Artists & Title: Tin Man – Underdog EP Pt.2 Label: Pomelo Catalogue#: POM34 Date:Feb. 2013 Format: 12″ Country: Austria
Credits: We proudly present UNDERDOG Pt.2:
Tin Man has been creating a stir on dance floors worldwide for many years with his unique vision of acid, techno and house.
In recent times he has opened his production toolbox to a wider variety of styles, also focusing on songwriting, often adding vocals.
The Underdog series, produced last winter in New York, emphasizes on deep killer techno –
This new release – the Underdog EP Part 2 – features three floor shaking techno cuts in different shapes.
On the A Side the aptly titled “Swarm” features an epic minimal acid tune building over 10 minutes driven by twirling soundscapes resembling a swarm of killerbees on attack.
Flipping over there is “Hack”, which bows towards Soundhack with its dirty funked up sample chords and cut up groove.
The EP finishes off with “Rocky”, a masterpiece in reduction – hypnotic and deep techno.
Enrico Mantini – Rough Times EP Label: Wilson Records Catalog#: WLS05 Format: Vinyl, 12″ Country: Italy Released: 2013
Credits: JUST A DREAM (1993 Original Mix)
(Mantini – Fioritoni) Universal Music Publishing
FLOW WITH ME (1993 Orignal Mix)
(Mantini – Fioritoni) Universal Music Publishing
Written and produced by Enrico Mantini and Marco Fioritoni for UMM.
MAN IN THE WORLD (1992 Original Mix)
(Mantini) Universal Music Publishing
GET INFATUATION (1992 Unreleased)
(Mantini) SIAE Copyright Control
Written and produced by Enrico Mantini for Smoothsound Productions.
All tracks recorded at the 5th Floor Studio in 1992-1993.
Shouts and Respect go to Fabio Monesi, Thomas Franzmann aka Zip, Gerd, Patrick Luca, Fabio Passeri, Eugenio Laurenzi and Mattia Monaco @ Zu:bar, Angelo Tardio (the real Man behind the UMM project), Marco Fioritoni (so much memories togheter!), YouTube users Thumbzo and innerSpace1991 for their contribution and all the deejays that still love and support the real house sound.
Stay true to the Vibe.
Artists & Title: Robert Hood – MOTOR: NightTime World 3 Label: Music Man Records Catalogue#: MMLP038 Date: Dec. 2012 Format: 3x 12″ LP, 180Gr. Vinyl Incl. CD Country: Belgium
Following recent Music Man cd’s from Petar Dundov and Marcel Dettmann, we now welcome one of Detroit’s finest, Robert Hood. After the legendary Nighttime World Volume 1 and Nighttime World Volume 2, we are proud to be able to present you the long awaited “Motor: Nighttime World 3” on Music Man!
With “Motor: Nighttime World 3” Robert Hood returns to the project he first started on Austria’s Cheap label back in 1995 and subsequently continued in 2000 on M-Plant. Fusing his trademark minimal techno into jazz inspired moods and inflections, Hood emerges from the smoke-lit shadows of a downbeat, but not beaten, Motor City metropolis. Inspired by Julien Temple’s documentary ‘Requiem For Detroit?’ Robert Hood examines the life, history and future of Detroit’s motor industry and its workforce, set against a backdrop of decay, despair, hope and re-birth. More on http://www.musicmanrecords.net
Artists & Title: Och / The Model – Elite Conversationalists Edition Label: Autoreply Catalogue#:Autoreply013 Date:Dec. 2012 Format: 12″ Vinyl Country: London
Tracklist: A1. Och – “Deltic” A2. Och – “Freeze Thaw” B1. The Model – “Dungeon Man” B2. The Model – “Stancuto”
Credits: Four deadly cuts of timeless, jackin’ house and deep techno professionalism. OCH returns to his Autoreply home with a new series of split 12”s inviting a diverse group of producers to share a slab of wax. For the A Side he opens with “Deltic” which sets the mood with tough yet soulful chicago vibes. OCH’s second contribution is “Freeze-Thaw” showcasing a deep, hypnotic groove alongside powerful sub-bass, lush female vox with dreamy analogue pads that bridge the gap between artistic creativity and memorable club versatility.
On the flip side its Romanian all-rounder, The Model, who has previously graced premium labels such as Traum Schallplatten, Crosstown Rebels and International DJ Gigolo. Here he delivers two ultra-phat workouts in the form of “Dungeon Man”, an infectious chord driven floor-burner and “Stancuto” a stripped back, percussive take on the same theme demonstrating his emerging new warehouse sound with just the slightest salute to Echocord or Denhert.
Sun, 28 Dec 2003 19:15:11 written by Phil Cheeseman for DJ magazine
It’s been ten years since the first identifiably house tracks were put on to vinyl, ten years which have changed the technology behind the electronic music revolution beyond recognition but left the basic structure of house intact. It’s seven years since it was being said house couldn’t last, that it was just hi-NRG, a fast blast that would wither as quickly as it had started. But then the music reinvented itself, and then again and again until it gradually dawned on people that house wasn’t just another phase of club culture, it was club culture, the continuing future of dance music. The reason? It’s simple. People like to dance to house.
