lundi 27 décembre 2010

- KARISMA PODCAST 025 : HUXLEY -





Cette semaine c'est le producteur anglais Michael Dodman, plus connu sous le nom Huxley, qui est l'invité de la semaine. Il est devenu en l'espace de quelques mois une figure montante au sein de la scène deep house grâce au soutien d'artistes du genre tels que Nick Curly, boss du label Cecille, ainsi que de Kevin Griffiths, qui gère le label Tsuba.

Le tout premier maxi de Huxley s'intitule 'Sassanids EP', produit avec la collaboration d'Ethyl, paru sur Cecille. Ce maxi a déclenché le succès du duo, et le second maxi 'The White EP' a clairement boosté leur popularité, un maxi qui est sorti sur Tsuba.

Le morceau le plus connu reste à ce jour 'Mother Tongue', qui est resté cinq semaines dans les charts deep house sur Beatport, et a même été nominé pour le Beatport Top Deep House 2010.

Pour 2011, Huxley va sortir de nouveaux morceaux sur OFF, Morris Audio ainsi que sur Tsuba.

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Huxley, aka Michael Dodman, is one of the newest and hottest deep house producers around. Early on some big names have spotted his potential, including Cecille boss, Nick Curly and Tsuba head-honcho, Kevin Griffiths.

Sassanids EP, Huxley's first production smash with Ethyl on Nick Curly's Cécille Numbers put the London pair firmly on the radar. The follow up, "The White EP" on Tsuba sent the pair chugging rapidly up the house pile.

'Mother Tongue' spent 5 weeks on the Beatport Deep House chart and has been nominated for Beatports Top Deep House Of 2010.

2011 sees more tracks already forthcoming on OFF, Morris Audio and Tsuba.


DOWNLOAD KARISMA PODCAST 025



Be There [Fear Of Flying] by Huxley_UK

mardi 21 décembre 2010

- NOUVEL ALBUM : 'VOID' par WBEEZA -





Voici enfin le tout premier album de Wbeeza, jeune artiste vivant à Peckham au Royaume-Uni. Nous attendions avec impatience cet album, étant donné l'impact de ses trois derniers maxis parus sur Third Ear Recordings. Ce qui retient notre attention c'est le côté brut qui s'étale au sein de ses productions, ce côté traditionnel qui fait d'ailleurs sa réputation dans son quartier. Et c'est d'autant plus intriguant que la génération de clubbers anglais s'adonne beaucoup plus facilement à ce qu'on appelle vulgairement la UK Bass, tel le dubstep. Allez demander à un jeune anglais qui est Frankie Knuckles, ça m'étonnerait qu'il le sache.

Clairement, Wbeeza est catalogué House, au juste sens du terme, et coller cette étiquette n'est absolument pas réductrice, mais bel et bien noble. Cette house qu'il sait créer est avant tout musique, musicalité, sonorité, et ce voyage musical est tout juste magique. Lorsqu'on écoute une de ses productions, on se rend compte de la richesse et de l'histoire que ce jeune homme connaît de la musique : les influences sont aussi diverses que variées, car on y reconnaît de la techno, du hip-hop, du downtempo, du jazz, du funk, mais aussi de la minimale. Un concentré de richesse dans un écrin anglais significatif et fascinant.

Ce qui fait la particularité du talent de Wbeeza, c'est à la façon qu'il a de modifier les éléments de ses compositions. Les pieds et basses fréquences sont reconnaissables parmi ses morceaux, et le voir jouer en live permet de mieux comprendre comment il arrive à draîner les foules de jeunes anglais abreuvés de UK Bass. La façon qu'à Wbeeza de produire et de voir les choses souligne clairement une certaine vision des choses, dûes sans aucun doute à ses ressentiments et ses expériences.

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Its debut album time for Peckhams Wbeeza. After three well-received eps on Third Ear Recordings, he has been packaged as the House Music traditionalists saviour in some quarters. But this doesnt explain his favour with UK Bass musics party promoters and artists, and with the new generation of dancers who dont know what House music is any more than they know who Frankie Knuckles is. Wbeezas music is clearly steeped in House music.

But its the musicality of House and the honesty of House music that he is vibing on, and that comes from music before House. He has an identifiable sound which goes beyond House into Hip Hop, Funk, minimalism, slo mo beats, Jazz, dissonance, Techno (which is House anyway according to many who make Techno) and yes, the bass. Wbeezas kick drum manipulations and bass frequency modulation, heard clearly in his live show are driving his popularity with the bass heads in the current UK scene as much as his single-minded focus on ways to get his machines, his instruments, to translate his experiences and feelings.

lundi 20 décembre 2010

- KARISMA PODCAST 024 : NICK HARRIS -





Nick Harris, venant de la scène hardcore punk au milieu des années 80, s'est investi assez tôt dans la musique grâce à une station de radio où il officiait entre autre. Il a notamment travaillé avec The Ramones,

Mega City 4, Fugazi, Extreme Noise Terror ainsi que de nombreux aures groupes.

C'est à partir de 1996 que Nick a monté le label NRK, et dirige la NRK DJ Agency. A bientôt 15 ans d'existence il va sans dire que le label a fait ses preuves en ce qui concerne les artistes s'y afférant :

Dimitri From Paris, Nick Holder, Derrick Carter, Freeform Five, Peace Division, Miguel Migs, Magik J, Jamie Anderson, Audio Soul Project, Danny Krivit, Chicken Lips, Joey Negro, Ian Pooley, Rolando,

H-Foundation, Pete Heller, Kerry Chandler, Ame, Joe Claussell ... pour en citer quelques uns.

Aujourd'hui Nick a également monté Strobelight Limited, un label qui sort des morceaux provenant de chez NRK, incluant des compilations faites par Loco Dice, DJ Sneak, ou encore Spirit Catcher. Il

produit, et dirige toujours son label-phare NRK Music.

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Nick Harris talks about him :

"Arriving on the thriving hardcore punk scene of the mid-80s, my involvement with music began at an early age, working on radio, print and on stage. My early years brought treasured involvement with artists such as The Ramones, Mega City 4, Fugazi, Extreme Noise Terror and many more bands of the day...

Spent most of the 90's til present running the NRK DJ Agency and record label NRK Music, which i am still doing today; the label celebrated 12 years late 2008. Been responsible for releases from (amongst others) Dimitri From Paris, Nick Holder, Derrick Carter, Freeform Five, Peace Division, Miguel Migs, Magik J, Jamie Anderson, Audio Soul Project, Danny Krivit, Chicken Lips, Joey Negro, Ian Pooley, Rolando, H-Foundation, Pete Heller, Kerri Chandler, Ame, Joe Claussell and many more..

I now head up Strobelight Limited, which continues to release NRK Music titles, including latest compilation releases from Loco Dice, DJ Sneak and Spirit Catcher. I also produce my own sounds now, as well as continuing to A&R and run NRK Music."

DOWNLOAD KARISMA PODCAST 024


Extrait du dernier maxi de Nick Harris / Nick Harris' latest EP :


Nick Harris - The Everlasting EP (NRK165 - clips) by nicknrk

lundi 13 décembre 2010

- KARISMA PODCAST 023 : CHRIS LATTNER -





Décrit comme étant ambitieux, travailleur et passionné, Chris Lattner est sans conteste un artiste au potentiel confirmé de par son talent pour ses productions house groovy.

Né en 1972 à Hannovre, il a grandi avec la disco qu'écoutaient ses parents, puis a reçu pour ses 16 ans une paire de Technics 1210 qui a bien sûr boosté son envie de mixer. Ce n'est que peu de temps après qu'il se soit imposé dans sa ville natale en tant que précurseur puisqu'il a organisé en 1990 l'une des premières soirées techno où étaient conviés parmi tant d'autres Carl Cox, West Bam et Ricardo Villalobos.

10 ans plus tard Chris a fait un break et s'est installé à Leipzig pendant quelques années avant d'arriver à Berlin ; il est alors aux commandes de l'une des premières webradio avec 'The Sound of Berlin', une webradio filiale de Pulse Radio.

C'est à ce moment-là que Chris décide de passer à la production. En 2008 sort "Hypnotoad" sur WBA Records, mais sa carrière prend un nouvel essort dès l'année suivante avec la parution de "Definition

EP" en février 2009 sur Einmaleins, label détenu par Eik ; on retiendra le morceau 'Limbo Taxi'.

La machine est lancée. Chris travaille beaucoup et crée des remixes : on peut souligner son travail sur "Two In One" produit avec Dan Drastic sur la compilation Moon Harbour Inhouse Vol. 3, un remix de Pawas "Mac Dub" sur le label anglais Fear of Flying, ainsi que son titre "African Children" sur la compilation The Lab par Loco Dice en avril 2009.

