Monday, January 26, 2009
The second interview of the month comes from ex corporate whore and newly-resident Berliner, Mark Henning. The intro and discography are ripped off his Myspace page.
London’s Mark-Henning has risen up as one of the international underground's true players - recording for a volley of acclaimed European labels by night and slaving as a corporate whore by day. But now he has freed himself from the 9 to 5 shackles and slog of the city to concentrate on his passion for music full time - ROCK N'ROLL!
Born in 1977 to English and German parents, he has spent most of his life in England, though has never forgotten his German techno roots and has recently relocated to Berlin. Inspired by a whole range of music (from Dan Bell to Dinosaur Jr. to Ed Rush & Optical), Mark-Henning's sound sits somewhere between house and techno, with a healthy dose of futuristic bleeps, funk, darkness, groove and deepness. His releases have found their way into the record boxes of the likes of Ricardo Villalobos, Craig Richards, Akufen, Mr C, Laurent Garnier and Richie Hawtin to name just a few. Additionally his tracks have been licensed to recent Fabric and Minus compilations - as well as acheiving airplay on radio stations worldwide.
He has established himself as a player in the scene over the last couple of years, not just through his productions (on labels such as Soma, Cynosure, Trapez, Freude am Tanzen, Foundsound, Einmaleins, Frankie, Morris Audio, Safari Electronique, Mo’s Ferry, Milnor Modern), but also through his world-wide performances - mixing up deep house, techno and everything in between to get dancefloors kicking up a sweat.
Balancing his heavy day job in London with his music wasn't easy, but the hard work over the past few years is beginning to pay off. Mark-Henning is now a sought-after producer and remixer in the underground scene and his DJing has taken him around the world. He's performed in the US, Canada, Japan, Russia, Australia and all over Europe - and now also holds a residency at 'Home' near Frankfurt in Germany. Having released his debut album on the legendary UK label Soma Recorings in the summer of 2008 to great acclaim, he'll now be concentrating on further solo work and new collaborations, as well as touring his live PA.
So, how are you?
MH: Not too bad. I'm a bit stressed. I've been buying some new stuff for my studio and everything's a bit hectic. I need to rearrange things. I'm having to build an extra desk . . . there' are cables and boxes everywhere, but I'm getting some nice stuff. I've just bought a really cool analogue mixing desk (on Craig's List, would you believe), off a well-known female producer in Berlin, - any guesses? . . . and I've just been trying to integrate it into my studio - the options are giving me a headache.
So, how's life in Berlin, anything unexpected?
MH: Berlin's cool, very cold at the moment, minus 20 outside . . .me and my wife have sort of settled in. We know lots of people here but the people we see regularly aren't necessarily those we met when we first arrived. It's been like one long fresher's week at university. The summer was really nice, we did a lot of partying, it's always nice to have the option to be able to go out whenever you want, to see what everyone is doing and get a feel for what's in and what isn't. . . .the vibe of what people are playing out and what people are feeling. Since the summer we haven't been going out that much though. I've been gigging a little bit more and haven't always wanted to be going raving at Panorama Bar, you know?
Sure. Is Panorama Bar an inspirational place?
MH: Definitely. I went there twice when I first got here last April but then for some reason didn't go for a while. But then the other week we went for a Perlon night and, although the music wasn't as good as I'd expected the whole time, I came away inspired. But I've recently been getting my head down and doing a lot of producing but that doesn't always work if you're always going out. If you're gigging and the time you have off you end up going clubbing you can end up wasting a few days during the week sorting your life out when you could be hard at work in the studio.
So what are you working on at the moment?
MH: I've got lots of new stuff in the pipeline. There's a remix on Hypercolour just around the corner, and in terms of EPs I've just signed a couple of tracks to Frankie, that'll be my second release for them about three years after the first one so I'm excited about that. I'm also going to be doing an EP on Hypercolour in the summer, with someone, as yet unconfirmed, to remix. Also an EP on Danish label Tic Tac Toe. I'm just working on tons of tracks at the moment. I've at my busiest in the studio since I moved away from Cambridge I think, because it took a while to get settled, then we were out a lot and I was DJing more . . .did a few remixes in the last year but didn't get around to doing that much new stuff of my own, so it's been really nice to get busy again.
