lundi 11 octobre 2010

- 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

mardi 5 octobre 2010

- REVIEW : ECLOSION PART II -





Lovezone Records, net label français axé deep house et ambient récidive avec la déclinaison du titre "Eclosion" signé Terry Lee Brown Jr & Greg Parker. En exclusivité sur la plateforme Beatport, nouvel EP : "Eclosion - The Remixes Part II", remixes par Ilias Katelanos, Addex, Ocean Gaya, De Fontaine et Roberto Rodriguez, quelques talentueux remixers du moment qui orientent cette sortie sur une tangente deep & groove.

______


Lovezone Records, a French netlabel dedicated to ambient and deep house, has released yesterday a brand-new release thanks to the wonderful track ‘Eclosion’ made by Terry Lee Brown Junior and Greg Parker. Available on Beatport, this opus called ‘Eclosion – The Remixes Part II’ hosted really nice remixers of the day from the likes of Ilias Katelanos, Addex, Ocean Gaya, De Fontaine and Roberto Rodriguez as well. They all brings this release into a deep and groovy direction, gathering their skill to highlight this brilliant EP on the already good-to-know frenchy label.


Le site du label ici.

lundi 4 octobre 2010

- KARISMA PODCAST 013 : EVREN ULUSOY -





Evren Ulusoy est né en Turquie, et est l’un des artistes deep house les plus en vogue du moment. Créant très tôt une affinité avec le monde musical, il s’est découvert une passion en partageant sa vision des choses avec des personnes influentes, et a réalisé qu’il se rapprocherait le plus de lui-même en composant sa propre musique. Dès lors, Evren a commencé à collectionner beaucoup d’albums deep house, et est tombé sous le charme du genre lors des soirées se déroulant à la fin des années 90 dans son pays. Il signe alors sur Plastic City, I Records, Night Drive Music, Proton Records, Loco Records, et Kolour Recordings entre autres. Début 2009 il signe son premier album sur Ready Mix Records, basé au Canada, et rencontre un franc succès.

Son talent n’est pas passé inaperçu des autres producteurs du genre puisque The Timewriter, Kevin Yost, Florian Kruse & Nils Nurnberg, Sebastian Davidson, Karol XVII & MB Valence ou encore Subsky ont remixé ses titres.

Son meilleur morceau reste à ce jour ‘Singing in the Bathtub’ produit avec la collaboration de Sezer Uysal: il a atteint la première place des charts deep douse de Beatport, et a également atteint la quinzième place du Top 100 pour plusieurs semaines.

______


Hailing from Turkey,

We will talk a bit about one of the most important deep house artists of the moment in the music scene. He collected all sorts of things to do with music even at this early stage. He often exchanged things with like-minded people. In general, he liked to listen to anything and enjoyed not committing himself to a certain sound..and He thought that Is there anything nicer than working in the artistic fields of producing music?

And after from this idea , Evren Ulusoy has grown into the electronic music as a , collector and true specialist of deep and gentle house music tones and sonics. The reason for the gentle passion was delivered to him via the parties late 90’s in his homeland and experienced many wonderful moments which became part of his life.

Soon after that, his talent was recognized worldwide and getting signed to Plastic City (GER), I Records (USA),Ready Mix Records (CA) ,Night Drive Music (GER), Proton Records (USA),Loco Records (POL),Outside The Box Music (NL),Kolour Recordings (USA) and more.Except this great signing period,At the beginning of 09' He signed full length debut artist album with Ready Mix Records from Canada..and this debut artist album includes additional single EP's with remixes from many outstanding and famous names .Except this Evren Ulusoy's tracks remixed by great names such as The Timewriter,Kevin Yost,Florian Kruse & Nils Nurnberg,Sebastian Davidson,Karol XVII & MB Valence,Subsky,and many more.

His successful track "Singing In The Bathtub" with Sezer Uysal, which reached the first position of Beatport's Deep House Chart and topped Beatport's Top 100 for a few weeks (15th place).