En novembre 2009 il sort un maxi sur Luna Records, ainsi que sur la compilation d'Einmaleins qui a fêté sa cinquantième sortie avec des remixes de Bearweasel, Justin Drake et Pezzner. 2010 a été également une très bonne année pour Chris.

En janvier 2010 sort 'Sick EP' sur Fear of Flying. Ce maxi résulte d'une double notoriété : il est d'une part joué par les plus grands, tels Loco Dice, Matthias Tanzmann, Lauhaus ou encore Gorge, et d'autre part est entré dans le Top 100 des titres incontournables sur Resident Advisor. C'est par ce succès que le label Moon Harbour a décidé de faire signer Chris.

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Described as ‘ambitious, tireless and ferociously dedicated’, rising star Chris Lattner certainly appears to be a pioneering individual with an undeniable talent for infectious house grooves.

Born in Hannover in 1972, Chris grew up surrounded by the sounds of his parent’s disco music. They further encouraged his ambitions on his sixteenth birthday with a set of Technics 1210’s, unsurprisingly; it wasn’t too long before he started to spin records out and about. In 1990 he managed to organise one the first ever techno parties in Hannover, which went on to feature the likes of Carl Cox, West Bam, and Ricardo Villalobos.

Ten years later in the year 2000, Chris decided to take a break and went to reside in Leipzig for a few years before moving to Berlin and rejoining the music scene in 2004 to host ‘The sound of Berlin’, on one of the first internet radio stations courtesy of Australia’s Pulse Radio.

It was around this time that Chris also started to produce his own music, 2008 saw his debut release ‘Hypnotoad’ on WBA-Records. A year later, his finest moment to date surfaced when Einmaleins label owner Eik signed his first EP “Definition” in Feb 2009 with “Limbo Taxi” following a month on.

A succession of successful remixes and features followed; “Two In One” in the company of Dan Drastic on Moon Harbours Inhouse Vol. 3, a remix of Pawas ‘s “Mac Dub” on UK label Fear of Flying, not forgetting “African Children” on Loco Dice’s ‘The Lab’ complation in April 09.

November see’s forthcoming material on Luna Records as well as the landmark 50th release on Einmalens, with remixes to look forward to from Bearweasel, Justin Drake and Pezner- 2010 looks set to be a very busy year for Chris Lattner.

The successful EP 'Sick' was released January 2010 on Fear Of Flying which, not only was charted heavily by artists such as Loco Dice, Matthias Tanzmann, Lauhaus, Gorge and others, but was also entered into the top 50 of Resident Advisors all-time top 100. This resulted in Moon Harbour asking Chris to join their impressive roster.


DOWNLOAD KARISMA PODCAST 023


Here is another stunning set of Chris Lattner


Chris Lattner - The "FUSE" Selection by Chris Lattner

lundi 6 décembre 2010

- NOUVELLE COMPILATION sur MOODMUSIC RECORDS -





Une nouvelle compilation est en passe de sortir sur Moodmusic, à la fin du mois : il s'agit de 'Forgotten - A Moodmusic Compilation'.

C'est à Turku en Finlande que le producteur Sasse a lancé le label au milieu des années 90. Plus tard, il a monté un magasin de disque à Berlin et a vendu des centaines de sorties deep. Le catalogue héberge des artistes talentueux tels que Dirt Crew, Lil Tony ou encore Henrik Schwarz, des 12 pouces qui sont relativement taillés pour les clubs, mais malgré tout "Forgotten" démontre que la deep house représentée par le label peut être également plus souple, plus raffinée, et donc moins percutante. On peut souligner à juste titre le travail émérite de Tony Lionni et du boss de Dessous Recordings Vincenzo. C'est la deuxième compilation de l'année en comptant "Moodmusic Chapter 4" paru cet hiver. Et pour couronner le tout cette toute nouvelle compilation sera bien entendu disponible exclusivement en numérique.

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Moodmusic has a new compilation series in the works, beginning later this month with Forgotten - A Moodmusic Compilation.

Sasse launched Moodmusic in Turku, Finland back in the mid-'90s. In the years since then, he's set up shop in Berlin and put out more than 100 deep records. With a catalog that includes Dirt Crew, Lil Tony and Henrik Schwarz, their 12-inches tend to aim squarely for the club, but Forgotten shows a slightly deeper side of the label, thanks in part to debut appearances from Tony Lionni and Dessous Recordings boss Vincenzo. The collection will be Moodmusic's second this year, following last winter's Moodmusic Chapter 4. As with that release, Forgotten will only be available digitally.

PREVIEW - Sasse & James Flavour - Henry Street (Original) by sasse

- KARISMA PODCAST 022 : DA FUNK -





Suisse, 1991. La musique électronique rassemble ses fans. Aux premières loges se trouve Da Funk, qui participe à quelques événements mais qui en peu de temps tombe amoureux de la musique. Il vibre au rythmes des grosses soirées mais le rythme de l’auditeur lui fait prendre conscience qu’il n’est pas au paroxysme de son amour pour la musique.

Possédé par la musique, le jeune homme va alors commencer à mixer. Première grosse soirée en 1996 à Zurich, d’autres suivront peu après.

Suite à une soirée sur une île espagnole en 1997, une pause s’est alors fait sentir dans la tête du jeune homme. Non-content de passer des morceaux, Da Funk a compris qu’il aimait beaucoup la house, et s’est donc naturellement redirigé.

N’étant pas casanier, Da Funk s’investit alors dans la production. Il crée son studio et s’adonne enfin à une nouvelle approche du son.

En 2004 arrive Acryl Music, son label, là où il révèle sa definition de la house: un mélange entre deep, tech, avant-gardiste et innovante. Son empreinte musicale réside cependant dans les mélodies, très caractéristiques de son style.

______


Switzerland in 1991. The electronic music began to crowd its fans.
In front a teenager called Da Funk. Electronic Music had done it to the young man and he began to deal with the whole scene. First party attendances were the result and Da Funk was definitely fallen in love with the Music. In the middle of the 90'ies, which Da Funk through-live with excessive celebrations on innumerable Parties and Club nights, the normal celebrating as a music consumer did not gave him the sufficient kick anymore.

Thus the music-possessed young man began to acquire himself how to Mix. Soon the first gigs came at smaller, usually illegal Parties around Winterthur. In winter 1996 the first large gig in Zurich followed and Da Funk was rocking the floor. Further bookings troughout Switzerland followed.

The attendance of a Spanish party island '97 rang the end of his DJ activity. The insufficient satisfaction by playing records only and in holidays with a new music direction infected, the DJ project was hung to the nail. House Music was the new born child of Da Funk. A time of re-direction followed and Da Funk returned into the role of the consumer for a short moment.


Sitting around and doing nothing aren't characteristics Da Funk call his own and so he courageously move on to a further step. Producing own sounds and tracks should be it. He began to build up his own Studio and worked with large eagerness at his musical ideas.

He then started Acryl Music 2004 as a platform to reveal the world his definition of house music wich exhibits the stylistic attributes deep, techy, forward thinking & innovative .
He's productions are best known for his melodic trademark sound with that certain feel.


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Da Funk-Tranquilandia by Da Funk

mardi 30 novembre 2010

- NOUVEL ALBUM : 'SPACE IS ONLY NOISE' par NICOLAS JAAR -





Nicolas Jaar va sortir son premier album 'Space Is Only Noise' au début de l'année prochaine sur le label Circus Company.

Depuis ses débuts sur Wolf + Lamb il y a de ça deux ans déjà, Jaar est l'un des artistes les plus attendus à ce jour en terme de musique électronique. Bien que son premier maxi en solo ne soit sorti que cette année, le journal anglais The Guardian l'a comparé à deux célèbres artistes, et pas dès moindre: Ricardo Villalobos et Aphex Twin. A juste 20 ans Nicolas est déjà booké partout autour du globe, injectant dans de nombreux clubs comme Fabric, le Panorama Bar ou encore le Bar 25 sa musique empreinte d'une ambiance chilienne, d'un mélange de deep house et de hip-hop ; par ailleurs il est toujours scolarisé à la Brown University de Rhode Island aux Etats-Unis. 2010 reste pour lui l'année la plus productive avec ses productions signées sur Wolf + Lamb et également sur Double Standard, sans compter une compilation numérique sortie sur son propre label Clown and Sunset.

A côté de cette compilation et d'un maxi paru en white label, 'Space Is Only Noise' sera le premier album de Nicolas sur Circus Company, un label house qui répond musicalement à la sonorité de son style. Selon les dires d'un journal de presse écrite, l'album révèle des productions qui restent dans ce panache romantique que Nicolas crée, enveloppé d'un groove mélancolique et de paroles françaises, comme dans "How can you talk about a landscape without showing the sky and the earth?"

Nicolas Jaar sera bien évidemment en tournée après ces deux prochains mois.

L'album 'Space Is Only Noise' sortira le 14 février 2011 sur Circus Company

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Nicolas Jaar will release his first album, Space Is Only Noise, early next year on Circus Company.