While Chicago stole the thunder in 1986, other cities not only in the United States but across the world had either been absorbing house or working on their own thing, biding their time. One record from New York served a warning shot that the city was gearing up for some serious action – ‘Do It Properly‘ by 2 Puerto Ricans, A Blackman and A Dominican. ‘Do It Properly’ was essentially a bootleg of Adonis’ ‘No Way Back’ with loads of samples and a great electronic keyboard riff squeezed in to it and the first in a long, long line of New York sample house tracks. Its producers were one Robert Clivilles and David Cole, helped by another guy called David Morales. After that some kid in Brooklyn called Todd Terry made a couple of sample tracks with a freestyle groove for Fourth Floor Records by an act he called Masters At Work.
But the sound that was really taking shape in New York and New Jersey was a deep style of club music based on a heritage that had its roots firmly in R’n’B. Though there were some superb deep, emotive instrumentats like Jump St. Man‘s ‘B-Cause‘, the emphasis was on songs, which came with Arnold Jarvis‘ ‘Take Some Time‘, Touch‘s ‘Without You‘, Exit‘s ‘Let’s Work It Out‘ and a record on Movln, a new label run from a record store in New Jersey’s East Orange – Park Ave‘s ‘Don’t Turn Your Love‘. Ironically, as the first garage hits began to appear, The Paradise Garage – Larry Levan had already left – closed, but the vibe carried on with Blaze, who recorded ‘If You Should Need A Friend‘ and Jomanda, both of whom teamed up with new New York label Quark.
Echoing the need for vocals in house music, deep house began to take hold in Chicago. Following Marshall Jefferson’s lush productions, the record that defined deep house was the Nightwriters‘ ‘Let The Music Use You‘, mixed by Frankie Knuckles and song by Ricky Dillard, a record that a year later was to become one of the anthems of the UK’s Summer Of Love. And it didn’t end there. Kym Mazelle launched her career with ‘Taste My Love‘ and ‘I’m A Lover‘, while Ralphie Rosario unleashed the monstrous ‘You Used To Hold Me‘ featuring the wailing tonsils of Xavier Gold. Then there was Ragtyme’s ‘I Can’t Stay Away‘, sung by a guy who sounded a a little like a new Smokey Robinson – Byron Stingily. Soon after, Ragtyme, who also made an extremely silly innuendo track called ‘Mr Fixit Man‘, mutated into Ten Clty. But Chicago‘s excursion into songs wasn’t only characterised by uplifting wailers. There was another side, led by the weird, melanchoty songs of Fingers Inc and beginning to show itself in other minimalist productions like MK II‘s ‘Don’t Stop The Muslc‘ and 2 House People‘s ‘Move My Body‘. By 1987, though house was no longer a tale of two cities. The virus was taklng hold elsewhere as clubbers, DJs and producers worldwide became exited by the new music.
It was obvious that Britain, which had already seen a massive boom in club culture in the mid-eighties as the increasingly racially integrated urban areas turned to Black music in favour of the indigeonous indie rock music, would eventually get in on the act. Though acts like Huddersfield’s Hotline, The Beatmasters from London and a handful of others who included DJs Ian B and Eddie Richards had been trying to figure things out, the first British house track to really make any noise came from a partnership that included a DJ from Manchester’s Hacienda, one of the very first clubs in Britain to devote whole nights to house music – Mike Pickering. With its funk bassline and Latin piano riffs, T-Coy‘s ‘Carino‘ busted out all over, particularly in London at previously rap and funk clubs like Raw. But with the open nature of the UK pop charts compared to Billboard which was an impossibly tough nut to crack for small labels marketing new music, it was inevitable that the sound would be commercialised. ‘Pump Up The Volume‘ by M/A/R/R/S was a rather lightweight record based on a house beat with a number of clever (at the time) samples but it worked like crazy on the dancefloor and it wasn’t long before club support propelled it into the charts, where it held Number 1 for an incredible three weeks. Also in the top ten at the same time was another record that had broken out of Chicago – the House’ ‘House Nation‘. The marketability of house – or pophouse – in the UK became gruesomely apparent with the advent of the ‘Jack Mix’ series, a number of hideous stars-on-45 style megamixes of all the house hits.
