man; but my creative motive is purely musical and nothing else. Music can become polluted by many factors: I guess I'm a hopeless romantic at heart.
4. In a recent studio interview with Music Radar you appear to favour hardware over software in most of your production. Do you find that is because it gives you a spontaneity of purpose that looking at a screen may lack?
Yeah you've hit the nail on the head. Though actually I'm about 50/50 with time spent on either platform. But the one thing I notice is that it’s virtually impossible to get out of analytical mode when using the computer. The visual input stimulates my brain and inhibits my creative flow at times. I can make a full track on the MPC in anything from 30mins to 3/4 hrs. The lack of options on the MPC, and the dedicated interface give it the upper hand in many situations.
My ultimate studio would be fully hardware with one knob / slider per function. Though practicality and realism have to come into the equation. For example: to get a hardware version of Native Instruments 'Massive' synth (with that level of modularity) would take up a ridiculous amount of room and cost a fortune.
Having said all that, there are tasks that the computer is far better at. Editing audio being one of them. Also, when I want to get REALLY geeky, MaxMSP / Reaktor is like a sound designers dream.
5. What plans do you have for your Warehouse Trax series that has already seen a brace of EPs released on Dust Science?
I’ve got around 12 Warehouse Trax ready to go. Also, I plan to keep making them as I love the process. They are the antithesis of my more melodic output: noisy and often nasty.
6. Who would play Carl Taylor in ‘Carl Taylor – The Movie’?
I’ve been compared to Karl Pilkington and even Alan Partridge… so take your pick!
7. What plans do you currently have outside of music production?
I’m finishing a MSc in Music Tech at the moment, and I'm also learning iPhone programming which I really enjoy. Other than that, I’m not sure really... I just make it up as I go along.
8. On your new album is the track ‘Orbit’ a homage to the legendary Leeds techno club?
I’d love to say yes, but I only went a couple of times toward the end of its life. It was probably in my head subconsciously when I named it though.
9. You recently played a live set for your album launch party at Ginglik in London. How did that go?
Yeah I really enjoyed it, nice little club and the crowd and staff were really friendly. It was nice to get the live set on the road. It had been 6 months in the making, and I was pleased to see it go down well.
10. Please give us your top 10 all-time favourite Acid House tracks:
(In no order)
Phuture - 'Acid Trax'
Hardfloor - 'Acperience'
A Guy Called Gerald - 'Voodoo Ray'
LFO - 'Freak'
Andy Vaz - 'Bygone Times' (Trusme Remix)
Adonis - No Way Back
Fast Eddie - 'Acid Thunder (Fast Thunder)'
Steve Poindexter - 'Computer Madness'
DJ Pierre - 'Box Energy'
Sleazy D - 'I’ve Lost Control'
Following July’s single release of ‘Perplexer/Violet’, which featured a remix from Orlando Voorn and November’s second single ‘Only U’ with re-workings provided by Mark Broom and Luis Martinez, Carl Taylor now releases his second studio album ‘True Faith’, this January.
Carl’s previous releases can be found on the likes of Bugged Out, F-Comm, Dust Science, Advanced and F1 Recordings, as well as his Warehouse Trax series, which has built him a reputation for delivering a range of techno from tougher, dirty edged, dancefloor beats to blissfully melodic tracks, yet always feature his signature depth and soulfulness.
http://epm-music.com/epm-music-label/item/155-#14-carl-taylor-true-faith.html
Q&A with Carl Taylor
1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?
I usually select tracks that say something to me. I like a variety of mood and energy level (as well as style) as I’m a big believer in set dynamics. Also, I'm not afraid to play older tracks along side brand new music. I think the selection reflects this ethos and hopefully people will appreciate the variety.
2. You once stated: “thinking too much often kills the art - which then reduces it to a refinement of over consideration and reflection.” Does this mean that you are always trying to capture the ‘moment’ live in the studio?
Yeah exactly. When I was younger I used to get obsessed with things that didn't matter. Don't get me wrong, I can appreciate attention to detail; but I noticed a positive difference when I went back to Jamming sequences live on the MPC instead of spending ages drawing automation curves and moving dots / blocks around on the computer screen. It was common for me to change elements a ridiculous amount, and then I’d mix a track over and over again… after all that I still wouldn't be happy. A recipe for madness in my book. All I can say is the less I think about what I'm doing, the more I enjoy it. Follow your instinct.
3. Your second studio album has just been released on EPM. Is ‘True Faith’ about your conviction in electronic music or belief in yourself to continue producing music?
There is definitely an element of both. I would define what I do as a labour of love, it’s certainly no 'get rich quick scheme' that’s for sure. Certain sectors of dance music are obsessed with trends; I love new music as much as the next man; but my creative motive is purely musical and nothing else. Music can become polluted by many factors: I guess I'm a hopeless romantic at heart.