Two years since his debut on Wolf + Lamb, Jaar is one of the most acclaimed new artists in electronic music. Though his first solo EP just came out this year, The Guardian has already compared him to Ricardo Villalobos and Aphex Twin. At just 20 years old he's toured internationally, bringing his Chilean-flavored, hip-hop inflected deep house live act to clubs like fabric, Panorama Bar and Bar 25, all while juggling the demands of being an undergrad at Brown University. 2010 was his most active year yet, with a slew of 12-inches on Wolf + Lamb and its off-shoot, Double Standard, as well as a recent digital compilation on his own imprint, Clown and Sunset.

Aside from a white-label 12-inch and a compilation appearance, Space Is Only Noise will be Jaar's first record on Circus Company, a left-field house label that seems perfectly suited to his eclectic production style. According to a press release, the album features the same romantic panache that has characterized much of Jaar's music to date, with off-kilter, melancholy grooves and lyrics delivered in French, such as "How can you talk about a landscape without showing the sky and the earth?" Jaar will be supporting the album with a series of live dates over the next two months.

"Space Is Only Noise" from Nicolas Jaar will be released on Circus Company on the 14th of February 2011.

Don't believe the Hype Part I /// Nicolas Jaar (Double Standard Records) by Clown and Sunset

lundi 29 novembre 2010

- KARISMA PODCAST 021 : BUDAI and VIC -





Budai et Vic sont deux artistes hongrois qui se sont rencontrés en 2000 et se sont décidés à produire des morceaux ensemble afin de créer un label indépendant pour sortir leurs morceaux. Leur sonorité s'apparente à des morceaux très groovy contenant un esprit funk et une vibe très positive, très colorée, construite sur un rythme assez fort. C'est à la fin de 2001 qu'ils créent donc Egoist Records, label qui maintenant répond au nom d'Egotraxx Records, avec la sortie d'un EP axé dans une tech house relativement tribale : 'Ma Macoosa'. C'est avec cette sortie qu'ils axent leurs productions dans le même état d'esprit. De nombreuses critiques ont accueilli ce label sur 4 ans, et c'est ensuite que les compositions signées ont été plébiscité par de bons artistes du genre.

La sonorité du label est un mélange efficace entre une techno tribale et des sons méditerranéens groovy, tout ça avec un esprit chaleureux. Egotraxx se focalise à juste titre sur une tech house assez penchée sur la soul, et ça n'est pas étonnant que des artistes tels que Carl Cox, Umek, DJ Preach ou encore Valentino Kanzyani en jouent. Egotraxx Records a sorti plus de 13 maxis et ce n'est qu'en 2005 qu'arrive sur la scène I Love Deep Records, sous-label du premier.

Aujourd'hui le duo est célèbre dans leur pays natal mais aussi sur la scène house actuelle, et leurs productions ont ce petit côté savoureux qui plaît à des artistes internationaux tels que The Timewriter, Terry Lee Brown Junior, Lukas Greenberg et autres.

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Budai and Vic met in 2000 and decided to produce tracks together and create an independent label to release them by themselves. They used to make groovy tracks that contain the funk and a positive vibe, happiness, but still built on a strong rhythm. In the end of 2001, they founded Egoist Records (now Egotraxx Records) with ex-Sonic Age member Vic. The label started with a massive groundbreaking tribal-tech release called 'Ma Macoosa' EP, and since then they keep this level as well. The label which is in its fourth year has got many positive feedback since its start. After the 12th vinyl and many international releases, the tracks of EGO artists appear more frequently in big names' charts and mixes.

The labelsound is a solid fusion between tribalistic looptechno and groovy mediterranean sounds, but all of this with the characteristic Ego-flavour. Egotraxx is focusing on the soulful side of techno and tech-house. Maybe that is the reason that the label got lots of playtime from Djs like Carl Cox, Umek, Dj Preach, or Valentino Kanzyani. Ego Traxx Records is now over of its 13th release with a massive Markantonio remix. Ego Traxx works with names like DJ Preach, Marko Nastic, Alexander Koning, Marcelinho CIC, Daniel D and so on...In the spring of 2005 Egotraxx founded it's new sublabel: I Love Deep Records.

Nowadays Budai & Vic highlights their imprint inside their native country, but also in the international scene thanks to artists from the likes of Terry Lee Brown Junior, The Timewriter, Lukas Greenberg and so on.


DOWNLOAD KARISMA PODCAST 021


Miss Luna vs. Q. Derinho - Rise & Shine (Budai & Vic Full Vocal Remix) - Preview by budaivic

lundi 22 novembre 2010

- KARISMA PODCAST 020 : LEMONGRASS -





Lemongrass est le surnom du producteur allemand Roland Voss, qui vit actuellement au nord de l’Allemagne. Depuis ses premiers morceaux parus à la fin des années 90 sur les labels Incoming ! et Mole Listening Pearls, Roland a parcouru un long chemin sur de multiples influences, de la drum’n’bass à la lounge, du jazz à l’ambient en passant par le trip-hop. Il a sorti pas moins de 13 albums sous le pseudonyme Lemongrass, plusieurs maxis ainsi qu’une dizaine d’autres albums sous divers surnoms tels que Weathertunes, Jasmon, ou aussi Beach Hoppers.

C’est en 2005 que Roland et son frère Daniel, plus jeune, créent le label Lemongrassmusic. Ensemble ils confèrent au label une notoriété basée sur leur propres productions ainsi que sur celles d’artistes talentueux vivant un peu partout à travers la planète.

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Roland Voss aka Lemongrass lives and produces his music in the countryside in Northern Germany. From the first releases in the late 90´s on the labels Incoming! and Mole Listening Pearls he has gone a long way of musical expressions - from Drum´n´Bass to Lounge, Jazz, NuJazz, Trip-Hop and Ambient - and has meanwhile released 13 Lemongrass albums, a number of EPs and more than 10 albums under his additional project names ("Weathertunes" ; "Jasmon" ; "Beach Hoppers" and others)

In 2005 Roland and his younger brother Daniel have founded the label "Lemongrassmusic" and so have built a new platform for their own music productions as well as for some very nice and talented artists from all over the globe.

DOWNLOAD KARISMA PODCAST 020

Lemongrass - Maison A` La Mer by Idealmusik Label

- INTERVIEW OF THE MONTH : LEMONGRASS ( ENGLISH VERSION ) -

I. Hello Lemongrass, nice to meet you. Could you first tell us where you live and what were the conditions to leading you making music?


Hi Daxxel ! Many thanks for getting in touch and for the opportunity to be a part of your nice blog.

We (that's my brother Daniel and me) live in the countryside of North-West Germany. We have been living and working together for a whole decade and are running a lot of projects together. Besides Lemongrass we are also known as “Weathertunes”, “Jasmon” and “Beach Hoppers” and we have founded our own label “Lemongrassmusic” in 2005.
Music has always been a part of my live – during my childhood we had two pianos in our parents' house and we were 3 boys making music together very often. In my teenage years I started playing the drums and soon were involved in some band projects, played on small and big stages and gave drum lessons to younger guys. During those years I was totally into Jazz and Jazz-Rock and participated in numberless band projects.

Later I have started producing electronic music – I bought my first equipment – an Atari ST and a Kurzweil sampler, a huge mixer and professional speakers, etc. It still took some more years before I discovered my passion for drum'n'bass, breakbeats and ambient and lounge music.



II. Where comes your inspiration from, I mean this sweetest way to vibrate on your tracks?

My inspiration mainly comes from nature – from the sun, from my surroundings, from the sea and the quietness of the places I like to stay. Of course it also comes from the musicians that I work with – the singers and instrumentalists.
III. What do you think of the major industries of these times?
Honestly I have no thoughts about it....


IV. How do you work?


We work mainly with computers – Logic Audio, soft-synths, various plug-ins, sound libraries, and live instruments such as synthesizers, guitars, rhodes piano and vocals of course. The way a new song is created is always different – there is no rule to it and to describe the many-folded possibilities would blast this interview I think.... :-)


V. Preparing an album, is it difficult?


Yes – it's always a long process and can take from 1 year up to 3 years. We use to work on various projects at the same time so it sometimes takes quite a while to filter and bundle the songs that go well together. It usually takes 3-5 days for me to produce one track – during these days I listen to it at least a hundred times. Then compiling an album takes another weeks and months time – so in the end I have listened to all songs contained on a new album for many hundred times. I think you can imagine that I absolutely need the silence of a quite place in nature in the meantime :-)


VI. Why have you chosen to create your own label?


We have created our own label to become more independent on the one hand. It was always a dream of mine to run a label – and after many years of being signed to other record labels it was a logical process for me to do it. On the other hand we wanted to create a platform for the music of other artists who create wonderful music in the spirit of Lemongrass – so we have called the label “Lemongrassmusic”. By the way – a few months ago we have founded a sub-label named “Tiger Grass Records” - to be able to present a wider range of electronic music styles. Now – after 5 years of running the label “Lemongrassmusic” we are surrounded by a wonderful “label-family” - artists from all over the planet – and each one presenting a unique spirit and an individual expression of “warm and positive” electronic music. Regarding our label logo – a sun with 23 sun-beams – we would like to express the many facettes of modern electronic music which can not be categorized clearly, covering styles like Ambient, Lounge, Chillout, Nu Jazz, Deep House, Downbeat, Breakbeats, Soul, Spoken Word Poetry, Film Music, Disco, and many others.


