[TSUBA0606] Sascha Dive – Deja Vu (Ltd Edition Aqua Vinyl + Shrinkwrapped Sleep)

 Sascha Dive – Deja Vu (Ltd Edition Aqua Vinyl + Shrinkwrapped Sleep)
Catalog#: TSUBA0606
Format: Vinyl, 12″
Country: London
Released:  23rd May, 2012

Deja Vu (Dark Vocal Dub)

Deja Vu (Virgo Four Merwyn Strings mix)

Deja Vu (Virgo Four Merwyn Free mix)

incl. VIRGO FOUR REMIXES! Sascha Dive returns to Tsuba Colours with Deja Vu, a deep tribal workout from Frankfurt s king of the groove. For the remix Virgo Fours Merwyn gives a lesson in Chicago house, working the piano from the original into what can only be described as an anthem on the Strings mix. The Free mix sees added vocals from Merwyn to complete a classic addition to the Colours series. Shrinkwrapped and pressed on Aqua vinyl with matching sleeves, this release is a must for any vinyl collector. Strictly limited to 350 copies. Be quick!

Buy on Decks.de or Juno.co.uk

How to become a techno god

From: Steven.Kosloske <Steven.Kosloske@mixcom.mixcom.com>
Subject: How to become a techno god
Date: Tue, 16 Mar 1993

So you want to be a Rave star?

This is not as difficult as it may seem. There’s a simple guideline to follow, and you’ll be on your way to cult status.

Step 1, the music.
Forget about talent. There’s enough techno out there done exactly the way I’m going to explain that you’ll soon realize that talent just gets in the way. All you need is the will to make some really loud, pounding music. Oh, and you’ll need some cash.

Step 2, the attitude.
Get attitude, lot’s of it. Know what’s cool and what’s not cool. Know exactly how many times a song can be played and how many people can buy a bands CD before it’s no longer cool. Tell people you live for your music, you’re an artist. Make sure everyone knows that the gear you use is the best. Know the lingo. Know the difference between Techno and Rave, between E and X, between carbo fuel and kool-ade, but don’t worry about the difference between middle C and G. Call your synth an “axe” and refer to your MIDI hookup as your “rig”. Whatever computer you use for your MIDI hookup is the best, remember that, tell others.

Step 3, the equipment.
You’ll need some equipment, called “gear” by those who know. You can make some decent techno with a minimum setup. You’ll need a multi-track tape player, like the Tascam 4 track decks. They’re cheap, easy to use and effective. You’ll need at least two keyboards. One should be a fairly old analog synth like the Prophet 5 (expensive) or old Roland synths. If you can’t find or afford an analog synth with MIDI, you can cheat by getting a digital synth that makes good analog sounds, such as the DX-7, or Casio CZ series. But remember, real techno musicians use analog. Whatever you do, don’t get a “Sample Player” keyboard like the Roland U-20. They have samples of real instruments. And you don’t use real isntruments in techno.
Next, you’ll need a sampler. You can’t make those easily recognized songs without a few samples mixed in. A good start would be the EMAX, if you can afford one. It also must have MIDI ports. Real musicians use MIDI, you must too. If you can’t afford an EMAX, try a Roland S-50, or even an old Mirage. Stretch your dollars here, it’ll be worth it.
And, of course, you’ll need a computer. But everyone already has this, so I’ll cover what you’ll need on the computer. Get a good MIDI board, like the Roland, Opcode, Passport, whatever you can afford. Don’t rely on the Soundblaster Pro MIDI, though. No one uses those. And you’ll need a sequencer program. MasterTracks Pro is the best.
Now take a day or two to learn how to hook up the sampler, synth and 4 track to the computer. Hit the keys on the keyboard a few times to learn what sounds it makes. Have fun with it, you probably won’t need to use the keys much after this. Learn your synth inside out. You’ll need to know how to make it deliver sounds so bizzare, people will know it’s techno by the third note. Spend some time with your sampler to learn how to edit simple sounds. You’ll need this later.