4. In a recent studio interview with Music Radar you appear to favour hardware over software in most of your production. Do you find that is because it gives you a spontaneity of purpose that looking at a screen may lack?
Yeah you've hit the nail on the head. Though actually I'm about 50/50 with time spent on either platform. But the one thing I notice is that it’s virtually impossible to get out of analytical mode when using the computer. The visual input stimulates my brain and inhibits my creative flow at times. I can make a full track on the MPC in anything from 30mins to 3/4 hrs. The lack of options on the MPC, and the dedicated interface give it the upper hand in many situations.
My ultimate studio would be fully hardware with one knob / slider per function. Though practicality and realism have to come into the equation. For example: to get a hardware version of Native Instruments 'Massive' synth (with that level of modularity) would take up a ridiculous amount of room and cost a fortune.
Having said all that, there are tasks that the computer is far better at. Editing audio being one of them. Also, when I want to get REALLY geeky, MaxMSP / Reaktor is like a sound designers dream.
5. What plans do you have for your Warehouse Trax series that has already seen a brace of EPs released on Dust Science?
I’ve got around 12 Warehouse Trax ready to go. Also, I plan to keep making them as I love the process. They are the antithesis of my more melodic output: noisy and often nasty.
6. Who would play Carl Taylor in ‘Carl Taylor – The Movie’?
I’ve been compared to Karl Pilkington and even Alan Partridge… so take your pick!
7. What plans do you currently have outside of music production?
I’m finishing a MSc in Music Tech at the moment, and I'm also learning iPhone programming which I really enjoy. Other than that, I’m not sure really... I just make it up as I go along.
8. On your new album is the track ‘Orbit’ a homage to the legendary Leeds techno club?
I’d love to say yes, but I only went a couple of times toward the end of its life. It was probably in my head subconsciously when I named it though.
9. You recently played a live set for your album launch party at Ginglik in London. How did that go?
Yeah I really enjoyed it, nice little club and the crowd and staff were really friendly. It was nice to get the live set on the road. It had been 6 months in the making, and I was pleased to see it go down well.
10. Please give us your top 10 all-time favourite Acid House tracks:
(In no order)
Phuture - 'Acid Trax'
Hardfloor - 'Acperience'
A Guy Called Gerald - 'Voodoo Ray'
LFO - 'Freak'
Andy Vaz - 'Bygone Times' (Trusme Remix)
Adonis - No Way Back
Fast Eddie - 'Acid Thunder (Fast Thunder)'
Steve Poindexter - 'Computer Madness'
DJ Pierre - 'Box Energy'
Sleazy D - 'I’ve Lost Control'
Pinch's "Oh No Not another Dubstep DJ Playing House" Mix
Looking back on the myriad of ways that the genre now known quite loosely as ‘bass music’ has mutated, one of the key figures in its evolution would have to be Bristol’s Rob Ellis, better known simply as Pinch. His fascination with what the outer limits of the dub sound can achieve, has made him a distinct figure within the fluid group of like-minded dubstep musicians that defined the so-called Bristol sound. In 2003, a Kode9 set at London’s seminal FWD>> became the stepping-stone into dubstep that inspired him to start the first pure dubstep night outside of FWD>>, Subloaded, in his hometown. With the city’s love of dub and long musical lineage, plus Pinch’s dedication to the importance of the actual sound, it quickly formed a dedicated community and became a yardstick by which other nascent events were measured. This had all been driven by a key moment in his own musical evolution which as he explains, “I lost interest in D&B and started buying minimal Basic Channel style techno, garage, grime and electronica instead - trying to mix them up together,” pre-empting the dominant sound of 4/4 dub-techno embraced by today’s crop of young producers, like Hessle Audio, who regularly cite the Bristol sound as a big influence. This embrace of a starker, dubbier sound became the seed from where his Tectonic label grew, and by championing artists like 2562, led to his eventual release of work with dub legend and King Tubby apprentice, Scientist. His FABRICLIVE offering comes hot on the heels of mixes from Pearson Sound and an artist with whom he’s just recently released a collaborative album on Honest Jon’s, Shackleton. These are all producers who work in a similar vein, that is, impeccable attention to sound detail, continual experimentation with rhythm whilst always maintaining a definitive ‘sound’ which can be traced throughout all their productions.