DOWNLOAD KARISMA PODCAST 013

mercredi 29 septembre 2010

- REVIEW : LABYRINTH by TERRY LEE BROWN JUNIOR -





Terry Lee Brown Junior, un des pionniers (ou le seul) de la scène tech house revient en force sur Plastic City avec un nouvel album. 'Labyrinth', le titre de cet album, intervient au moment où sortent en même temps deux morceaux remixés sortis sur ces albums, ainsi que la double compilation Terry's Café et trois EPs (dont le dernier "Electric Avenue" sorti cette année)... sans compter bien entendu ses sets autour du globe.

Les morceaux sont toujours autant affinés, très mélodique, très aérien ; les émotions sont multiples et sensuelles, à l'image d'une touche funky et sexy. Au début de l'album on ressent également les influences lounge de son alter ego Nor Elle qui ont aidé à la création des premiers morceaux.

Les cinq premiers sont d'ailleurs concentrés autour d'une atmosphère veloutée, s'enchaînant d'une facilité déconcertante les uns avec les autres, dotés d'une mélodie toujours relaxante. Puis les suivants sont plus percutants : l'intensité du groove se fait ressentir sur les morceaux tels que "Dynasty" ou "Andromeda".

Interlude avec "Eyes of A Stranger" avant de replonger dans la ferveur rythmique de "Paradise", puis une inspiration très ensoleillée maquille le morceau suivant "Sunny Poseidon".

Enfin le reste de l'album s'imprègne beaucoup d'une ambiance club, les basses plus vives et les vocaux mettant le doigt sur l'intensité musicale du groove, sur "Baltimore" et "Bohemian Life"... avant de terminer sur "Labyrinth Reprise", dernière interlude qui ne semble pas se refermer, comme si le voyage parcouru tout au long de l'album n'était pas terminé.

En définitive Terry Lee Brown Junior signe une nouvelle fois un album d'une qualité exceptionnelle, riche en émotions et en sensibilité, un album qui respecte tout à fait les codes de la créativité de l'artiste et nous laisse rêveur.

Le Site de l'artiste ici

______


The pioneer of tech house Terry Lee Brown Junior is back on Plastic City with his new album. “Labyrinth” the work is called Terry Lee Brown Junior created in his studio while he released two remix albums of his tracks, two episodes of the “Terry's Café” compilation series, three MP3 EP's (the latest called “Electric Avenue” released this year), travelled around the globe playing his great DJ mixes and all the rest of it.

“Labyrinth” truly is the next masterpiece of Terry Lee Brown Junior. The productions are very accurate, the interplay of moods, sounds and emotions is functional an sexy, very concidered and perfectly restaged. At the beginning it seems Terry's lounge alter ego Nor Elle had influence on the production process.

Very stereoscopic, reduced to full and deep atmospheres the first five tracks “Neutral”, “Ego Expedition(with Greg Parker)”, “Black Mountains”, “It Started Right Here (with The Timewriter” and “Stereopsis” give a dreamy and relaxed impression of the longplayer. These are moods once want to fall in. But the intensity of beats and grooves does not forget to add some rhythmic warmth to the tracks.

In the next tracks “Dynasty”, “Andromeda” and “Tribe” Terry focuses on beats and percussions, surprises with some laid back melodies before calming down with the interlude “The Eyes Of The Stranger” and the downbeat house track “Sunny Poseidon”. After this Terry sprays pure dancefloor feeling in the atmosphere with “Baltimore” and “Bohemian Life” before closing the album with “Labyrinth_Reprise”.

Terry Lee Brown Junior steps out his labyrinth with eyes wide open. Searching for new ways to achieve his aims. The result is a very sensitive new album with all the love for music you can expect from Terry Lee Brown Junior.

His website

- REVIEW : HORIZON by SASSE -





Alors que sa carrière progresse, Sasse est une personnalité très disparate. En effet voilà plusieurs années que cet artiste nous démontre un travail remarquable, un travail qui ne lasse pas du tout le public sur les dancefloor, mais il y a toujours ce petit quelque chose qui fait que, malgré sa carrière, ses productions sont efficaces mais pas aussi bien qu'elles le laissent paraître: elles ne s'inscrivent pas vraiment dans le temps. Et même si son pseudonyme Freestyle Man lui a fait prestige autour de l'an 2000, sa musique très contemporaine reste néanmoins figée.