How would you define your sound? I would say that it's quite close to what I would describe as old-style tech-house . . . quite messy, druggy and rolling, reasonably well-rounded, which is one of the reasons I wasn't surprised that you were invited over to play the Absurd party in Los Angeles. I see you as a contemporary of people like Terry Francis and Eddie Richards. What's your take on it?
MH: It's a real mixture. I've really been influenced by the house scene recently . . .going to lots of outdoor parties in the summer which kept the techno to a minimum. I've been buying a lot of house and I've been making a real mixture of stuff, deep house and tech-house but yeah . . . I was really into Mr C's show on Kiss FM when I was younger and that really gave me something to aim at when I moved from drum and bass to techno. I was listening to him, Colin Dale and
Dave Mothersole every week and buying everything they were playing.
Did you ever go to any of the Wiggle parties around that time?
MH: I didn't, no. I was living on the outskirts of London, and I was at university in Birmingham, which was more of a techno town, so I never really got around to going to any, apart from isolated occasions at The End and Fabric. Anyway, at the moment I'm making a real mixture of things, which is maybe why it's proving a little difficult to get stuff signed, it's all still house or techno though. Having said that, the two tunes I've done for Frankie have almost got an electro tinge to them. I like too many different styles, so maybe it'd be better if I stuck to one sound, but I get bored in the studio and playing out sticking to the same agenda.
Was the Absurd party any different to what you're used to playing in Europe?
MH: No, very similar in fact. It was really amazing, one of the best parties I played last year. It was in a warehouse, pitch black . .. literally . . .I was surprised though at how up for it everyone was. They knew exactly what they wanted. I did a remix for Absurd actually, of Tigerskin, which still hasn't come out yet. I guess they're having some issues with their distribution like everyone else. The chance to play at the party came about on the back of the remix. Fantastic party to play, really nice guys as well. I met Eddie Richards for the first time, who was super nice.
Conceptually, I though your album was a little bit more than the sum of it's parts and I remember talking about the track titles when I reviewed it. Anything in this?
MH: Not really, no. The titles are just in jokes between me and my friends. They're normally quite spontaneous things that I come up with while working. I'll often finish a track and then brainstorm something if necessary.
Well that blows my theory that you were constructing some post apocalyptic Dickensian parallel Britain out of the water. I thought that maybe the world portrayed through the titles could have been the reason you went over to Berlin in the first place?
MH: Well, 'Chav Town' for example . . . I probably came up with that as a result of some chavs beating someone up and it getting on the news, nothing special. I was definitely influenced by my surroundings in the UK at that time, but nothing more than that.
What about sales? What for you constitutes a successful piece of work?
MH: I'm not sure of any exact numbers. I know that downloads on Beatport have been doing well but I'm not sure about the physical side. I've had a lot of good feedback about the album which I'm very pleased about. I didn't expect it to really be a huge thing for me as its pretty deep but I'm very happy with what it's got me so far.
What about making a living? Is it possible doing what you do?
MH: It is but it's quite tight. We have a nice, big apartment here in Berlin . . . we definitely could have saved a bit of money getting a smaller place, but I work hard here. I have my studio here at home so I wanted to have a nice amount of space for myself. . . Out here it's definitely easier than in the UK, where we'd struggle a bit, but my wife's got a job, so she's earning and with the general day-to-day costs being lower over here it's ok. I took a huge pay cut when I quit my old job in the city to come over here but at the moment it's still working although I can't save any more, just buy a few bits and pieces for my studio, go out and have fun.
What's your Djing set-up, still Traktor Scratch plus a Technics 1210?
MH: I use Traktor Scratch now full-on with the control vinyl and a Fader Fox midi controller with that. I do bring a bit of vinyl with me, but not much, just a bag wherever I go . . .and I've started doing a live set, which is very basic at the moment, just Ableton with a midi controller. I'm constantly thinking about how to expand that but I haven't come up with the right bit of kit yet. I've had great feedback so far so exactly what kit I use isn't that important at the end of the day.
So you're definitely a digital man?
MH: Yeah, but it makes me really sick how vinyl has gone downhill. I know people like me are adding to the problem but the convenience of just taking one bag on your travels is wonderful. I've got a bad back anyway so I'm not really a fan of having to lug heavy loads around and spending longer in airports.