VII. How is the nightlife in Germany?


Well – at our place nightlife is very silent – just hearing the singing of nightingales.... :-) Going to the cities it seems to be like everywhere else....
VIII. Something to tell us about the evolution of new technologies?
Using all these technologies of nowadays I often experience them as true blessings which allow us to do the kind of music and business that we do. We collaborate with many musicians worldwide only through the internet ! On the other hand I don't even know how all these machines do really work – so I am definitely dependent of those who know. But that's OK of course :-)


IX. What are your current projects?


I have just finished the new Lemongrass EP “Ambient Land 2” which will be released in December. Furtherly we are working on the new WEATHERTUNES album, of course on the next LEMONGRASS longplayer album (which will be 100% instrumental again) and on “The Remix Sessions Vol.2” - the follow-up of the successful release from early 2010. We do a lot of remixes every year – and we had the idea to combine them to an album... Also this is another expression of the wonderful network within our label family.


X. Are you closed to other genres in electronic music?


Basically I am open to many styles and I like cross-overs – the main point for me is always a certain kind of “warmth” and “soulfulness” which can be found in some genres more than in others. I think there is no basic rule for it – it always depends on the result.


XI. … A piece of word in French?


Liberté, égalité et amitié :-)

lundi 15 novembre 2010

- KARISMA PODCAST 019 : JACK DE MARSEILLE -




Jack de Marseille, de son vrai nom Jacques Garrotta, est né le 19 décembre 1965. Il vit à Marseille.

Connu avant tout comme pionnier de la musique électronique, il a contribué, dès la fin des années 80, à l’émergence de la scène électronique française. Le succès de ses sets lui valent d’être élu meilleur DJ français en 1998 par Coda, premier magazine consacré exclusivement aux musiques et cultures électroniques depuis 1996. L’année suivante, c’est Trax qui le classe numéro un.

Souvent estampillé, de manière réductrice, « DJ house », Jack de Marseille pose problème aux gens qui cherchent à le cataloguer.En écoutant ses sets aux influences multiples, reconnaissables entre tous, on comprend qu’il résiste à toute nomenclature. Son identité est marquée par l’énergie des rythmes et des couleurs qu’il juxtapose, mixe, fond et dynamite en réponse au dancefloor, qu’il considère comme le cœur, la destination de sa musique. Une sensibilité exacerbée mais aussi profonde, à fleur de peau, révélée par des accents deep plus doux, plus sensuels.

SITE OFFICIEL DE L'ARTISTE

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Jacques Garrotta, also known as Jack de Marseille, is born on december, the 19th, 1965. He actually lives in Marseille, on the south of France.

Above all he is known as one of the pioneers of the electronic music. Since lately 80”s, he contributes to the emerging French electronic scene, and the stardom of his brilliant sets give him the price of the best French DJ in 1998 by Coda, first magazine devoted to the electronic scene since 1996. He is awarded the next year at the same status by Trax, another French electronic magazine, standing on the first place.

Considered by the public as a house DJ, Jack de Marseille stands as a problem for those who would like to describe his style of music. By hearing his sets, where features many various influences, easy to unveil his trademark, we just know that he doesn’t want to be straightened by an only unique style. His identity is printed by the energy unleashed within rhythms and colours that he digs, mix, create and boost thanks to the attempt of the dancefloor, highlighting the heart of his music. A kind of sensitiveness, deep and pure, orchestrated by some sensual imprints, some beautiful ones.

His latest album, Inner Vision, was released under his own label Wicked Music, where he has already signed artists from the likes of EDP, David Carretta, Trisomie 21, 2 Rare People.

He plays everywhere : Sonar at Barcelone, Dance Valley at Amsterdam, I Love Techno at Gand, Timewarp and Nature One in Germany, Creamfields at Buenos Aires, Global Gathering in England.

WEBSITE OF THE ARTIST


DOWNLOAD KARISMA PODCAST 019


Wicked Sessions Mai part 3 by Jack de Marseille

samedi 13 novembre 2010

- REVIEW : STUMBLED by IRON CURTIS -





Pour son premier maxi sur Retreat, Iron Curtis reste toujours aussi fidèle à cette sonorité classique mais contemporaine qui l'a fait découvrir au public. Les deux derniers morceaux "Creeps" et "All My Friends" sont plutôt dans le genre dubstep et hip-hop, deux genres qui s'implémentent facilement. On notera surtout le son très particulier de l'horloge dans "Creeps", mais mis à part ceci il faut reconnaître que Curtis a plus d'un tour dans son sac et qu'il n'est plus limité à la house.

Ses nombreuses excursions a Chicago le mettent à contribution dans ses productions. "Cover Me" est un très bon morceau deep house: les basses semblent sortir des abysses alors que les paroles nous envoient tout droit au-delà de la période musicale de personnalités comme Joy Orbison et James Blake. Cette douceur musicale vêt un autre aspect sur "Stumbled Across" où les sonorités d'une TR-808 et des notes de clavier nous poussent à gigoter et sortir de chez nous; l'ensemble des snares, hats et claps (termes techniques, ndr) ne sont pas synchronisés et pourtant le morceau "vit".

En d'autres termes, ce nouvel opus dans la collection des oeuvres d'Iron Curtis nous satisfait amplement, car la qualité s'y attenant nous promet encore de suivre cet artiste talentueux.

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On his first record for Retreat, Iron Curtis issues a caveat that we had all better come up with some alternative to the usual "classic but contemporary" cajolery normally reserved for his work. The b-side tracks "Creeps" and "All My Friends" are loose forays into hip-hop and dubstep-implied sounds respectively, and neither can be said to imitate. They're short sketches that aren't fully-rounded, but they cover enough atypical ground (the Gamelan-sounding bell breakdown on "Creeps" is a particularly nice touch) to suggest that house could eventually become an unnecessarily limiting style-bracket for the German producer.

For now, though, it's still his wormhole transit to Chicago and back again that sets him apart. "Cover Me" is quintessential deep house. The bass sounds as if it's pumped from the gills of some deep-sea creature while vocals chopped-up at chipmunk-pitch carbon date the track to the post-whatever era of people like Joy Orbison and James Blake. It's smooth and suave unlike the spasmodic body-rock of "Stumbled Across" where 808 hits and keyboard stabs seem to hold your hips in a split-second state of anticipation. An ensemble of snares, hats and claps aren't quite in time with one another, and that's the treat: it feels live. Classic and contemporary it might well be, but it's also surprising and satisfying, qualities that Iron Curtis seems to convey more and more with each release.


Iron Curtis - Stranded (Cut) by Iron Curtis

- REVIEW : THE RED ROOM by DENNIS FERRER -





Est-ce qu'il serait facile de dire que ce nouveau maxi de Dennis Ferrer représente le yang alors que son dernier tube "Hey Hey" serait le yin ? C'est une question très compliquée, certes. Il y a toujours quelque chose à dire à propos de cet artiste incontournable de la scène house contemporaine. On ne peut pas passer à côté de ses nombreux morceaux, et c'est impossible de rater cette nouvelle sortie intitulée "The Red Room" parue sur son propre label Objektivity. Kyle MF Hall a concocté un excellent remix à juste titre.

Le "Obj Vocal Mix" est poinctué d'accents afro et d'une TB-303 extatique, tandis que la voix de Dawn Hulton donne du volume au morceau, un peu dans l'esprit de la chanteuse Grace Jones. C'est un tour de force surprenant que Ferrer nous livre, confirmant une nouvelle fois son talent pour créer un groove unique.

Sur la face B se présente le "MeMix" de Hall... Ce n'est pas de la fidget-house, mais il est tout de même aisé de reconnaître que le vocal "Wuh-w-w-wh-well" ressemble étroitement aux productions de Switch, productions parues au milieu des années 2000. Le groove est très cosy, les notes et les vocaux absorbés par les pieds du rythme, idéal à fredonner dans la rue.

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Is it too facile to consider this Dennis Ferrer's yang to "Hey Hey"'s yin? It's super-obvious, right? Yet if there's more to it than that—there always is—there's still something to say for an artist so adept at getting everyone to sing along, and then turns around and releases something as subterranean and acid-tracky as "The Red Room." And puts Kyle MF Hall on the flip. Because he can.