Pourtant 'Horizon' semble prendre plus de poids. Sasse lui incombe assez de personnalité pour que le single sorte du lot, avec un vocal qui ressemble beaucoup à celui de The Buggles 'Video Killed the Radio Star', et une petit impulsion sonore dans la progression du morceau. Le remix de Sammy Dee est tout aussi respectable; son associé de Perlon associe un synthétiseur, repère phare du label, pour lui donner un groove beaucoup plus "elastique", et donne ainsi au remix un ton qui ne laisse pas statique la foule.

______


As his career has progressed, he's seemingly opted for safety and functionality. While that may work on the floor and in keeping people locked into what you get when you buy a "Sasse" track, it doesn't make for memorable music. Yes, it's hard to find someone that dislikes his productions. But it's also hard to find someone that loves them. It's weird, especially considering some of the phenomenal work he produced in the late '90s and early '00s as Freestyle Man and under other monikers, music that still sounds as fresh as the day it was put to tape.

I'd be willing to wager, though, that "Horizon" may make it the distance. Sasse suffuses his remarkably functional tune with just enough personality to make it stand out. What sounds like a vocal rip from The Buggles' "Video Killed the Radio Star" and a just-a-tad-too-loud synthetic woodblock break up the spiraling chord progression. The compressed format—this one comes on 10-inch—doesn't indicate a lack of ideas. The same goes for Sammy Dee's remix of the tune. The Perlon associate's take is fairly indebted to the modular synth-heavy sound of the label, but its elastic groove is just queasy enough to keep you guessing for every moment of its seven-and-a-half minutes.

Source : Resident Advisor

lundi 27 septembre 2010

- KARISMA PODCAST 012 : MISS DISK -





Née en Allemagne mais résidant à Ibiza depuis ces 15 dernières années, il n’est pas difficile de constater que les influences de Miss Disk sont nombreuses. Passant du dancefloor au contrôle des platines, la progression en est évidente, et son succès n’est pas des moindres. Dans un laps de temps très court, Miss Disk est passée des soirées en Hollande à des projets artistiques en clubbing à Ibiza, et c’est en 2007 que cette femme est rapidement devenue une icône sur l’île en matière de tech house. Découverte entre autre par la webradio américaine Frisky Radio (friskyradio.com) et ensonic.fm basée à Montréal, elle fut choisie pour joué à « La Comunidad » en Allemagne et fut la première femme DJ à jouer au « GreenKomm », un bar after à Cologne.

Miss Disk joue fréquemment sur Ibizasonica.com et joue également au KM5 ou l’ El Divino. La saison 2008 fut très prometteuse pour elle sur Ibiza, et elle se lance sur la scène internationale depuis l’année dernière sur son style préféré : deep house bien sûr.

Sa marque de fabrique a toujours été de privilégier des morceaux house de qualité, sans se concentrer sur ce qui ceux qui fonctionnent très bien dans le domaine de la vente.

C’est en 2010 qu’elle obtient une résidence sur Frisky Radio et héberge « Paradigm Deep Sessions », une émission qui ne cesse de toucher un public de plus en plus nombreux.

Le MySpace de Miss Disk ici

______


Hailing from Germany and living on Ibiza for the past 15 years, it comes to no surprise that Miss Disk's influences have been numerous. So moving on from the dancefloor to the dj-booth was nothing more than natural progression. It's been successful too. In only a small period of time she moved from spinning at parties in Holland and artclubbing projects to Ibiza.

In 2007 Miss Disk's talent and ability to seamlessly mix an extraordinary range of tech-house, progressive and house beats didn't go unnoticed. As a “newcomer” she'was discovered by several inernational radiostations like friskyadio.com (USA) and ensonic.fm (Montreal) with a great feedback. She was chosen to play with the Ibiza Party "La Comunidad" in Germany and she's the first female DJ at the famous Cologne afterhour "GreenKomm".