Where are you going in the next year then?
MH: A lot of the same places I was in last year. Russia, Japan, The US, maybe Australia again. Something in the US is planned for the spring, a little mini-tour, South America maybe and just around Europe again. I'm also playing Fabric for the first time next month - a live set - I can't wait for that.
[Soma 254] Mark-Henning // Fabrique Belgique EP (2008)
[Soma cd69] Mark-Henning // Jupiter Jive LP (2008)
[Soma 249] Mark-Henning // All Star Geek EP (2008)
[Titbit 008] Mark-Henning // Geezer EP (2008)
[Cynosure 026] Mark-Henning // Sick Note EP (2007)
[Einmaleins 026] Mark-Henning // Hot Fork Buffet EP (2007)
[TrapezLtd 052] Mark-Henning // Pokerbot EP (2007)
[Einmaleins 011] Mark-Henning // Curve Ball EP (2006)
[Gastpiel 2-2] Mark-Henning & DNCN // We are Diep (Part 2) (2006)
[Foundsound 007] Mark-Henning // The Dog's Bollocks EP (2006)
[Freude-am-Tanzen 024] Mark-Henning // Yeah But No But EP (2005)
[Frankie 010] Mark-Henning // Final Snatch EP (2005)
[Freude-am-Tanzen 020] Mark-Henning // Business Class EP (2004)
[Minimood 05r] Shu Okuyama // Punkt (2008)
[EQG12040] Chris Fortier // Quote Unquote (2008)
[Adagio 02] Gaetano Parisio // Gomma (2008)
[Gumption 10] Matteo Spedicati // Il Fantasma Di Hobanubi (2007)
[Roman Photo 07] Pheek // Magda Had a Little Troll (2007)
[Luxaflex 14] Mr G // What Kinda (2007)
[Luxaflex 10] Boris Ross // Fusion (2007)
[Immigrant 29] Todd Bodine // Wake Up (2007)
[Clever 015] Gurtz // Doppel (2007)
[Phlegatek 03] bVoice & KHz // Radio Glitch (2006)
[Clever 013] Pheek // Magda Had a Little Troll (2006)
[Multivitamins 005] Den // Ode to DS (2006)
[Clever 012] Den // Ode to DS (2006)
[DOC 010] Aaron Hedges // One More Hour (2006)
[Mo's Ferry 018] Apendics Shuffle // Kick Down (2006)
[Clever 008] JPLS // Z-Program (2006)
[MilnorModern 013] Mark-Henning // Dime Bar (2007)
[MorrisAudioCitySport 035] Mark-Henning // Miss America (2007)
[Safari Electronique 015] Mark-Henning // Isla's Tune (2007)
[Unfoundsound 013] Mark-Henning // Booty Breakfast (2005)
[MilnorModern 005] Mark-Henning // Smlatter (2005)
[Unfoundsound 025] Mark-Henning // Motorrad Da Douch (2006)
[Multivitamins 001] Mark-Henning // Token Node (2006)
[Hippocamp 100] Mark-Henning // Spazz Jazz (2004)
[Fabric 38] MANDY - Fabric 38 CD (2008)
[Alphabet City] Karotte's Kitchen Vol 2 Mix CD (2007)
[TrapezCD 008] Triple R - Trapez Selection 5 Mix CD (2007)
[Minus 043] Magda - She's A Dancing Machine Mix Cd (2006)
[FATCD 001] V/A - Compilation 01
Sunday, January 25, 2009
Last night's bitz:
Sketch Drive (Jus Ed's "Can You Diggit remix") - Pierre LX (Initial Cuts)
X - Clara Intelecto (Modern Love)
Reverse Rotation - Terre Thaemlitz (Mule Electronic)
Frontin' - Motor City Drum Ensemble (20/20 Vision)
Black Truffle In The Snow (Mike Huckaby's Jazzed Out SYNTH remix) - Locodice (Desolat)
Let The Sun Shine Out (Jerome Sydenham's Original remix) - Flora Cruz (Ibadan)
Drifting (Original mix) - Glimpse (Planet E)
Ego Trippin' - Radio Slave (Running Back)
Nologo - Einfach (Einfach)
Sunset In The East (Guilluame & The Coutu Dumonts remix) - Catz n' Dogz (Mothership)
Cqual - B12 (Cmetric) (B12)
Cyan (Michael Flatner remix) - Vakama (Nice & Nasty)
Grip - Ben Klock (Ostgut Ton)
Sustaining The Chain (Peter van Hoesen remix) - Sendai (Time To Express)
M31 Andromeda - Tadeo (NET28)
Ghost Song (Joris Voorn remix) - Slam (Soma)
Marsupial - Dan Curtin (Mobilee)
Tantakatan (Boola remix) - Radio Slave (Rekids)
Friday, January 23, 2009