Step 4, your first song.
OK, you have the gear, you have the attitude, you have some time to kill. Now for the music. A good skill to have is to be able to make the synth deliver really long, complicated step sounds. Having to enter only one note, and have it continute on to fill a whole measure is useful, and speeds the creative process. On to the sequencer. By now you’ll know how to enter notes with the mouse and make the gear play them by playing the sequence. See, no need to hit the keys! Don’t like a note, erase it. Think the measure should be played higher, move it up! Sounds too slow, just speed up the tempo. Easy, just as it should be.
Now for a few rules. The tempo should be between 140 and 170 BPM, or Beats Per Minute for the layman. Real techno is around 150 BPM. Always keep the tempo an even number, like 140, so the DJ can easily mix your song in. Also, everything should be done in 4/4 time. The math is easier. And remember to make changes only at divisions of 4. Never break this rule. Someone might get confused on the dance floor, and twist their ankle or something.
The drum track can be as simple as you want it to be, even a simple kick-snare-kick-snare. You know there’s a lot of techno out there using this well known pattern. If you want to do your own drum track, try not to use standard drum samples. Spice it up a bit. Sample someone hitting a plate with a spatula, edit it and use it. Remember the rule, sample it, loop it. If you get bored with this, or just don’t have the talent, find some old funk album, sample a clean drum pattern, and loop it. Now you have a professional sounding drum track. Yes, it’s that easy.
The body of the song is just as easy. Find some really grinding sound on your synth, test a few random notes till it sounds dancable, and repeat it 16 times. Now for the change. Just find another pattern of notes, and repeat that 8 or 16 time, then go back to the first pattern. You can get nearly a full minute of music using this simple idea. For a fuller sound, you can layer another odd sound over it, repating a note at every 2nd or 4th beat. Don’t get too complicated, though. That’s not what techno is about.
Now for the samples. Watch some old movie that’s on late at night on a cable channel you don’t normally watch. Record it on a VCR. Play it back till you find some phrase or word you think is neat. Sample it. Repeat this till you have 3-4 samples. Now take these samples, and insert them at regular intervals in the music. If you have a sample played at the 3rd note in the 3rd measure, make sure to start it at the exact same place when the measure is played again. You don’t want to confuse your audiance. And remember to never use real instruments. If you use any real instruments, they can only be included in samples, and should be edited to sound unlike the original sample.
Now for a name. Here is where you can get original, but always stay within the bounds of techno-rave music names. For a band title, pick something technical that clicks. Try “Raster” or “Digi-Matic” or something like that. For the song title, you need two parts, the title, and the remix version. Even if you only have one version of your song, include a remix name. For example, you might use “N-CODE, D-CODE (Voltage Mix)”. Try to sneak the words Rhythm, Beat, X, E, Insane, etc. into your title. But do not put the words techno or rave in. The reasons should be obvious.

Step 5, the marketing.
OK, you have your first song. Get the gear synced up, and record it to tape. If the 4-track version is finished, copy it to a normal tape deck, on a Type II tape, and get it to the public. How? Easy. Take it to your local techno DJ. Most DJ’s have their own mixes available on tape. These are usually bootleg mixes of the popular stuff. Pay him to insert your song between 2 popular songs. This is best, since people will remember your song as being before or after one of their favorites. Make sure the tape has liner notes of the song and artist. This is so they can request the song by name at the local dance club. And get all your friends to request the song, so the DJ’s will look for it, and when they finally find it at the record shop in the DJ-remix pile, they’ll scramble for it.
Afraid the DJ won’t put your song on his remix? Don’t worry about it, DJ’s don’t make much, and usually don’t have high-paying jobs. Their bills are usually more substantial than their artistic integrity. Find their price, meet it. Get on tape.
The hard part is getting your music onto a medium that the DJ can play. All DJ’s spin records or CD’s. Getting a song recorded to these is expensive, and usually requires a lot of copies. Again you’ll need bribary. Find a record pressing plant as close as you can. Have your tape mastered and pressed onto a record. You’ll need to get some con working to get about 10 copies of the master made, cheaply, of course. Promise them that if the quality is up to your artistic standards, you’ll buy 1000 more. Don’t put anything in writing, though. Take your copies, put them in sleeves, make homemade labels if you need to, but make the lettering look really cool. Don’t include anymore information than the title, record RPM and BPM of the song. The less, the better. It’s much easier to just give them to your bribed DJ friends than to try to get them into a record store, but do both if possible. If nothing else, it will add a little confustion to the owners of the store when someone buys them.
You’re set. Within a week, someone will play the song. If it’s repetative, danceable, and kicks, they’ll play it again, and again, as the masses stomp to the techno rhythms. Wait at least 2 months before you tell people it’s your song. Make it seem like it’s no big deal, that they play your stuff all the time. From here on, it’s all gravy. You can take your new status as a local techno-god on the DJ remix tapes and played in all the best clubs, or you can expand on this idea, and go the limit. Con a small label company into a deal where they make nearly all the profit, but agree to buy you more gear, a lot of it. Stacks of gear. With more gear comes more attitude, more sounds. Still the same talent, but you know how to play the game. Soon you’ll be cranking out dance tracks at high rates, and have remixes upon remixes. Now tour with Moby or The Prodigy. Tell people you know Praga Kahn and Flood personally. Remember, the system feeds itself.
Rave on|