The mix itself combines all of Pinch’s loves, a blend of both melodic mood-pieces, driving dub-techno and the odd mid-range bass wobble masterfully planted to maximum effect. This is all peppered through in post-production with little vocal samples, mostly supplied by Bristol MC Jakes, that fully form the mix, like the grain in wood, supplying body, making it more than just a sum of its constituent parts. Pinch kicks things off somewhere through a Distal production, a screwed hip-hop vocal making it sound like a paranoiac’s reimagining of ghetto-tech. This quickly sets the tone - managing to juggle the ominous with the upfront, like the Lynchian strings of ‘In Dreams’ which phase seamlessly into the manic energy of Boddika and Joy O’s recent smash ‘Swims’. The mix really clips along, testament to Pinch’s skill behind the decks, most tracks only playing out for a couple of minutes at most. There’s a nod to the pure dub-techno of Basic Channel, with a cut from Shed’s side-project EQD, mastered at that other altar to all things bass, Berlin’s Hard Wax. This drives into another major influence, with Pinch’s own remix adding some rolling sine-waves to the guttural vocals of Prince Green on Henry & Louis& neo-dub. A sledgehammer wobble both heralds, and ends, the central section of the mix, with Pinch’s collaborative effort with Photek, and Chestplate boss Distance’s weighty ‘Blue Meanie’. This central nub almost functions as a showcase, Pinch demonstrating some of contemporary dubstep’s many flavours: the industrial sounds of Emika, Roska’s clattering drums, Addison Groove’s use of repeating vocals as a rhythmic weapon and the shimmering techy keys of Goth Trad. The final two tracks are supplied by a couple of the most promising young producers to emerge in the past few years, Londoner OM Unit and Tectonic’s own Illum Sphere. ‘Pressure’ certainly doesn’t let up, presenting us with a relentless squiggling synth-line awash in a storm of feedback then changing tack considerably into a steady pulsing beat. Pinch often talks of psychedelic dub, and here Illum Sphere demonstrates it wonderfully, toeing the line between instrumental breakbeats and even deep house, with its ethnic drums, distorted strings and a pitched down warble. This isn’t the true end as the mix is bookended with the rest of Distal’s track in order to achieve a perfect circularity as Pinch explains.
“I am a supporter of the sound of vinyl and the cultural associations I make with this format so it was important to me - even if I do ultimately end up abandoning my beloved format one day - to stick by my guns and record the mix like this. I also made the whole mix start and finish in the same spot - meaning that the entire DJ mix can work as a loop if you put it on repeat. I really like the idea of certain kinds of music existing in its own infinite context and setting up the mix to loop like that was playing entirely into that idea.” - Pinch 2011
Order the full album at the link below
www.fabriclondon.com/store/fabriclive-61.html
The mix itself combines all of Pinch’s loves, a blend of both melodic mood-pieces, driving dub-techno and the odd mid-range bass wobble masterfully planted to maximum effect. This is all peppered through in post-production with little vocal samples, mostly supplied by Bristol MC Jakes, that fully form the mix, like the grain in wood, supplying body, making it more than just a sum of its constituent parts. Pinch kicks things off somewhere through a Distal production, a screwed hip-hop vocal making it sound like a paranoiac’s reimagining of ghetto-tech. This quickly sets the tone - managing to juggle the ominous with the upfront, like the Lynchian strings of ‘In Dreams’ which phase seamlessly into the manic energy of Boddika and Joy O’s recent smash ‘Swims’. The mix really clips along, testament to Pinch’s skill behind the decks, most tracks only playing out for a couple of minutes at most. There’s a nod to the pure dub-techno of Basic Channel, with a cut from Shed’s side-project EQD, mastered at that other altar to all things bass, Berlin’s Hard Wax. This drives into another major influence, with Pinch’s own remix adding some rolling sine-waves to the guttural vocals of Prince Green on Henry & Louis& neo-dub. A sledgehammer wobble both heralds, and ends, the central section of the mix, with Pinch’s collaborative effort with Photek, and Chestplate boss Distance’s weighty ‘Blue Meanie’. This central nub almost functions as a showcase, Pinch demonstrating some of contemporary dubstep’s many flavours: the industrial sounds of Emika, Roska’s clattering drums, Addison Groove’s use of repeating vocals as a rhythmic weapon and the shimmering techy keys of Goth Trad. The final two tracks are supplied by a couple of the most promising young producers to emerge in the past few years, Londoner OM Unit and Tectonic’s own Illum Sphere. ‘Pressure’ certainly doesn’t let up, presenting us with a relentless squiggling synth-line awash in a storm of feedback then changing tack considerably into a steady pulsing beat. Pinch often talks of psychedelic dub, and here Illum Sphere demonstrates it wonderfully, toeing the line between instrumental breakbeats and even deep house, with its ethnic drums, distorted strings and a pitched down warble. This isn’t the true end as the mix is bookended with the rest of Distal’s track in order to achieve a perfect circularity as Pinch explains.