January is always a quiet month for music, but the cogs of the machine turn regardless. This weekend I'll be featuring tracks from the wonderful album by Terr Thaemlitz aka DJ Sprinkles, "Midtown 120 Blues" on Mule Electronic out of the land of the rising sun. There'll also be a contribution from Ben Klock, from his forthcoming long player "One" on the achningly hip Ostgut Ton label from Berlin. Add to this, tracks by Tadeo, Slam remixed by Joris Voorn, Flora Cruz and Locodice, from his recently-released remix package, and you've hopefully got all the necessary ingredients for a wonderful show.
Keep it locked.
Machines Are Funky: 7-9pm GMT
105FM in Cambridge
Thursday, January 22, 2009
Heavenly/The Human Bond - E-Dancer (KMS)
Sheer unadulterated genius this. Simple, especially 'Heavenly' but with all the correct constituents. Is this Kevin Saunderson's best ever? Probably not, but wonderful nonetheless. I can smell the vinyl in Lexington Street's long-gone 'IQ Records' as Dave Mothersoul, Deano or ADJ hand me this. 'The Human Bond' has just been remixed by Claude Vonstroke for the Planet E 'History Elevate' series. I haven't heard it yet, and in any case it'd be unfair to make comparisons, whatever its standard, with the original monster.
I'll be posting one MP3 package a week to keep standards high, but also because I'm lazy. Keep your eyes out.
Next will be a much-requested Irish remix of a well-known German DJ/club promoter. Any guesses?
I've got the strangest feeling that I've posted this before, shurely shome mishtake?
Oh, run your mouse over the track title to download . . .
Wednesday, January 21, 2009
Gastronomic Delights 1: Tournedos Rossini
Welcome to 'Gastronomic Delights' a new series of off the cuff mixes designed to showcase the best in new music, whilst keeping a close eye on the meal that inspired it. We kick off January '09 with "Tournedos Rossini," there is a recipe for you to follow, to the accompaniment of this mix turned up ball-quakingly loud.
Course - Main - Meat
Region - Pays Basque
One of the great classic dishes of the world. Created by French master chef Antonin Careme and named after his great friend the Italian composer Gioachino Rossini. Pure luxury on a plate, the 'tournedos of fillet steak, foie gras, truffle or cepes and Madeira.
For 4 people
Preparation time 15 minutes
Cooking time 15 mins
1 tablespoon of butter
4 slices of foie gras (duck or goose) each approximately 80gm (7 to 10 mm thick)
4 slices of white bread, without the crust, toasted and
of the same size as the meat
4 beef tournedos 200gm
1 tablespoon of olive oil
3 garlic cloves, finely sliced
1/2 cup of sauce. See below
2 sliced truffles Or substitute cepes or mushrooms of your choice.
Mix the butter and the oil in a hot frying pan.
Season the tournedos with salt and pepper and fry rapidly to seal. Cook for 3 minutes until the steaks are crusted on the outside but rare inside. Remove from the pan and set aside.
Using the same pan, rapidly fry the slices of Foie Gras,until just caramelised. Remove, place on absorbent paper, and keep warm. Do not discard the juices in this pan.
Braise the truffles, cepes or mushrooms in a separate pan with a little butter and a spoonful of Madeira wine, and the chopped garlic .
Add the sauce and let simmer for approximately three minutes. Keep hot.
For the sauce. Deglaze the pan used for the meat and foie gras with a tbs. of Port, two tsps. of brandy two tsps. of Madeira and 100 ml of veal stock. Allow to reduce.