(Steve Kosloske) from music.hyperreal.org

20′ Mix # 2 (Anonym Series)

Anonym Series are provocative actions to shed light into the darkest crevices of the big world of music.
The series born with 20′ Mix from around the world.
Musicians, djs, collectors and fanatics will select some shit for your ears.
Here the second release; listen, download,share and enjoy (contact 320KB for your cassette!)

[MPM15] Floorplan – Altered Ego EP

Floorplan – Altered Ego EP
Catalog#: MPM15
Format: Vinyl, 12″ – File, Mp3 EP
Country: Detroit
Released:  4th June, 2012

Altered Ego


Last year Robert Hood revisited his Floorplan pseudonym, the more disco-tinged, soulful, house aspect of his talents, taking the Floorplan concept to various DJ dates around the globe and releasing the Sanctified EP on M-Plant. The EP received huge critical acclaim and featured the track, Baby Baby, which has received relentless DJ rotation ever since and was also played via listener request on Annie Mac’s first show of 2012 on BBC Radio 1. Now Robert Hood delves back into Floorplan for his next M-Plant release. The double-headed Altered Ego EP hits stores in June featuring two new Floorplan workouts, Altered Ego and Confess.The title track jacks out from the onset, just the way we like it! Hoods distinctive rhythmic grooves are intoxicating as ever. With the staccato vocal cut and Detroit-meets-Chicago feeling, we’re back in Baby Baby territory. Confess shows the other side to Hoods Floorplan with an opening gospel style piano riff thats gradually overlaid with Latin percussion and that special Hood kick, to take the church to the party.With news of a Floorplan album due later this year, the Altered Ego EP provides an early taster of the flavours to come.

Buy on Decks.de

Interview with “Snuff Crew” (Snuff Trax)

Photo by Marie Staggat

(Snuff Trax)

Web: snuffcrew.com
Resident Advisor: Snuff Crew
Soundcloud: Snuff Crew
Facebook: Snuff Crew

We have chosen five words representing SnuffCrew. Do these worlds bring up positive thought in your music? What do these words mean for your professional experience?

The Snuff in our name simply means the kind of tobacco which
can refresh your nose. It´s called Snuff. Eins, one half of Snuff Crew, used
to take it at the time when the project was founded. So he had the idea
to name us Snuff Crew. Of course we have nothing to do with the so called Snuff movies.

Jacking is the wonderful way of moving your body and dancing like nobody´s watching.
It is a fullbody experience and it´s big fun to enjoy the music on the floor or
behind the decks in this excessive way . Fans of Minimal Techno probably never will know
how jacking really feels.

The sound of Chicago House from the 80s is our big influence. The music from this time and
also from the 2nd wave of Chicago House in the 90s always makes us happy and inspires us.
We are grateful that we could work with Chi-Town legends like Robert Owens, Tyree Cooper or Mr K`Alexi Shelby. Our cover version of the Farley Jackmaster Funk classic “Jack The Bass” which has been released on SCI+TEC is also another tribute of us to this city and its sound.

Even if we work with Macbooks and software on stage and in the studio – we also have some of the Roland machines and will also buy some more in the next years. They are simply magic.

Its a wonderful thing when people spend their time with dancing to great music and having a great and peaceful party in an amazing location.
Its always exciting for us to play our sound in new countries and clubs and to discover the local club culture.