“I am a supporter of the sound of vinyl and the cultural associations I make with this format so it was important to me - even if I do ultimately end up abandoning my beloved format one day - to stick by my guns and record the mix like this. I also made the whole mix start and finish in the same spot - meaning that the entire DJ mix can work as a loop if you put it on repeat. I really like the idea of certain kinds of music existing in its own infinite context and setting up the mix to loop like that was playing entirely into that idea.” - Pinch 2011
Order the full album at the link below
www.fabriclondon.com/store/fabriclive-61.html
Ideal Podcast #14 by Karotte
Here today, here tomorrow...
Over the last two decades Karotte has worked his way to the top of the internationally acclaimed DJs' list. He has achieved this by purely giving 100% each and every night at clubs all around the globe. His unparalleled blend of electronic music surely already separates him from the rest of the field, but his ability to motivate himself to go to the absolute limit all the time, exemplifies his standing as a truly amazing DJ. His love for music can clearly be heard and seen, no other turntable wizard lives his set the way Karotte does. His gigs are not just a better option for a wild night out in town, each set is special and an experience in itself.
Over the last two decades Karotte has worked his way to the top of the internationally acclaimed DJs' list. He has achieved this by purely giving 100% each and every night at clubs all around the globe. His unparalleled blend of electronic music surely already separates him from the rest of the field, but his ability to motivate himself to go to the absolute limit all the time, exemplifies his standing as a truly amazing DJ. His love for music can clearly be heard and seen, no other turntable wizard lives his set the way Karotte does. His gigs are not just a better option for a wild night out in town, each set is special and an experience in itself.
イベント
-
Thu23HOME CLUB PRESENTS CNTRL WASTELAND @ Home Club
- Shermern /
- Gaijin /
- DONN /
- Notion A /
- loopinmotion
-
Sat25
-
Sat25Gutterslut 4th Birthday @ East Bloc
- WeAreSkitzo /
- Per Qx /
- Squeaky /
- Nic Fisher /
- Miss Crystal MC /
- Laurent C. /
- Kate Hutchinson /
- Ralf /
- DiscoSlut DJs
-
Fri02Planet Jungle XL feat Bad Company & Cause4Concern @ The Acid Factory (de azijnfabriek)
- Bad Company /
- Cause4Concern /
- Roly /
- KneppaH /
- Junglin /
- Dj Seb
-
Fri09
ニューリリース
NoN-Profit Music MIx By AlkaLoidGratis 2012
My favorite records from today and the past.
Enjoy und Share....:)
My favorite records from today and the past.
Enjoy und Share....:)
Another edition of the popular Jazz Funk soul & Disco show
Check it out on Smile 101 radio at www.smile101.net
Check it out on Smile 101 radio at www.smile101.net
Back again for Awkward Movements Sessions, resident photographer and drum n bass selector Timmy K steps in for a 90 minute mix. Off the back of the response from his last Sessions, Tim's pulled together tracks that are a primer of his collection from the last few years, joints that never leave his playout list and tracks that are essential headphone listening when his on his way to take more shots. We've been informed that both Goldie and Bjork drops towards the end are pure self-indulgence, though both fit quite nicely into a seamless set of quality tunes.
Big ups to the man!
Big ups to the man!
A logically rounded 1.5 hour edit of my 6-hour set @ BD party thrown by Erik Pelmeshkin (www.pelmeshkin.com), best pizza maker in Riga, tireless party photographer, good music lover and just an awesome guy all around. Recorded 05.02.2011.
This mix was featured on Proton Radio's Bedroom Bedlam Show.
01. Dinka/Never Cheat On Strangers (Original Mix)
02. Second Left/Escape
03. Second Left/Drop Pounds Gem
04. Envotion/Free Ride (Original Mix)
05. Josh Gabriel/Viscosity (William A Remix)
06. Nadia Ali/Rapture (Avicii New Generation Extended Mix)
07. Jorg Murcus/Jouissance (Eelke Kleijn Remix)
08. The Good Guys feat. Tesz Millan/Spotlight (Avicii Rising Star Mix)
09. Beltek/Eclipse (Original)
Enjoy !
02. Second Left/Escape
03. Second Left/Drop Pounds Gem
04. Envotion/Free Ride (Original Mix)
05. Josh Gabriel/Viscosity (William A Remix)
06. Nadia Ali/Rapture (Avicii New Generation Extended Mix)
07. Jorg Murcus/Jouissance (Eelke Kleijn Remix)
08. The Good Guys feat. Tesz Millan/Spotlight (Avicii Rising Star Mix)
09. Beltek/Eclipse (Original)
Enjoy !
Recorded in October 2011
Just wanted to capture some of my favorite songs and feelings from the previous summer.
Just wanted to capture some of my favorite songs and feelings from the previous summer.