Place each cooked tournedos on a slice of the toast and top with a slice of fois gras. With a slotted spoon lift out the truffles/mushrooms and place round the edges of the tournedos. Cover with sauce. Serve immediately.
Midtown 120 Intro - Terre Thaemlitz aka DJ Sprinkles (Mule Electronic)
Reunion - Jus' Ed (Underground Quality)
Walking Home (Patrice Scott Atmospheric mix) - Mike Edge (Sistrum)
Shootin' Moves - Kris Wadsworth (Morris Audio)
Spin That Shit - Marian Masullo/Glitches (Pimpsridefree)
B2 - Donato Dozzy & Nuel (Aquaplano)
The Kitty Cat Track (Tolga Fidan's San Pedro remix) - Dilo (Einmaleins)
Hubble - Mike Wall/The Coffee Boy (Orphik)
Girls - Bicoma (Eintakt)
Inner Silence - STL (Something)
Dance Tactics - Mixworks (Mixworks)
Kuhle Fliege (Hugo remix) - Matt Star (International Freakshow)
Limitiert 10 - Superkord (Platszhirsch Ltd)
Fused - Stereofuse (Herz Ist Trumpf)
Live At Coliseum - Sevensol & Bender (Kann)
Download "Gastronomic Delights 1: Tournedos Rossini" here.
Wednesday, January 14, 2009
I had a chat via Skype with young Detroit house head Kris Wadsworth last week and, after much procrastination, got around to editing it last night. There's some general biographical detail to start, and a discography, past, present and future to finish.
Kris Wadsworth is seemingly brand new to electronic music; however, he has been writing and producing tracks since he was fourteen years old. Raised in and around Detroit, he first heard the sounds of dance music from mix tapes his sibling would bring home from the local nightclubs. From age eleven he was studying blues and rock guitar, painting graffiti, listening to hip hop, jazz, and the dance sounds of Detroit, Chicago and New York. He luckily found electronic music to be his ultimate creative medium. Anyone could have guessed this kid would have been an artist from an early age. Now at age 24, he has numerous internationally acclaimed recordings to his credit and shows no sign of stopping. Kris is in this for the long haul, as it were, and his nostalgic, yet forward-thinking productions ought to spell that out loud and clear.
Some of the world’s most respected labels have him on board, along with some of the freshest new up-and-coming labels. (Morris/Audio, Adult Only, Millions of Moments, Hypercolour, BRUT!, Boe, Snapshot, etc). His remixes are nothing to sneeze at either, gaining relentless plays from the brightest and best. A person who definitely stands out in an era of over-saturation and pretentiousness, Kris offers you a bold introspective and retrospective look at “why you fell in love with this music in the first place.” (Resident Advisor). KW does genre-defying, dense, lush, emotive, sexy music that is instantly recognized. From dub-esque textures and wanderings, to square bass rockers, to large peak-time destroyers; the young blood of Detroit Techno City knows what he is doing. Some call it house; some call it techno. To those who know, it ‘s called dance music.
As a DJ, Kris Wadsworth is a vinyl junky. He started playing Detroit warehouse parties at the ripe old age of sixteen alongside techno and house royalty from around the world. As that era finally died, he moved to playing clubs and after-hours spots even when he was not even old enough to get in; paying his dues in the city that started it all. Since then, getting bookings at some of the world’s most prestigious clubs is what has naturally followed. Kris’s sets usually move through a fittingly wide range of 4/4 genres with the utmost tact and class. No fancy tricks, or cheats; just the essential, time-tested skill and art of mixing records.
Let's talk a little bit about music. I first found out about you by checking Burnski's playlist on his Myspace, I think he charted your first Morris release. How did you get to know the guys (Hypercolour, etc) over in the UK and how long have you been releasing music?
KW: Well, I first started writing and producing when I was fourteen. I did two releases for local Detroit labels, the first when I was about seventeen. It was me, Anonym, who records for Bloop, and another guy. Then another record that was released just as a white label. Nothing happened then until Morris Audio came along. I put together demos and I was out in LA. It was funny because I sent about fifty demos and Morris was the only one to give me the time of day. Hypercolour heard the first Morris release and things just went on from there. Guys in the UK? It's just kind of like it is now talking to you, meeting over the Internet. I'm coming over soon so it's going to be nice to finally meet everyone and put some names to faces. I know a few guys in Paris, Germany the UK . . .