Ferrer's "Obj Vocal Mix" is spurred along by conga accents and pulsating 303s, but Dawn Hulton's vocal is arty-spiky in a way that brings to mind post-punk and its more recent descendants as well as above-it-all Grace Jones-style ice-diva-dom. Ferrer keeps moving the furniture around to show off different facets of his multi-lined groove.

And on the B-side, Hall's "MeMix" goes . . . fidget-house?! Not quite, but the stuttering vocal snippet ("Wuh-w-w-wh-wh-well!") isn't that far removed from mid-'00s Switch. The groove is, though—comfortably flat four with springy accents whose glitchy touches (including those vocals) are absorbed by the kick drum, and thus easy on the ear.


Dennis Ferrer - The Red Room (Obj Vocal Mix) by Objektivity

lundi 8 novembre 2010

- KARISMA PODCAST 018 - KRUMMSTOFF -





Ashot Babayan, né en Arménie, est connu sur la scène électronique sous le surnom Krummstoff. DJ, producteur, musicien et également compositeur, il est aussi connu sous les surnoms Mad Dee Jay, Maddy Nuff et Toscha Steinberg.

Sa carrière a commencé au début des années 1990 : passionné par l'héritage musical des afro-américains il se met à composer des sons hip-hop et travaille des rythmes sur un sampler qu'il a lui-même créé. En 1998, quelques années plus tard, il crée un quartet local appelé X-Phobos et devient de plus en plus à l'aise dans l'électronique. Il en fait l'une de ses activités principales, tout en gardant ses influences en funk, hip-hop et jazz. Il élargit donc ses connaissances au sein de ce projet, et crée des morceaux qui vont du hip-hop à l'ambient, du downtempo à la deep house.

Lors des années de travail établies avec X-Phobos, Ashot rencontre Garry Mkrtchyan, DJ et producteur connu sous les surnoms Garry Spectrum et Fabien Kamb, qui devient très vite son plus fidèle ami et son frère d'armes. Ils créent naturellement leur duo Mad & Spectral en 2006, nouvelle étape décisive pour la carrière de ces deux personnes. Tous les deux ils travaillent de concert ou en solo et jouissent assez vite d'une solide réputation: Ashot se démarque sous le surnom Krummstoff.

Fin 2008 Ashot Babayan fonde son propre label Low Flow Records qu'il dirige avec Garry Mkrtchyan.

Les productions de Krummstoff sont le fruit de toutes ses nombreuses influences, concentrées essentiellement autour de la deep house et de la tech house, et d'un mélange des deux genres.

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Krummstoff (born Ashot Babayan) is another alias of the dj, musician, producer and songwriter also known as Mad Dee Jay, Maddy Nuff and Toscha Steinberg.
His career started back in the early 90s, when being a great fan of Afro-American musical heritage, Ashot made his first attempts in writing some hip-hop rhymes and making beats on his self-made sampler.

In 1998 by co-founding a pioneer local underground quartet X-Phobos, Ashot's passion towards the electronic music production became a priority of his musical activities, with the simultaneously strongly remaining funk/hip-hop/jazz influences. His experience in music production went through lots of changes - from hip-hop to ambient and from downbeat to deep house music.

During the years of work within the bounds of X-Phobos, Ashot came across a fellow dj/producer Garry Mkrtchyan (a.k.a. DJ Garry Spectrum, Fabien Kamb), who not only became his "brother-in-arms" but also a true friend and companion.

In 2006 the two started their producer-duo - Mad and Spectral, which turned to be a next and very important step for both of the musicians. Being a phenomenally fertile project, the duo has been dropping beats under numerous aliases as well as its members' solo projects, where Ashot goes under the name of Krummstoff.

In the fall of 2008, Ashot established an indie record label - Low Flow Records, which he co-owns/runs with Garry Mkrtchyan (Fabien Kamb).

The music of Krummstoff is a pure reflection of the whole spectrum of his musical experience and skills, which at this point are mostly concentrated at tech house, deep house and deep-tech production.

DOWNLOAD KARISMA PODCAST 018

Krummstoff - What We Call Deep (original mix) /2600 Records/ by Krummstoff

vendredi 5 novembre 2010

- NOUVEL ALBUM : '1440' par SPIRITCHASER -





Mark Bamford et Richard Earnshaw sont les deux personnes qui composent Spiritchaser. Formé au tout début des années 2000 par leur amour respectif pour la musique électronique, ils se complètent par leur approche d'une musique à la fois deep, progressive, et fabrique une house très émotionnelle qui se rapproche d'un esprit dance. Spiritchaser a remixé de nombreuses productions sur de grands labels pendant ces dix dernières années, grâce aussi à leur propre label intitulé Guess Records.

C'est à la rentrée 2010 que sort donc leur tout premier album '1440', en cette période où l'hiver et le froid arrivent petit à petit (excepté si vous habitez dans une région tropicale). L'album contient plusieurs escapades musicales dont le groupe a le secret, notamment sur des morceaux comme "Not Far" et "Time Will Tell", et notons aussi la présence de la chanteuse Emily Haughton sur le fabuleux titre "These Tears".

Si l'attente de l'album a été longue, c'est que le talent de ces deux artistes est mérité : nous n'oublions pas "As We Continue", ce morceau entre deep house et tech house qui a suscité de vives critiques en 2003 paru sur le label anglais Niche Blue. L'ambiance intemporelle de leurs productions ainsi que cet hédonisme en filigrane a été très bien perçu parmi la scène électronique et parallèlement il a été très difficile de savoir si le duo allait se mettre à la création d'un album.

C'est donc après presque dix ans de production que l'arrivée de '1440' se fait cette année, un album qui a le mérite de franchir de multiples territoires tels que ceux de la deep house, de la chill out, avec des accents tantot tech house, tantôt sibériens. Avec cet album, il y a fort à parier que nous n'avons pas fini d'entendre parler de Spiritchaser.

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Spiritchaser duo Mark Bamford & Richard Earnshaw first started producing electronic music together at the turn of the century. The music they create is a true representation of the mutual love & understanding for deep, progressive, emotive house & dance music. Spiritchaser have remixed for a number of Major Record Labels & Artists whilst consistently releasing top quality, influential records over the past ten years, often through their home grown independent label Guess Records.

2010 & their debut album 1440 has just been released in time for the cold dark winter months (if you live in the Northern hemisphere, otherwise it's perfect for those long hot summer evenings on the beach!) The album includes exclusive mixes of "Not Far" & "Time Will Tell" as well as new journeys in musical soundscapes & beats. First single off the album "These Tears" featuring vocalist Emily Haughton

In 2003 we have heard their fantastic and amazing "As We continue" released on Niche Blue, an english-based label run for deep tech sounds. Their sophomore chilly wavy deep house has begun to spinning around some of the most acclaimed DJs and producers, and finally Spirtchaser has received brilliant critics for their innovative sounds. Their hedonism tune just blow our mind and it's a really good news that this year their brand-new full-length is finally launched on the electronic world.

'1440' spread the word accross deep house, tech house, ambiant and some of the most chillaxing sounds of today. This album, released on this pre-winter era, is the masterpiece which give Spiritchaser his imprint on the electronic world.


SPIRITCHASER's MYSPACE


Spiritchaser "1440" preview by Spiritchaser

- REVIEW : WITHOUT ME by TEVO HOWARD & TRACEY THORN -






On laisserait bien discuter des ingénieurs du sons avec des termes techniques en ce qui concerne le nouveau maxi de Tevo Howard : il y a d'un côté la voix de Tracey Thorn, et de l'autre d'anciennes drum machines. A juste titre la voix de la chanteuse, qui a contribué à l'essort du groupe Everything But The Girl, donne une touche colorée à celui qui a sorti "Without Me", un titre qui date de 2008 et qui a révélé les talents de producteur de Tevo. En gros le morceau fonctionne grâce à un bon piano old school classique et des éléments analogiques qui peaufinent la qualité de celui-ci. Du coup la voix de Thorn, très prisée pour envelopper des morceaux dans une optique dance, est très bien adaptée et contribue à faire du morceau un titre assez difficile à qualifier.

Dans ce maxi sont donc présents un original mix qui oscille entre une balade nocturne à Chicago et le côté anglais de Thorn où ses paroles "If my hearts tell me" et "I'll be cold as the snow" résonnent comme une ode à la nostalgie, et offre un caractère authentique au morceau. Il y a aussi la Shield Edit Reprise avec la voix somptueuse de la chanteuse et le piano, ainsi qu'un edit radio qui caractérise l'esprit du label Rebirth, avec ces 4 minutes condensant le meilleur du morceau.