Next up on the EPM Podcast we welcome a lady whose techno oozes soul and depth as Dutch DJ/producer Estroe takes us on an atmospheric and emotional journey through EevoNext’s label catalogue. Featuring the subtle and melodic depths that the label so often represents Estroe takes us on a textured ride through the label’s history as Dan Grain, Terrace, Justin Berkovi, Duplex, The Moderator, Sounds Conversions, Art Bleek and Estroe herself blend into an ethereal, nocturnal mix.
Together with the likes of Anja Schneider, Mistress Barbara and Monika Kruse, Estroe belongs to an elite club of female DJs that made it to the top. Born in Zutphen as Esther Roozendaal, raised near Amsterdam and currently living in Rotterdam, she has been DJing since 1998.
Whether it’s behind the turntables of the famous Fuse club in Brussels, Watergate in Berlin or an underground club in Romania, Estroe knows how to tune in and drop the right beats. She likes to play versatile, techno infused sets with room for deep undercurrents as well as pure dancefloor work. Her style is warm, subtle but at the same time very energetic.
Things really took off when Estroe started producing her own tracks back in 2003. In hindsight it was an unconscious response to the skull breaking beats of those days. "I missed the soul in much techno back then and felt the need to make something myself." She then learned everything there was to know about hard- and software.
In her first productions Estroe went back to the early days of Detroit techno. Back when people like Carl Craig, Kenny Larkin and the The Black Dog found the soul in their machines. With her sophisticated, warm and elegant style she soon appeared on the radar of DJs like Laurent Garnier, Ripperton and John Digweed. The latter was blown away by Estroe's minimalist masterpiece ‘Driven’ and promptly asked her for a remix on his Bedrock label. Another strong supporter is techno don Dave Clarke who has booked her for his White Noise parties on more than one occasion.
In 2009 she released her debut album ‘Elemental Assets’ (Connaisseur) which featured Miss Kittin on vocals and recently Estroe has been rediscovering the darker sides of techno in her DJ sets, something which will no doubt translate in her future productions.
With her ability to mould sounds into beautiful shapes, Estroe has become an in demand remixer in recent years. Some of her best work was done for others, like Tim Wolff, Art Bleek and Rocco Caine, whose Fathorn 50 made it to M.A.N.D.Y.'s ‘Body Language’ compilation.
Together with Stefan ‘Terrace’ Robbers, Estroe runs EevoNext (the next generation of Eevo Lute Muzique) one of the oldest dance labels in the Netherlands, spanning over twenty years of Dutch techno. EevoNext releases classics from the Dutch techno vaults but also breaks new talent. That’s where Estroe comes in. “I like to scout and coach new talent”, she admits. “I’ve been in this business long enough to know the pitfalls.”
Another promising project is Estafête, a ‘girls only DJ team’ consisting of Monica Electronica, Lin and Estroe. “No I’m not a fanatic feminist but I do miss the femininity in the DJ world sometimes”, she states. It’s not only more fun with two other women behind the mixer, it’s also very inspiring.” With Estafête we constantly challenge each other, which translates in better DJ sets.”
With a filled agenda and an inbox full of remix requests, chances are high you’ll be dancing to an Estroe tune this weekend. Asked if she has any regrets since she gave up her day job years ago, she fiercely shakes her head. “This is what I always wanted: to make good music and to play it out."
Q&A with Estroe
1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?
I wanted to pick the tracks that I didn’t use before in other EevoNext-only mixes and wanted to give some attention to the last releases. But it had to fit in the flow and had to be mixable. It’s always difficult to make a special EevoNext mix because of the tempo and style differences and because all the tracks are melodic. But of course they are also a selection of my personal taste.
2. How did you come to be running EevoNext alongside Stefan Robbers? Were you already a long time fan of Eevo Lute?
To be honest I wasn’t a long time fan of Eevo Lute, I have bought some of the older stuff but I started DJing in 97/98 so I wasn’t really familiar with the early works. I remember that I liked Stefan’s (Terrace) music on FWD: Stefan and I knew each other from walking around in the same scene and at one point we got to know each other better and he asked my help with modernising the label somewhat. That’s when we started EevoNext.
3. In your own productions you stated that you like to target peoples’ ‘emotional spot’. Do you feel the same way about your DJing?
In DJing it’s more about sharing, I like to share what I find good music and I like to present it in a way that builds up tension. When I say ‘I want to take people on a journey’ it sounds so cliché but in a way it’s true. I’m in my happy element when I see a crowd in unity because they are all enjoying the same thing and forgetting about their daily sorrows. But music is always emotional in my opinion so in that way DJing is also about hitting an emotional spot.
4. How did the challenge of making your debut album ‘Elemental Assets’ (2009) compare to making an EP release?
Working on an album takes so much more time! I’m not really a conceptual worker, I make what comes out of me and for an EP I make a selection with the label that wants to sign it. For the album I had to think more about artwork, remixers, singers and it had to be a consistent package so that was a long process.