Miss Disk is a frequent guest at IbizaSonica.com and played her quality dance music sets in influential clubs like km5 and El Divino. After a successful season 2008 on the white island, she conquered London's party scene. In 2009 she elaborated her international career and became more focused on her favourite style:deep house!
Her trademark has always been a unique blend of quality house music regardless the "latest hype" and shows a true talent.

In 2010 she was requested to host her own radio show "Paradigm Deep Sessions" on www.friskyradio.com with an incredible feedback and an increasing fanbase every month.

Radioshow's Miss Disk here

DOWNLOAD KARISMA PODCAST 012

vendredi 24 septembre 2010

- REVIEW : ALSACE & LORRAINE by JIMPSTER -





Tout le monde peut aujourd'hui créer un morceau et le qualifier de deep house. Mais personne ne peut le faire aussi bien que Jimpster. Ce single est le tout dernier paru sur Freerange Records, et cela faisait longtemps qu'il n'y avait pas eu de single avec juste des originaux, pas depuis Sleeper paru l'année dernière, sinon des sorties contenant des remixes. Jamais Jimpster ne nous déçoit, et une fois encore c'est grâce à son talent : ayant grandi dans le jazz par sa famille, et depuis ses productions ambiant jungle, il crée un univers basé autour d'une tonalité dance agrémentée de soul qui s'articule autour d'une façon de travailler innovante.


La face A est impossible à rater: un rythme sulfureux joué autour d'une cascade de sons qui n'en finissent pas de nous émerveiller colore le morceau d'une teinte nettement magique ; à un moment le son s'arrête et reprend telle une myriade de bulles, on se croirait presque dans un film de Tim Burton tellement l'effervescence du morceau nous porte loin, très loin de tout. Ce morceau, on en tombe amoureux, surtout pour cette patte funky qui distille la bonne humeur.

'Inside The Loop' se fait hymne d'un groove majestueux. Quelques nots jouées par-ci par-là, créant une chaude atmosphère, et finalement toute cette structure semble prendre vie autour d'une harmonie délicate. Puis dans la progression du morceau il est intéressant de reconnaître les claps caractéristiques des années 80, qui font monter le petit frisson qui s'installe une fois immergé dans le morceau. De minuscules éléments font vibrer le message hédoniste qui s'immisce derrière le morceau, et en font également une création 'fresh' qui suscite beaucoup d'admiration dans la création de cette magnifique production. 'Inside' n'est peut-être pas autant puissant que 'Alsace', mais ceci reste une question de feeling, à peu de choses près.

______


Anyone can overlay loads of sounds and call it deep house. Nobody, however, can do it like Jimpster. This single is his first (remixes notwithstanding) output since Sleeper last year, and he doesn't disappoint. A pedigree in jazz, both from his family and from his early, ambient jungle-based productions, has given him not only a talent with the more tonal, soulful side of dance, but also the ability to produce this type of stuff in an interesting, innovative way.


The single's A side is definitely its highlight. A steel drum-flavoured pattern bounces around playfully, and shimmering cascades of fizzing build, recede, build, recede, then build and build—and then the whole thing drops into silence, before exploding gently into a cloud of coloured bubbles. It's lovely and funky in equally large measures.


A choppy backbeat, similar to the one in "Alsace" but less driving, pushes "Inside the Loop." Jazzy chords oscillate, and a warm, brief bass motif repeats without variation—but these are only a foundation for the other features which come and go within an improvised, ad-hoc structure. Raw, late '80s handclaps, a glass escalator of an arpeggio and a kind of skipping CD voice effect all make an appearance, not to mention the more subtle elements in the pastiche which all drop in and out to give the track its interest. There's nothing as great as that steel drum pattern in "Alsace" (few things are) but "Inside" still hits the spot, and the cerebrum.

Source : Resident Advisor

THE LABEL