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I'll leave it up to the audio engineers to explain this in technical terms, but there appears to be a conflict in Tevo Howard's latest record: Tracey Thorn vs. vintage drum machines. The voice of Everything but the Girl appears here to add vocal colour to the Chicago producer's 2008-released "Without Me." In its pure form, the track works a piano-led classicist house angle, with the use of analog gear giving that somewhat muffled—but these days highly coveted—matte to the finish. This updated offering sees Thorn, arguably the most naturally adept vocalist to ever lend her voice to the dance music genre, pen an original song and slot clean and clear into "Without Me"'s flattened mid-range.

The original mix kicks a stone along a Chicago sidewalk at sunrise, before the scene cuts quickly to an FM radio and kitchen somewhere in middle England. Thorn's vocals ("If my heart tells me 'no'/I'll be cold as the snow") are immaculately delivered, and left largely dry effects-wise, but therein lies the issue. Her signature delivery simply swamps Howard's staunchly "authentic" approach to timbre, with the gritty percussion in particular suffering from the juxtaposition. Much better off is the Shield Edit Reprise which is largely shorn of the original's low-frequency drum content, leaving Thorn to exhale over Howard's poignant piano line and accompanying synthesis. However, an included four-minute Radio Edit should give the clearest indication of where Rebirth were pitching this mismatched meeting.

LABEL

Tevo Howard Feat. Tracey Thorn - Without Me (Hyena Stomp Remix) by Nico De Ceglia

lundi 1 novembre 2010

- KARISMA PODCAST 017 : AMIR GROOVE -





Amir Groove a débuté le mix en 1998 à Mostar, sa ville natale en Bosnie-Herzégovine, et a dès lors construit au fil des années un très beau parcours au sein-même de l'Europe grâce à son talent et sa notoriété.

Influencé notamment par Underworld, Leftfield et Kraftwerk, de grands classiques donc, il a développé son approche du mix suite à son arrivée sur le territoire anglais en 2000. Il s'est alors exposé devant la scène underground et s'est mis à la deep house et la tech house. C'est ainsi qu'il a su rencontrer un public connaisseur et qu'il s'est forgé une réputation.

Habitant désormais à Londres, Amir joue régulièrement dans les clubs londoniens comme à The Egg, au Colosseum Club ou encore au carnaval de Notting Hill. Il a aussi joué au Ministry of Sound et a joué avec Funkagenda, Audiofly et le très célèbre Pete Tong.

Amir a aussi joué à Oxygen à Mostar, pas mal de clubs à Belgrade, l'Amnesia à Novi Sad et le Buba Beach Bar en Croatie. Il joue aussi en Espagne et à Barcelone au 7 Sins depuis 2008, ainsi qu'à Ibiza dont son meilleur souvenir reste un mix de 4 heures au Café Del Mar. Dernièrement Amir a joué au Frannz Club à Berlin avec Lukas Greenberg, et est connu pour son émission Monday Deep Session sur Ibiza Sonica, un lundi sur deux.

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From humble beginnings DJing in his hometown of Mostar in Bosnia & Herzegovina back in 1998, Amir has built up a dedicated following across Europe with his unique DJing and producing skills.

Initially influenced by classic electronic acts such as Underworld, Leftfield and Kraftwerk, Amir developed his own distinctive style following a move to the UK in 2000. It was in London that he was exposed to the underground dance and began spinning deep and tech house for the first time. Since then Amir has gone from strength to strength musically, constantly evolving his style and pushing the boundaries of electronic music.

Proving he is one of the brightest DJ talents around, Amir regularly plays at clubs across England including The Egg, Colosseum Club and Notting Hill Carnival among others, with a stand out set at Ministry of Sound where he played alongside Funkagenda, Audiofly and the legendary Pete Tong.

Going further afield, Amir has headlined at some of Eastern Europe’s hottest nightspots including Oxygen in Mostar, Anderground and Happy People Clubs in Belgrade, Amnesia in Novi Sad and Croatia's famous Buba Beach Bar. Since 2008, he has been regularly playing in Spain, with sets at 7 Sins in Barcelona and a number of gigs in Ibiza, including a four-hour sunset slot at the famous Café del Mar. Additionally, Amir recently headlined at the Frannz Club in Berlin, playing with Lukas Greenberg.

He host Monday Deep Session on Ibiza Sonica on Mondays with such good DJs as Terry Lee Brown Junior for example.

DOWNLOAD KARISMA PODCAST 017

October 2010 Promo by Amir Groove

vendredi 29 octobre 2010

- REVIEW : EVERLASTING EP by NICK HARRIS -





Le contraste entre les émotions limpides et la "brutalité" avant-gardiste du rythme font des trois morceaux de ce maxi du boss de NRK Nick Harris un cocktail qui fonctionne parfaitement sur le dancefloor. Prenons par exemple 'Sueno', le deuxième morceau : on y entend une voix de ténor qui répète "hey" sans arrêt sur des pieds simples et des notes de piano électriques filtrées jusqu'à plus soif. C'est comme si ce morceau était fait pour être utilisé en tant qu'outil, ce genre de samples qu'utilisent les DJs et remixers pour créer de nouvelles tonalités. Le morceau paraît tout à fait basique, mais si on écoute de plus près on se rend compte que toute la puissance du morceau réside dans sa structure.

'Rituals', le premier morceau, cultive l'art d'un rythme assez ténébreux, avec des vocaux syncopés qui nous réveillent et nous incitent à se trémousser. 'The Everlasting' est axé deep, dans un esprit old school qui ressemble à la house anglaise du début des années 90. Près de 8 minutes qui défilent sans s'ennuyer, tout comme l'ambiance générale de ce nouveau maxi qui souligne une fois de plus le talent et le besoin qu'à la scène électronique de Nick Harris.

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The contrast between the limpid emotions and the rough forwardness of the beat is what makes these three tracks from NRK main man Nick Harris work when it does. Take "Sueno," the middle track: a breathy male tenor "hey" repeated over and over in spiraling fashion over a simple, woody kick-drum thump and ultra-simple, occasionally filtered electric piano notes. There's something almost tool-like about a track like this; it exploits the same basic idea for over seven minutes without varying it too much. Yet Harris's elements are pretty sure-fire.

"Rituals," the opener, cultivates a spookier tone—a simple, galloping thump and some glowing bass, as well as occasional sea-spray synth—before bringing in the preacher vocal samples. No ground is broken, if you hadn't guessed, but he uses the samples with a light touch. "The Everlasting" goes for "deep" in a different way. Rather than genuflecting to the gospel and soul roots of house, it spends its near-eight minutes lolling around in the simpler circuitry of early '90s British house. It's modest, much like the rest of the EP, and it stays with you longest of the three.

Nick Harris - The Everlasting by nicknrk

jeudi 28 octobre 2010

- REVIEW : DIAGRAMAS EP by Raul Carrasco & Javier Orlando -





Raul Carrasco et Javier Orlando, producteurs argentins pointilleux et méthodiques, viennent de sortir leur nouveau maxi intitulé 'Diagramas', un maxi axé sur une tech-house savoureuse qui aurait très bien pu être produite durant ces dix dernières années sans qu'on ressente le poids des années qui passent. Cela ne définit en aucun cas son statut de grand classique, mais plutôt cette manière de diffuser les morceaux sans croire qu'ils ont été produit cette année.

Le rythme de chaque titre, et surtout celui de " Astro", est solide et très reconnaissable pour le genre tech house. "La Santa" résonne comme une invitation au dancefloor, très efficace avec cette petite touche filtrée qui ferait presque penser à un effet glacé.

C'est un peu comme si l'ambiance ensoleillée de ces morceaux était métallisée. Les notes sur le morceau "La Santa" pourraient se calquer sur le morceau "100% Subterranean" de Mr C, lorsque le terme tech house commençait à se prononcer sur toutes les lèvres des passionnés. 'Diagramas' est créé à partir d'éléments en mouvements, et pas comme si les notes étaient posées sur les morceaux, sans impulsions. Même si le maxi ressemble à beaucoup d'autres, les morceaux sont fait pour faire vibrer la piste.

Deep Class Records - Site Officiel

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Clean, spangly and unhurried, Argentine producers Raul Carrasco & Javier Orlando's Diagramas EP is tech-kissed house that could have been made at just about any point over the last ten years, with no gain or loss in resonance. That doesn't mean it's necessarily a classic—just that its cool verve gives it some of its flexibility.

So, of course, do the basslines, which undergird all three tracks with a rubbery bustle—particularly on "Astro," the final cut and the busiest bassline of the bunch, but also on the comparatively simple pulse of "La Santa," which briefly gives way for a subtle build-up that is helped along by dry-ice-like filtering.

The surfaces tend to shine metallically here. The refracted synth lines of "La Santa" could have fit comfortably on Mr. C's 100% Subterranean, back when "tech house" was a new term. "Diagramas" itself is built on flickering keyboard patterns that seem to pop up of their own accord rather than having been played. It doesn't do anything too drastic, but it can still buoy a room.