5. What qualities are you looking for when signing new music or artists to EevoNext?
Originality, a good balance between old and new sounds and a certain dedication and presentation by the artist. But the style can vary from ambient to techno as long as it’s good. For 2012 we already made a strategy with the artists we signed so we are a bit laidback with demos at the moment.
6. As one third of Estafête, a ‘girls only DJ team’ consisting of Monica Electronica, Lin and yourself you say that you miss the femininity in the DJ world sometimes. How does this female DJ tag team differ from your normal DJ experiences and are the reactions from men and women different in any way?
Don’t get me wrong, I’m not the world’s biggest feminist, I’ve always liked the dance scene to work in and have fun with my male colleagues. But there are situations when it’s nice that you work together with women. To share experiences about that cocky promoter, or simply discuss what to wear to a gig. ☺ The team differs from my solo experience in music choice. With Estafete I play a little less deep, more party. And solo I’m a bit reserved but with the three of us I loosen up more. The reactions from men and women are not far away from each other in my opinion although I have the impression that women like it slightly more, they just find it cool to see three DJ women working together. Men are more visually and focused about the technique so I get questions after our set about how we work.
7. Apparently you are completely self-taught on software production and now even give workshops on Ableton. How important was it for you to develop your production skills from scratch?
That was just a combination between how things went and my character. I was interested in the question whether or not I would be able to produce something. It was a challenge for me to find things out and the first year I was just fascinated by all the sounds that came out of the keyboard and plugins. Luckily I started producing when digital producing just came up so I didn’t have to invest a lot of money in studio equipment, a good computer, keyboard and sequencer helped me start up quite easily.
I did spent time in the studio with others and did get some explanation about Cubase, soundcards and all technical stuff and I always had people who I could ask questions when problems arose. But I realised that it’s better to just try and learn from errors. When Ableton Live came out it all become much easier for me, suddenly I was able to work faster and I finished some tracks that were signed by labels.
What’s important to me is that I can say that I make my music myself, it’s really a reflection from what I am and what I have to say. It wouldn’t be fun to have success with something someone else produced would it? At least not for me. About Ableton workshops: I’m not the technique nerd that explains thoroughly how a filter works but I do like to explain the creative process, how to arrange a track, how to do a remix, or how to create deepness, tension. And I found out that I prefer to explain that in a more intimate way so I started giving private lessons.
8. From the outside the Dutch dance music scene looks to be in a very healthy state – from the underground vanguard like yourselves, Clone, Rush Hour, Delsin etc to the more commercial side like Tiesto, Armin van Buuren, Fedde Le Grande and so forth. Is this the case?
Yes, production wise we are doing well, Dutch music is one of the largest export products for Holland I’ve heard. But for people like ourselves, trying to bring good quality music for a small niche it’s very difficult. If we weren’t so idealistic and determined we would have stopped with the label, we don’t earn any money with it (also the illegal downloads doesn’t help). As a producer and DJ I have to earn my paycheck by getting gigs but the recession in Europe is very noticeable. It’s almost impossible to live from music only.
9. What plans do you currently have for your music production?
Nothing special, just to improve myself, I am enjoying remixing a lot but have to focus more on my own productions too. Furthermore I would like to become a Certified Ableton trainer so I hope to develop in that direction soon.
10. Please give us your top 10 all-time favourite Dutch techno tracks:
(In no order)
Speedy J – G-Spot (album)
Steve Rachmad – Secret lives of machines (album)
Quazar – Cycle drops
Gerd – Arkest’s Blaze
Stefan Robbers – Pathfinder
Duplex – Motion Blur
Joris Voorn – Let’s go juno
Egbert – This feels new
Jerome – Overtones
Gideon – Continental Flight
Dexter – I don’t care (electro but one of my favourites so…)
www.epm-music.com. You can subscribe to all of EPM’s podcasts via iTunes.
For more information about EPM’s digital distribution and other services:
http://www.epm-music.com/digital-distribution/why-epm.html
Together with the likes of Anja Schneider, Mistress Barbara and Monika Kruse, Estroe belongs to an elite club of female DJs that made it to the top. Born in Zutphen as Esther Roozendaal, raised near Amsterdam and currently living in Rotterdam, she has been DJing since 1998.
Whether it’s behind the turntables of the famous Fuse club in Brussels, Watergate in Berlin or an underground club in Romania, Estroe knows how to tune in and drop the right beats. She likes to play versatile, techno infused sets with room for deep undercurrents as well as pure dancefloor work. Her style is warm, subtle but at the same time very energetic.
Things really took off when Estroe started producing her own tracks back in 2003. In hindsight it was an unconscious response to the skull breaking beats of those days. "I missed the soul in much techno back then and felt the need to make something myself." She then learned everything there was to know about hard- and software.
