Ramon Tapia – the product of a Dutch mother, Chilean father and brought up on a diet of Belgian Techno – is the latest superstar to join the I’m A House Gangster ranks. The mix of cultures shaped Ramon’s sound and his music has been snapped up by some of the finest record labels around – Remote Area, Intacto, Gem, Great Stuff, Turbo and many more. He has also established his own labels Say What? Recordings and Aella Music and can also list remixes of Paul Weller, Armand Van Helden, Marc Romboy and DJ Sneak, among others, in his discography. His Gangstercast from Febrary 2013 set the scene for what was to follow on the three track ‘Intense’ release. Deep, driving, throbbing, house music with impossibly fat baselines and shuffling, jacking beats that adds a Chicago-shaped twist to Ramon’s already eclectic influences. As the title says it’s intense – real House Gangster’s can’t pass this by!
(Ramon Tapia SC, 2013) Beatport here.
After the release of their acclaimed 1st anniversary compilation, ClekClekBoom Recordings already have another EP ready to go, coming in the shape of a vinyl-only white label from CCB’s co-founder and figurehead French Fries.
Having supplied the imprint’s inaugural “What to Do / One ting Dub” white label in July 2012, the second installment finds the producer going back to an prior analogue jam session, where producer used only his beloved Minimoog Voyager, an old Sequential Circuits drumtraks and the classic TR 909.
Inspired by Chicago’s producers from the Dance Mania era, French Fries also lays down his own vocal freestyle of “Drums-Traxx” across the EP.
The first part, ‘Drums’ uses an infectious acid bassline to cut through an overdriven Detroit inspired groove.
The flipside, “Traxx” is the result of a lengthy jam session with Chaos in the Cbd in French Fries’ studio and uses the same sounds for a different purpose. For this Chicago flavoured version, a 4×4 kick propels the groove accompanied by loose, pitched toms and distorted hats
“Drums / Traxx” undoubtedly drips with old-school Detroit & Chicago House influence but as the impassioned vocal chant of the EP title sprinkled across both tracks reinforces, it is not purporting to be anything but a sincere, superbly executed homage to a classic era.
(ClekClekBoom SC, 2013) Buy here.
I am really excited to have OWSLA give me the opportunity to share some of my beats with you all. In the process of writing my new album I created these two high energy songs. Let me tell you first hand that I have been playing these out for months now and both tracks are absolute killers in my sets. The Joint is a track that melds banging tom drums and 808s asking you to … “Do a Joint” while dropping you into some smokey hip hop influenced breaks and shooting you back out to the other side with red eyes. On track two, Crying Crickets, works around the sound of crickets that rise and make you go mental while dropping you into some nice grimey bass with house and techno influenced beats. I love this one and the way the vox develops in the break. It gets the crowd every time when it drops for the second time. I hope you enjoy them as much as I have. - Worthy
Kill Frenzy’s storming debut on dirtybird, the addictive, juke charged brute with its ingenious hip hop breakdown, is back for re-release with a slew of remixes from some choice label affiliates. Not content with the originals genre-traversing legacy (including plays from Soul Clap to Skrillex and pretty much everyone in between), Belgiums booty obsessed Kill Frenzy has rallied the likes of The Martin Brothers, Zombie Disco Squad, Plastician and Mark Starr to deliver their own take on the track, bringing the work out to brand new dance floors in the process.
The Martin Brothers set the pace with a characteristically heavy house bass line, the twisted “make that booty clap” vocal sample dancing over the driving groove. Zombie Disco Squad let’s the buttock-smacking claps take centre stage, while a clever percussion score and perfectly timed ellipsis make for certified ghetto house dance floor material. Dirtybird debutant by way of Croydon, Plastician, focuses on the bass elements of the original, creating a swaying dubstep rhythm where booty claps become glock pops before your very eyes, while Mark Starr opts for a similarly languid groove, without losing sight of Kill Frenzy’s playful genre-splicing.
“Make That Booty Clap feat. DJ Funk” became an instant milestone in the dirtybird canon and its great to see Kill Frenzy’s debut receiving such masterful reworks a year on.
Buy it here.
Meant to post this a month ago but better late than never!
Matt Tolfrey’s Leftroom Limited brings you Sam Russo‘s ‘Losing Things’ this March, backed with a remix from Jack Dixon. Sam Russo has had a long running relationship with the Leftroom label and his collaborative EP ‘The Summer Soundtrack’ with Huxley back in 2011 led to a string of further releases on the imprint, pushing Sam into the limelight and helping to spread his wings further afield releasing original work and remixes with the likes of OFF Recordings, Air London, 1trax and Fullbarr. The release opens with the original version of ‘Losing Things’, employing raw shuffled drums, a bubbling sub bass hook and a processed spoken word vocal line as its driving force. The cut steadily blooms in such a state throughout its near seven and a half minute duration, subtly introducing tweaky acid licks and additional perc lines to fuel its energy. Stepping up next is Hotflush artist Jack Dixon reworking title track ‘Losing Things’. Dixon veers the record in an entirely different direction, creating an ethereal atmosphere with flourishing bell chime melodies and a bulbous sub-bass. The track builds to a peak, where Dixon strips back the groove and puts its focus on drums, bass and vocal snippets. Next we have ‘Delivery’, a low-slung house number with a stripped back vibe, crunchy 909 drums lead the way alongside a gritty saw-wave bass and more tripped out, delayed vocal lines. ‘Mailbox format’ follows, a perfect way to wind down the wax side of the release, Russo takes things deeper here with fluttering pads, a moody evolving bass hook and subtle manipulation on the synthesized elements creating a blossoming dynamic. Offered up, as a digital extra on the package is ‘Not Another Juno Track’, embracing a peak-time edge, with punchy drums, a resonant acidic bass and smooth pads. (Beatport, 2013)
Steel-City youngblood Walter Ego turns in a blinding 3 tracker for his second release on Girls Music. A trio of heaters to keep you and yours warm through the end of this never- ending British winter. Listen and imagine sunnier times, cruising in your car with the window down or dancing in the street with your flies down. The vibes are strong and distinctly British. Music for dancing with soul and adventure. Nice one, Walter. (Girls Music, 2013) Beatport here.