Deep Class Records - Official Website

Raul Carrasco & Javier Orlando--Belladonna--Original Mix by Raul Carrasco

lundi 25 octobre 2010

- KARISMA PODCAST 016 : FORTEBA -





Krisztian Dobrocsi, plus connu sous le surnom Forteba, a grandi dans la ville hongroise de Vac et s’est vu découvrir une passion dès ses 18 ans: celle de produire de la musique électronique.

Il a fait ses premières armes sur du breakbeat et de la chill out mais a plus tard affiné ses productions dans un rythme plus concret, et a été en majeure partie influencé par la deep house allemande. Avec Gero, un de ses amis, il a créé un groupe de lounge en Suisse de 2002 à 2004 et a plus tard créé un studio. Avec Gabor, il a produit de la musique sous le surnom Le Garage sur plusieurs labels hongrois et a fait la rencontre de Zoltán Nagy, connu sous le surnom de P60, qui mixait à l’époque de la drum’n’bass. Il a aidé ce dernier sur de la post-production en deep house, et aujourd’hui Krisztian utilise à la fois Forteba ou son autre surnom Mayann pour ses productions deep house, Lipuria pour ses excursions lounge.

Forteba s’est fait connaître en deep house grâce au label allemand Plastic City, chez qui il a déjà signé deux albums.

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Forteba or Krisztian Dobrocsi, as he is known to his proud parents, hails from the Hungarian city of Vac where he found his true calling relatively early, with sweet eighteen: producing electronic music of all colours.

Starting off with breakbeat and chill-out music, he soon ventured into the world of straight four-four rhythms, profoundly inspired by German deep house. With his friend Gero, he formed a live band playing lounge music in Switzerland from 2002 to 2004. Setting up his own studio with befriended musician and production partner in 1999, Krisztian and Gábor started to release music under the name Le Garage on various Hungarian labels. Around the same time Krisztian got to know P60's Zoltán Nagy, a Drum'n'Bass DJ who would subsequently hire Krisztian for post-production services in P60's deep house department.

Today, Krisztian is using his Forteba and Mavann moniker only for his deep house outings, calling himself Lipuria for his lounge excursions.

Forteba has signed two great albums on the german imprint Plastic City, known for his nice deep house vibes.

DOWNLOAD KARISMA PODCAST 016

FORTEBA - Linoleum by FORTEBA

vendredi 22 octobre 2010

- FORTHCOMING : MAKAM'S FULL-LENGTH -





Guy Blanken, plus connu sous le nom de Makam, est en train de préparer la sortie de son tout premier album qui sortira le 24 novembre prochain, intitulé How Long Is Now?

Né à La Haye aux Pays-Bas il réside actuellement à Amsterdam et s'est fait connaître du public grâce au titre 'The Hague Soul' au tout début de l'année 2009. Il a ensuite signé sur Soweso grâce à l'aide de Lauhaus et Kabale Und Liebe mais c'est sur Sushitech Purple que sa réputation grandit: en effet il y a signé trois maxis et un remix. C'est naturellement que Makam va sortir sur ce label, dirigé par Yossi Amoyal et Matt du Jardin, son album "How Long Is Now?". L'album offre beaucoup de nouveaux morceaux, excepté le fameux 'Things I Embody' sortit en août dernier. Sa touche house groovy et old school lui a valu de bonnes critiques sur ces deux années passées, et il est évident que cet album lui assurera une solide notoriété d'ici peu.

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Guy Blanken, AKA Makam, is preparing for a November 24th release of his full-length, How Long Is Now?

Born in The Hague but currently residing in Amsterdam, Makam has amassed a healthy following for himself since the release of his debut 12-inch, The Hague Soul, in early 2009. That initial effort arrived through Lauhaus and Kabale Und Liebe's Soweso imprint, although his strongest label association has been with the UK-based Sushitech Purple, who have put out three Makam EPs and called on him for a remix. And the imprint run by Yossi Amoyal and Matt du Jardin will show further faith in him by releasing this full-length effort, How Long Is Now?. The album is comprised of almost entirely new material, with the exception being "Things I Embody" which was originally released back in August. Makam has shown a strong propensity for classic-rooted house grooves these past two years, which will no doubt carry over to this debut full-length.

Exception by Makam

jeudi 21 octobre 2010

- AMSTERDAM DANCE EVENT 2010 -





Amsterdam Dance Event (ADE) : c'est le plus gros festival électronique et une des conférences musicales les plus marquantes de la sphère internationale. Créé en 1996 ADE était au départ une petite conférence avec pas moins d'une centaine de professionnels de la musique et un festival programmé sur trois clubs avec une trentaine de DJs.

Cette année ADE a grandi au point de devenir la plateforme la plus en vogue pour les partenaires commerciaux de la scène, en en soulignant le business international auprès des acteurs internationaux, et en mettant en avant de nouvelles personnalités, de nouveaux sons et de nouvelles tendances.

Site Officiel

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The Amsterdam Dance Event (ADE) is the leading electronic music conference and the biggest club festival for electronic music. Founded fourteen years ago, ADE first came to light in 1996 as a small conference with a few hundred music professionals and a festival program in 3 clubs with 30 DJs.

Now in 2010, ADE has grown to become the ultimate platform to meet international business partners, introduce businesses to a worldwide audience and get in touch with new people, new music and new trends.

Official Website

lundi 18 octobre 2010

- KARISMA PODCAST 015 : AKI BERGEN -




La mouvance électronique en Europe a encouragé Aki à s’intéresser davantage à la musique dès ses 14 ans. Avec son surnom Neuroxyde il commence donc à mixer dans des clubs et fait la rencontre d’Andrea Prezioso, son mentor, qui lui permit de sortir son premier morceau en 1997.

Dès lors Aki se consacre à la musique : d’abord centré en Italie, c’est finalement en 2002 que les choses se déclenchent. Avec le soutien de Valentina Dante, David Jones et Aqua Diva, ses plus proches collaborateurs, il arrive à se hisser dans les charts des meilleures ventes, et remporte en 2007 un disque d’argent en France avec plus de 100.000 singles vendus, près de 400.000 vendus dans le monde.

Du Vieux Continent jusqu’à la planète entière, Starlight Music arrive sur le marché et booste les notoriétés des artistes comme Shara Nelson de Massive Attack, Dubfire, D.O.N.S. Une étape est donc achevée.

Naît ensuite Neurotraxx, un label qui est aujourd’hui un des meilleurs en terme de deep house et tech house. Aki se forge alors une solide réputation, et est connu désormais comme un des artistes les plus en vogue du domaine deep house.

C’est sous le nom d’Aki Bergen qu’il est le plus connu, et il ne passe pas inaperçu puisqu’il a déjà été trois fois premier dans les ventes deep house sur Beatport, et surtout grâce au titre « Jazzy Stuff » créé avec Doomwork qui a été dans le top dix général du site de vente.

Son talent lui a permis de collaborer avec de très grands artistes comme 2000 and One, Madskillz, Milton Jackson, ou encore Pezzner. Ses remixes sont très appréciés, car il instille au sein des productions retouchées un groove nettement abordable.

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Since the young age of 14 the passion and ardor for the techno movement in Europe, encourage him to explore the variety of the expression of tendency that was revolutioning the world music Club scene.

Like each young talented dj, Neuroxyde is searching the road for the access in his City Clubs and with the passing by of the time he becomes well-known to the public. His attraction for the electronic grooves, brings him to meet Andrea Prezioso, his “precious” mentor for a few years, and releasing his first production in 1997.

From this point on was for Neuroxyde clear on his mind, that this would be his destination, like a Train rail without stops. Till 2002, year which inaugurates his first professional studio, he switches music productions and gigs on the whole Italian territory. With his actual collaborators (Valentina Dante, David Jones and Aqua Diva) administrates different well know Italian labels of the last few years, moving from different styles and genres taking him to the top of the Top sales charts in Europe.

In 2007 he wins the silver disk in France with over 100.000 sold singles and more than 400.000 copies all over the globe. From the old continent to the whole Globe a short step: Starlight Music is born and in a short break of time it becomes one of the most researched and respected labels, boasting of collaborations with artists of worldwide fame like Shara Nelson of Massive Attack, Dubfire, D.O.N.S. to mention a few. The next step is take of granted: create a label made to fit with his passion and musical requirements.

Neurotraxx is born, a forge that materialize tracks that are played by the most influenced top dj’s of the world. His devotion of the world of Club is still today alive, and his competence and professionality are unquestionably appreciated.
In the last year with the name of Aki Bergen he found his leading way also in the world of deep house, producing some of the most played records of the last months.

We can find his name in the first position of the Deep House Beatport chart for three times, and in the 1st position of Beatport General chart together with Doomwork with the smashing hit “Jazzy Stuff”. His sudden fame provided him big collaborations with artists such as 2000 and One, Dj Madskillz, Milton Jackson, Pezzner, and his remixes are between the most requested and loved.