In her first productions Estroe went back to the early days of Detroit techno. Back when people like Carl Craig, Kenny Larkin and the The Black Dog found the soul in their machines. With her sophisticated, warm and elegant style she soon appeared on the radar of DJs like Laurent Garnier, Ripperton and John Digweed. The latter was blown away by Estroe's minimalist masterpiece ‘Driven’ and promptly asked her for a remix on his Bedrock label. Another strong supporter is techno don Dave Clarke who has booked her for his White Noise parties on more than one occasion.
In 2009 she released her debut album ‘Elemental Assets’ (Connaisseur) which featured Miss Kittin on vocals and recently Estroe has been rediscovering the darker sides of techno in her DJ sets, something which will no doubt translate in her future productions.
With her ability to mould sounds into beautiful shapes, Estroe has become an in demand remixer in recent years. Some of her best work was done for others, like Tim Wolff, Art Bleek and Rocco Caine, whose Fathorn 50 made it to M.A.N.D.Y.'s ‘Body Language’ compilation.
Together with Stefan ‘Terrace’ Robbers, Estroe runs EevoNext (the next generation of Eevo Lute Muzique) one of the oldest dance labels in the Netherlands, spanning over twenty years of Dutch techno. EevoNext releases classics from the Dutch techno vaults but also breaks new talent. That’s where Estroe comes in. “I like to scout and coach new talent”, she admits. “I’ve been in this business long enough to know the pitfalls.”
Another promising project is Estafête, a ‘girls only DJ team’ consisting of Monica Electronica, Lin and Estroe. “No I’m not a fanatic feminist but I do miss the femininity in the DJ world sometimes”, she states. It’s not only more fun with two other women behind the mixer, it’s also very inspiring.” With Estafête we constantly challenge each other, which translates in better DJ sets.”
With a filled agenda and an inbox full of remix requests, chances are high you’ll be dancing to an Estroe tune this weekend. Asked if she has any regrets since she gave up her day job years ago, she fiercely shakes her head. “This is what I always wanted: to make good music and to play it out."
Q&A with Estroe
1. Please give us a quick walk through your selection. Why did you choose these tracks for the mix?
I wanted to pick the tracks that I didn’t use before in other EevoNext-only mixes and wanted to give some attention to the last releases. But it had to fit in the flow and had to be mixable. It’s always difficult to make a special EevoNext mix because of the tempo and style differences and because all the tracks are melodic. But of course they are also a selection of my personal taste.
2. How did you come to be running EevoNext alongside Stefan Robbers? Were you already a long time fan of Eevo Lute?
To be honest I wasn’t a long time fan of Eevo Lute, I have bought some of the older stuff but I started DJing in 97/98 so I wasn’t really familiar with the early works. I remember that I liked Stefan’s (Terrace) music on FWD: Stefan and I knew each other from walking around in the same scene and at one point we got to know each other better and he asked my help with modernising the label somewhat. That’s when we started EevoNext.
3. In your own productions you stated that you like to target peoples’ ‘emotional spot’. Do you feel the same way about your DJing?
In DJing it’s more about sharing, I like to share what I find good music and I like to present it in a way that builds up tension. When I say ‘I want to take people on a journey’ it sounds so cliché but in a way it’s true. I’m in my happy element when I see a crowd in unity because they are all enjoying the same thing and forgetting about their daily sorrows. But music is always emotional in my opinion so in that way DJing is also about hitting an emotional spot.
4. How did the challenge of making your debut album ‘Elemental Assets’ (2009) compare to making an EP release?
Working on an album takes so much more time! I’m not really a conceptual worker, I make what comes out of me and for an EP I make a selection with the label that wants to sign it. For the album I had to think more about artwork, remixers, singers and it had to be a consistent package so that was a long process.
5. What qualities are you looking for when signing new music or artists to EevoNext?
Originality, a good balance between old and new sounds and a certain dedication and presentation by the artist. But the style can vary from ambient to techno as long as it’s good. For 2012 we already made a strategy with the artists we signed so we are a bit laidback with demos at the moment.
6. As one third of Estafête, a ‘girls only DJ team’ consisting of Monica Electronica, Lin and yourself you say that you miss the femininity in the DJ world sometimes. How does this female DJ tag team differ from your normal DJ experiences and are the reactions from men and women different in any way?
Don’t get me wrong, I’m not the world’s biggest feminist, I’ve always liked the dance scene to work in and have fun with my male colleagues. But there are situations when it’s nice that you work together with women. To share experiences about that cocky promoter, or simply discuss what to wear to a gig. ☺ The team differs from my solo experience in music choice. With Estafete I play a little less deep, more party. And solo I’m a bit reserved but with the three of us I loosen up more. The reactions from men and women are not far away from each other in my opinion although I have the impression that women like it slightly more, they just find it cool to see three DJ women working together. Men are more visually and focused about the technique so I get questions after our set about how we work.