Things were progressing in a much more underground fashion back in the States. A few guys in particular who’d been noticed hanging out in Chicago and checking the scene came from a city just a couple of hundred miles away Detroit. One of them, Juan Atkins, had been making records since the early eighties under the moniker Cybotron which specialised in spacey electro-funk fired by the Euro rhythms of Kraftwerk. But progress had been slow and electro had already fused with rap. By 1985 Atkins’ sound was beginning to change with records like Model 500‘s ‘No UFO‘s’, which bore more than a passing resemblance to the new sounds emanating from their neighbouring city. Two other guys who had been to school with Atkins, and who shared his passion for European music were also beginning to experiment with making tracks and heartened by what they heard coming out of Chicago, set to work Their first tracks, X-Ray‘s ‘Let’s Go‘, produced by Derrick May and Kevin Saunderson‘s ‘Triangle Of Love‘ by Kreem weren’t classics by any stretch of the imagination but it didn’t tahe them long to hit full power. Kevin came out with ‘Force Field‘ and ‘Just Want Another Chance‘, and Juan pressed on with Model 500’s ‘Sound Of Stereo‘ but it was Derrick who really hit the button with Rhythim Is Rhythm‘s ‘Nude Photo‘, ‘Kaos‘ and ‘The Dance‘, all of which were immediate hits on the Chicago scene, and the latter a record that was to be thieved and sampled again and again for years to come. The Belleville Three, as they became known after the college they attended, made an amusing trio with Kevin as the regular guy, Derrick as the fast-talking nutter and Juan as the laid-back smokehead, but there was more to techno than that. Two other producers who helped forge the different sound were Eddie Fowlkes and Blake Baxter. It was faster, more frantic, even more influenced by European electrobeat and severed the continium with disco and Philadelphia, taking only the space funk basslines of George Ctinton from Black music. They called it techno. But Chicago was also beginning to head off into another direction, the most frenetic form of house yet. It was started by two crazy tracks that Ron Hardy had been pumping at the Music Box and it was going to be perhaps the most important stage of house so far. It was acid.
– What do you think are the most influential elements of your music experience? First of all it’s music itself! We listen to a lot of music, we like to see gigs, a lot of our friends are in the music industry and music is a very big part of our life! Besides that, arts in general are a source of inspiration, cinema mainly…
We’re not a political or protest band but as citizens we’re of course very sensible of what happens in Europe and in the world. We try to talk about it in our way in our music (using movie or speech samples, through our song titles or in the way we manage our label as a 100% independent project). All these elements are influential and important in our music experience.
– What’ s your opinion regarding the difference between analogic and digital support? We’re big fans of vinyl! The sound is great, it’s a very adaptable support for sampling and even the record is important to us as an object …
But we’re using digital files for our live sets and our albums are available on digital. We can’t deny that digital is really an important part of music nowadays, people are using mp3 a lot and it’s easy to make your music available all around the world through the net… But the 2 supports are not incompatible, it’s just a different way to listen and share music. For us, they can co-exist without problem.
– How do you see the music and artist evolving into the Future? Are you bringing new experiences to the crowd? We’re in the middle of a transitional period for music (artistically and in terms of business), so it’s difficult to see how it will evolve… But we don’t see a future for music with repressive laws against free downloading, closing websites or increasing the music price (records, concert tickets…).
For the artists, I guess live performance is now a very important part of their life. That’s why we try to present a little bit more than a “simple” live performance by, for instance, displaying videos (which is a big part of our concerts), always playing with different guests (MCs or musicians) and trying to offer a different live set in each venue we visit (the track-list changes and we play the tracks differently every night). This is LIVE! Maybe it’s a good way to evolve: to pay a special attention to the “live” aspect of the music.
– When do you feel satisfied in your job? What are the main ingredients to achieve that? Honestly we’re pretty perfectionists so the only way for us to be satisfied with our job is to work a lot (poor musicians, lol) in order to reach our expectations. At the same time we have a quite precise vision of what is good or not for our music… For example, when we compose a song the 3 of us have to be sure and agree on each sound, melody and structure. When we reach this agreement, it means we are in the good direction and we can be sure we’ll be satisfied with the track at the end.
– What do you consider to be the best location you have experienced? We’re lucky to travel quite often and perform in a lot of sick and different places so it’s hard to choose! But our experience in Indonesia was awesome, with a very nice and interested audience. Sakifo festival in La Réunion was also a very special gig to us. And Brazil… It’s a country we loved to play in…
– We can see you are going to play in Bucharest in the middle of March. Is it your first time in Romania? We are curious because our musical taste has recognized in Romania a very positive and enriching environment for contemporary music. Yes, it’ll be our first time in Romania. Unfortunately, we don’t know the music scene over there yet… It will be a discovery for us but we’re sure Romania is great! We don’t have many connections with local artists but we’re in contact with East Roots (a Romanian reggae band). We plan to meet them in Bucharest to talk about music and drink some beers. ;)
– What means 2012 for the Chinese Man? It means travelling! We’ve been to Germany, Colombia and Brazil in January and February. We are also planning a tour in Asia for June (Hong Kong, Jakarta and Manila.) and maybe USA at the end of 2012.
Travels are an important part of our project: it allows us to meet artists from different cultures and to feed our music with new sounds and rhythms. We’ve met most of the people with whom we collaborated with during our several trips. Big up to you, you know who you are guys!
So 2012 is gonna be nice for us! Let’s hope everything continues this way in the next years!