20′ Mix # 1 (Anonym Series)

Anonym Series are provocative actions to shed light into the darkest crevices of the big world of music.
The series born with 20′ Mix from around the world.
Musicians, djs, collectors and fanatics will select some shit for your ears.
Here the first release; listen, download,share and enjoy (contact 320KB for your cassette!)


[LEET004] Akiko Kiyama – Where Are My Shoes? EP

Akiko Kiyama ‎– Where Are My Shoes? EP
31337 Records
Catalog#: LEET004
Format: Vinyl, 12″ – 5X File, Mp3 EP
Country: Germany
Vinyl Released:  2nd May, 2012
Digital Released:  6th June, 2012

Anaesthesulf [7:12]

 We Are Tubes Inner Tubes (feat. Lisokot) [6:32]

 Gavotte II [7:57]

 Gavotte II (Bruno Pronsato Remix) [7:32]

5: Take Your Skeleton In The Closet (Digital Bonus) [7:02]

Buy on Decks.de or Beatport

Mastered By – Pheek
New black gold is on the way! 31337 Records‘ first vinyl for this year: Where Are My Shoes EP, by Japan‘s minimal techno queen Akiko Kiyama, including a fantastic remix by Mr. Bruno Pronsato. An outstanding release full of abstract minimal techno goodies ready to hit the clubs. Punchy bass lines on top of rhythmic percussions, exposing a twisted dark tale on the hunt for lost shoes. Her new EP starts off with Anaesthesulf, a well arranged DJ tool, repetitive but complex. Well-structured patterns surrounded by lots of hats, percussions and playful melodies. Followed by the second track called We Are Tubes Inner Tubes, a real dancefloor killer for the early morning hours. Trippy percussions, seemingly foreign vocals by Lisokot and twisted sample cuts topped with well selected effects give this tune the perfect shape. 

The B side continues with Gavotte II, a dark and pounding track with lots of variation and freaky soundsemerging seamlessly from the background. Mysterious melodies, a bouncy snare and occasional vocal cuts perfectly aligned in front of a pumping bassline. The last track is a remix of Gavotte II by Bruno Pronsato who introduces a lot of melodic bits and samples, turning the track into a new interesting direction. Creatively built sound structures, cleverly arranged with a variety of new elements and headed by a funky beat. On the digital release, we‘ve included a bonus track named Take Your Skeleton In The Closet. Another well-built production with an mysteriously obscure melody emerging between a rolling beat, full of interesting elements. The whole release is an impressive piece of art, that shouldn‘t be missing in any DJ bag! From Berlin to Tokyo – see you barefoot on the dancefloor!

More on:
31337 Records.com


[WRL009] Cobbleston Jazz – Who’s Future ?

Cobblestone Jazz – Who’s Future ?
Wagon Repair
Catalog#: WRL009
Format: Vinyl, 12″
Country: Vancouver, BC
Released:  21St May, 2012

Who’s Future ?

Across the Nation

The third installment in the Cobblestone Jazz 12” series brings two more tracks..
On the A side we find “Who’s Future?”. Full of bubbling elastic bass and deep chord swells, it’s a laidback affair with a snappy groove to push it along. On the flip is “Across the Nation”, a stripped out and up-tempo electro jam with crisp breaks and gated pads. All the elements mingle together to create a thick bed of future funk.. Another wheel for your wagon.



Miyajima Audio Labs

Impedance: about 16 ohms
Output: about 0.23mV output)
Frequency range: 20 Hz – 32 kHz
Rated needle pressure: 2.0g – 2.5g (Recommended 2.25g)
Stylus Shape: Shibata
Compliance: around 10×10-6cm/dyne
Weight: about 10.4g
Body: African Blackwood

Shilabe on Miyajima Audio Labs

[MS002] Cristi Cons – Duette EP

Cristi Cons – Duette EP
Catalog#: MS002
Format: Vinyl, 12″
Country: France
Released: Jun 2012

Manual Redus



MAKESENSE is proud to present CRISTI CONS’s, “Duette” EP!
A perfect match between delicateness and strength.
Out early june in all good record shops.

More on makesenserecords.com and Soundcloud