7. Apparently you are completely self-taught on software production and now even give workshops on Ableton. How important was it for you to develop your production skills from scratch?
That was just a combination between how things went and my character. I was interested in the question whether or not I would be able to produce something. It was a challenge for me to find things out and the first year I was just fascinated by all the sounds that came out of the keyboard and plugins. Luckily I started producing when digital producing just came up so I didn’t have to invest a lot of money in studio equipment, a good computer, keyboard and sequencer helped me start up quite easily.
I did spent time in the studio with others and did get some explanation about Cubase, soundcards and all technical stuff and I always had people who I could ask questions when problems arose. But I realised that it’s better to just try and learn from errors. When Ableton Live came out it all become much easier for me, suddenly I was able to work faster and I finished some tracks that were signed by labels.
What’s important to me is that I can say that I make my music myself, it’s really a reflection from what I am and what I have to say. It wouldn’t be fun to have success with something someone else produced would it? At least not for me. About Ableton workshops: I’m not the technique nerd that explains thoroughly how a filter works but I do like to explain the creative process, how to arrange a track, how to do a remix, or how to create deepness, tension. And I found out that I prefer to explain that in a more intimate way so I started giving private lessons.
8. From the outside the Dutch dance music scene looks to be in a very healthy state – from the underground vanguard like yourselves, Clone, Rush Hour, Delsin etc to the more commercial side like Tiesto, Armin van Buuren, Fedde Le Grande and so forth. Is this the case?
Yes, production wise we are doing well, Dutch music is one of the largest export products for Holland I’ve heard. But for people like ourselves, trying to bring good quality music for a small niche it’s very difficult. If we weren’t so idealistic and determined we would have stopped with the label, we don’t earn any money with it (also the illegal downloads doesn’t help). As a producer and DJ I have to earn my paycheck by getting gigs but the recession in Europe is very noticeable. It’s almost impossible to live from music only.
9. What plans do you currently have for your music production?
Nothing special, just to improve myself, I am enjoying remixing a lot but have to focus more on my own productions too. Furthermore I would like to become a Certified Ableton trainer so I hope to develop in that direction soon.
10. Please give us your top 10 all-time favourite Dutch techno tracks:
(In no order)
Speedy J – G-Spot (album)
Steve Rachmad – Secret lives of machines (album)
Quazar – Cycle drops
Gerd – Arkest’s Blaze
Stefan Robbers – Pathfinder
Duplex – Motion Blur
Joris Voorn – Let’s go juno
Egbert – This feels new
Jerome – Overtones
Gideon – Continental Flight
Dexter – I don’t care (electro but one of my favourites so…)
www.epm-music.com. You can subscribe to all of EPM’s podcasts via iTunes.
For more information about EPM’s digital distribution and other services:
http://www.epm-music.com/digital-distribution/why-epm.html
Greetings! This is Episode 4 of my new music podcast, focusing on an eclectic mix of dance sounds with soul, jazz, and techno influences wrapped into a nice package. This week, remixes from the like of Alex Barck (Jazzanova), Rampa, Dima Studitsky (Sonar Kollektiv), and the tag team of Dimitri from Paris & DJ Rocca go alongside tunes from Mercury, Demarkus Lewis & Poussez, Vincent Kwok and more. Stay tuned for more goodness in the weeks and months ahead!
Rollin off some great songs from the last decade, soulful beats, broken, hip hop, house from across the globe!
Back3back improvisation with 2 turntables, 2 laptops, 2 mixers. Features a lot of spoken word over electroacoustic soundscapes, glitch/broken beats and some surprising selections. Spiced with FX and loops.
RASOĻŅIKS mixes are impromptu freeform back2back or back3back Cross Genre Mashup sets done by members of the radio show RASOLS in various combinations.
http://rasolniks.official.fm
http://soundcloud.com/rasolniks
RASOĻŅIKS mixes are impromptu freeform back2back or back3back Cross Genre Mashup sets done by members of the radio show RASOLS in various combinations.
http://rasolniks.official.fm
http://soundcloud.com/rasolniks
| House | Techno | Electro | Trance |
| Disco | Funk | Soul | R & B |
| Breaks | Dubstep | Broken | Drum & Bass |
| Hip-Hop | Glitch | Garage | Scratch |
| Electronica | Downbeat | Ambient | Noise |
| World | Reggae | Jazz | Rock |
| Crossover | Mash-up | Eclectic | Verbal |
| Deep | Balearic | Future | Anthem |
| New | Cosmic | Tribal | Prog |
| Dark | Hard | Bit | Dub |
| Urban | Jazzy | Funky | Hardcore |
| Classic | Abstract | Retro | Minimal |
| Dirty | Latin | Afro | Punk |