Here’s a giveaway from Tinush with Saxophonist Ben Rodenburg. Some bouncy, jazzy tech vibes for ya listening pleasures.
In the 3 years since the 1st Brass Wires & Bass album, DJ Delay has played widely across Europe, and made a few tours in Canada, Australia and the US. Highlights along the way were the Fusion (DE), Glastonbury (UK) and Exit (RS) festivals. Now it’s only fitting that the works on this second collection of remixes travel beyond Eastern Europe to include the cream of global music groups & producers. Most of the tracks were well tested & celebrated during this time by audiences across the planet.
From his Berlin studio to the rest of the world, these 13 gems take in roots music from Hungary, France, Romania, Yemen, Russia, Italy & Indonesia. There’s plenty of bass, solid dubbing, dextrous sonic manipulation, and dancefloor attractors within. All done with care in Delay’s inimitable & playful style.
Anakronik Electro Orkestra’s “Terk In America” marries dub and ska beautifully with a bass heavy and upful version with surprising twists and turns, while Watcha Clan’s beautiful version of “Im Nin’Alu” gets a full percussive future dubstep workout. Right after, the Dolomites receive a driving 8 bit bounce for their wonderful accordion rich “Queen Of The Game”. In the Berlin corner Rotfront get new sinewave-ska boots for “Sigaretta” while Stefano Miele’s “Ninna Nanna” is dubbed into outer space. Jallabanda’s version of “Czardas” swings into a Turkish night club and the Skazka Orchestra received a total club reconstruction, adding helium filled vocals to their Russian children’s tune “More”. DJ Delay himself takes a Bavarian drinking tongue twister – transporting it to a Berlin after-hours tech house party. Ever heard of Balkan / Samba bateria? Uzgin Uver and Balkan Mashina get forceful percussive Brazillian future bass workouts with plenty of bounce. DJ Click’s Doctor is a little more subtel, receiving a dancehall steppers treatment – nicely slicing, dicing and dubbing Killo Killo’s vocals. There’s a gentle wind down towards the end of the album with the second Uzgin Uver selection lounging on the sofa in a dirtier Vienna-K&D style. Winding up proceedings with Filastine’s version of “Gendjer Gendjer” – with a politically charged history, exquisitely sung by Nova, we’re treated to an epic orchestral bass soundtrack rework – complete with full choir, string and percussion sections.
(DJ Delay SC, 2013) Buy it here.
Although it has only one release to its name – Happa’s Beat Of The Drum – London club night turned record label Church is looking to be an imprint to keep close tabs on, especially on the strength of this second EP, from young London producer Rumah. Although his debut from last year demonstrated an atmospheric, syncopated style of bass music, “Stutter” shows a marked progression into swung techno styles, with a weighty track full of concrete rhythms and glassy synths; “Murmur” is similarly powerful, throwing acid flecks and sunken vocals into the mix. Meanwhile, Apes & Seb Wildblood offer their own take on “Stutter”, tempering some of the original’s more ferocious attributes with some subtle dub techno elements, while James Fox refixes “Murmur” into a slinky, mid-tempo house groover, whose swelling synths offer something considerably deeper. (Juno, 2013) Grab it here.
Born in a Berlin backyard is life to short for long storys. A simple, quick recipe is the secret Short loops combined with Hip Hop roots. That’s it! That´s Stella Soul! The Jam EP get early likes from guys like Riva Starr, Super Flu, Oliver$, Justin Martin, Round Table Knights, Zombie Disco Squad, Jesse Rose, Andre Crom, Adana Twins and more. (BP, 2013) Out now on Monkey Safari‘s Mambo. Beatport here!
In the hands of producer Djavan Santos, a.k.a. D33J, what should be computer-quantized or staid is given light and life. Aquatic textures overlap with bedroom clicks, muffled vocals & vacuous guitar to form hazy late night jams with just enough rhythm for a syrup-drenched dancefloor. Colors change over the course of a song — cool blues melt to hearthy reds — and melodies wind their way through shifting textures while new forms are created at every turn. Though D33J is a solo sound technician, his sound is variegated. It is lush and large and it is alive.
Of course, the 22-year-old’s pedigree demands as much. Los Angeles born and bred, D33J attended the city’s prestigious yet public Hamilton High alongside Anticon’s Baths, OFWGKTA’s Syd the Kid, the FIDLAR boys, and Friends of Friends bit-bender Groundislava. While there, he studied both guitar and electronic music, and caught friends’ shows afterhours when he wasn’t experimenting with software at home.
When D33J moved north to study experimental audio and visual design at the San Francisco Art Institute, he was initiated into the Wedidit mafia (via Shlohmo, Ryan Hemsworth, RL Grime), with whom he nurtured a strongly weirdo cult lifestyle and further developed his unique approach to crafting instrument-infused, R&B-touched bedroom techno.
D33J recently returned to L.A. to claim his rightful place among the city’s vital noise-makers. While he continues to seed the Wedidit BlogSpot with bold R3MIX3S — see clutch reinventions of Brandy, Sigur Rós, and Drake — Anticon is giving his Tide Songs EP the debut it deserves. The five tracks contained therein offer an inventive, brightly budding intro to an artist who’s only just begun to blow the eff up himself.