DOWNLOAD KARISMA PODCAST 015

Aki Bergen DJ SET October 2010 by Aki Bergen

mercredi 13 octobre 2010

- REVIEW : 'AS ONE' by TONY LIONNI -





Ces dernières années Tony Lionni a signé des morceaux qui sont très inspirés de la scène techno de Detroit, et d'autres plutôt deep house, sur les labels Versatile, Wave, Mule Musique et surtout Ostgut Ton. Ses remixes sur Moodmusic et International Deejay Gigolos tout comme ses licences sur les compilations Balance et Cocoon l'ont aidé à surgir parmi la scène. Afin de souligner son talent il est plébiscité sur Resident Advisor par son podcast et ses nombreuses soirées au Panorama Bar l'ont propulsé au rang de figure incontournable parmi les producteurs underground du moment. C'est lundi 11 octobre que son premier album "As One" est sorti sur Freerange Records, mélangeant house et techno sur une touche intemporelle, décimant les moindres doutes quand à son talent.

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Tony Lionni has, over the last few years, been releasing track after glorious track of Detroit-tinged techno and deep house on mighty labels such as Versatile, Wave, Mule Musique and of course Ostgut Ton. Recent remixes on Moodmusic and International Deejay Gigolos as well as licenses to Balance (Will Saul) and Cocoon (Sven Vath) comps have all helped push Tony further into the limelight. His recent RA podcast and regular gigs at Panorama Bar have helped put him right up there in the higher echelons of todays best underground producers so we’re very proud to be presenting to you all with the Precious EP, the debut single from his highly accomplished forthcoming LP As One.



lundi 11 octobre 2010

- KARISMA PODCAST 014 : ADDEX -





Addex est un projet artistique venant de Roumanie, formé par un seul homme. Sa touche musicale est aisément reconnaissable par une house atmosphérique, voire stratosphérique, incluant des notes très ariennes et éthérées, de très longs pads et des percussions bongo groovy.

Baignant dans la musique dès l’âge de 10 ans, ses influences Florissant lors de son adolescence, c’est en 2005 qu’il decide de se lancer dans la production et dans la musique électronique, passant par tous les styles, et spécialement en lounge et downtempo. En 2007 il signe son premier maxi.

Addex est très influencé par des artistes tels que Depeche Mode, Royksopp, Faithless, The Timewriter, ou encore Toka Project ou Terry Lee Brown Junior, The Rurals également. Il en est arrivé au point d’avoir sa propre touche musicale, et il est très facile d’identifier ses productions tant il est le seul à créer cette ambiance unique et légère.

Il a remixé des morceaux d’Andrew Chibale, Terry Lee Brown Junior, Greg Parker, The Messenger, Da Funk, Jerome Robins, Jon Silva ou encore Hakan Libdo. Il signe ses productions sur les labels tels que Acryl Music, Soul Industries, Etoka Records, Solid Fabric Records, Manuscript, Lovezone ou Loco Records… délivrant sa vibe unique de qualité qui n’en finit pas de nous faire voyager très loin…

Le MySpace d'Addex ici

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Addex is a solo project from Romania. His sound is atmospheric deep house with summer sounds, dubby chords, heavy pads and with grooving bongo percussion.

Began listening electronic music at age of 10, and with years, many various genres was capture his attention wich was an inspiration and a study case. In 2005 he decided to produce different styles of electronic music, including Lounge and Down-Tempo. In 2007 he signed for his first release. Influenced by big artists such as Depeche Mode, Röyksopp, Faithless, The Timewriter, Toka Project, Terry Lee Brown Jr., The Rurals etc., Addex created his own sound and is able to translate his thoughts and emotions into every production and remix.

Addex remixed for many artists like Andrew Chibale, Terry Lee Brown Jr., Greg Parker, The Messenger ,Da Funk, Jerome Robins, Jon Silva, Hakan Libdo, etc. He released his music on labels like Acryl Music, Soul Industries, Etoka Records, Solid Fabric Rec, Manuscript Rec, LoveZone Records, Loco Records. etc., delivering an unique vibe and quality for each release and remix.

Artist's MySpace here

DOWNLOAD KARISMA PODCAST 014

- INTERVIEW OF THE MONTH : ADDEX (ENGLISH VERSION) -




Hello Addex, nice to meet you. Could you first tell us what were the conditions to leading you making music?

Hello and nice to meet you too. My first connection to the electronic music was after my 10 years of life and since i was a child, i heard and grew up with a range of diverse genres mostly chillout, trance, house / tech-house, and of course techno, wich was the leading style back in the rave days. Since then, i heard so much house music and five years later i’ve been attracted to the more calm zone, deep house and lounge style. After that, the step for producing music was near.


Where comes from your inspiration, this sweetest way to vibrate on your tracks?

My inspiration comes from everywhere. Anything is an inspiration. Any move, feeling, sound, nature, journey, everything is connected. When you listening to so much music and interact with people, places, chapters in life, you express your vibration making music and deliver your perspective. Sometimes, you need to produce a type of style when you spend hours in a club, sometimes you feel to produce a calm track by relaxing in a quite place or sea, this are some examples, but it really depends on every artist. The travels are sending me lots of inspiration and the future of life also. I try to stay fair to the sound, so i want to keep that circle with my inspirations for music.


What do you think of the major industries those times?

One thing is for sure ,it’s evolving. The people really express their vision by writing another chapter in electronic music. The music is getting more rhythmatic and futuristic. There is like much more vibe from the beat to the body now. The sounds are crazy and there are artists who just want to produce their favorite style, enjoy and doing it with passion. Creating your world by making music is an amazing feeling and you are disconnected from the daily life. In other cases, you feel like music helps you and you want to give back that feeling. The industry is big and smoothly mixed styles, but it’s vey great for all hearing lots of releases, following more artists and labels to keep up with the news and finding always something fresh. The music has no limits for exploring and producing it so it will be very interesting to see it some years from now changing.


How do you work?

I have nothing wich i follow or a schedule. I like to create new sounds everytime i start something new and explore every beat. I like to work with pads and chordes, also instrumental parts creating percussions or loops.


Preparing an album, is it difficult?

It’s always fun, interesting and exciting. It’s not difficult when you are pacient with your project, have all togheter organize with an idea. I think it was a bit tough, but when i started Moments In Timeless Strings, i planned what would be like and how it should be heard mostly. Of course, months are passing by so you always have to re-write the concept, cause you have been created some songs and you need to keep that idea in the same direction. The album is the work of eight amazing months with help from great collaborations by The Messenger, Ocean Gaya, Eskadet and Christoph Kardek for four beaufiful tracks from the album. They helped me to create different tracks with different style for the album’s vision and i thank them for that. I am really satisfied with the results.


Why have you chosen Etoka?

They are a great label and a great team. Their releases are great and played by vast dj’s all over the world - it is a perfect combination for home listening and dancing. In November 2009 I release “Synthetic Life EP” with great remixes for the track and has received a great support. They are fast growing and always releases from Etoka are interesting, so having this collaboration for some time, we have planned releasing this album and the future work for it.


Something to tell us about the evolution of new technologies?

Oh my, the speed of light evolution is now like a walk. They’ve always been there to make the life more easier and to enjoy it. Everything will be much more connected to another dimension as the time past. I don’t think there’s something untold about the new technologies…most of things will be running by USB ports, processors will be with multiple core’s, OLED screens will take over, nanotechnologies and so on until liquid / artificial intelligence things. Interesting to see also the evolution of music because the systems are changing, the quality will be in another form and measures. The information will be improved vastly and so much knowledge is rising. We are living great times.


What are now your projects?

At the moment, my productions are getting slower. To much projects and not enough time to be concentrated for future work. I’ve got some remixes to do and working slowly and carefully on my second chillout album with my Openzone Bar alias. I want to work on every detail so the attention will be higher. We are planning to release a Moments In Timeless Strings [Remixed Album] with some amazing remixers. Also new project under development...


Are you listening other styles besides dance scene?

Sure, but nowdays music styles are so mixed up, hard to tell wich part isn’t from that genre and wich is. Pop-Rock i like to listen ,soft rock aswell. For groups, i will try to name some from Electronica styles with other influence genres : Depeche Mode, Röyksopp, The Chemical Brothers, Daft Punk, Underworld, Faithless. And for other areas i like music from Sade, BB King, John Lee Hooker, Texas or Coldplay, to name a few. I also listen some smooth jazz, bossa nova or nu-jazz.


Are you closed to other genres in electronic music?

Of course. It’s hard not to like producing also lounge and downtempo music for an electronica style producer, but i am always open to make a deep house track with elements from a different zone.


A piece of word in French?

Suivez votre intuition.


Many thanks for this, and thanks again to have taking time for this, best regards from France.

Thank you very much for this. Bye-bye.

October 2010