You're not going to get deported this time are you? (Kris was deported the last time he came to the UK/Europe in September '08).
KW: I hope not. I'm supposed to have my visa sorted within the week so I'd better not (laughs).
So you're coming over before Easter?
KW: Yeah. I'm coming over the first and second weeks in March. There are a few things up in the air but one thing that's going on for sure will be at East Village (London). There'll also probably be some things arranged at the last minute.
And you're going over to mainland Europe too?
KW: Yeah I should. That remains to be confirmed pretty soon.
Are you taking care of all of this yourself?
KW: I'm doing it myself. I bug the shit out of a lot of people . . . you know, friends and stuff for shows and things like that. Jaime Russell from Hypercolour has been helping me a little bit. He's really sorting the stuff in the UK. It's other contacts as far as Germany is concerned. . . .Having said that, one of the downsides of having to communicate with everyone over the Internet most of the time is that you may feel you're building up a close relationship, but no matter what you might feel, you don't really know the person until you meet then face-to-face. I've had some problems with people remixing my tracks without permission but everything's alright now.
Tell me a little bit about Detroit and your relationship with the other players on the scene? How well are you connected?
KW: As far as I'm concerned I used to really love Detroit (I still do in some respects), as far as inspiration is concerned. I used to play raves when I was about sixteen so I caught the tail end of that side of the culture but I also saw a lot of negative stuff. Detroit is a fishbowl with too many fishes and not enough food. For example, as soon as a weekly night comes along everybody jumps on it. However, the city is cool and I don't think I'm being pretentious when I say that I feel I have an intimate relationship with it.
Have you always lived there?
KW: No, I'm originally from Atlanta, Georgia and moved here when I was about three or four. Since then I've lived in the metro area my whole life, bar minor excursions living in Arizona and so on.
And who do you have a relationship with in the city musically besides Anonym?
KW: Well, I used to have a much better relationship with certain people in the past, but this soured once I realised what they stood for. I'm not being an asshole or arrogant, but as soon as you start to do stuff on an international level people act really weird towards you. I'm not a "scene darling" I don't do that. I don't kiss ass or anything like that. I can hang and I can talk shit and swallow spit with the best of them but that's not really what I'm about. Music is something very special to me and while I don't think I'm over serious about it if people jerk me about I just remove myself. A few names: Josh Dahlberg, who I've just remixed. He approached me at the last DEMF. He runs a local netlabel called Blank Artists. There's him and a bunch of guys associated with it. There's a guy who makes acid techno called Jared Wilson. That's pretty much as far as active people in my age group is concerned. I have ties to the old school house community . . . people like Mike Huckaby, Keith Worthy, Paul Randolph, who was a member of Inner City . . . guys like that I connect with better . . .
Maybe it's wrong to call it a renaissance because these guys have never really stopped doing it, but people like Patrice Scott, Omar S . . . and then there's the younger generation. Yourself and someone like Seth Troxler . . .For me at least, Detroit is really bubbling again. I'm sure that those from the city might say it's always been that way but trends come and go and now it's as strong as it's ever been (except maybe twenty years or so ago).
KW: Detroit is always going to be classic. It'll go in and out. Sometimes it's great but can also be as boring as hell. However, Detroit is the home of genre-defining deep dance music. Detroit has a large variety of expressive, emotive dance music, whether it's house, techno or stuff in between.
It's certainly name-checked more than any other. The track on the 'Sunrise EP' by Delano Smith, "Something For Myself", "Detroit" by Morgan Geist, I've heard Robert Hood do it, etc Are you ever going to namecheck your hometown?
KW: (Laughs) I don't think I want to do that. Even though I have a great affinity for the place I'm not one really to push that sort of thing. I don't want to polarise my music. There are people making Detroit sounding music all over the world. When once there was fifty now there's thousands so it's kind of like I'm not going to push it so much. It may occur in track titles or a vocal sample but no more. For example, I think my last Hypercolour release is influenced by French house, Chicago house . . .it covers, I think, a wide breadth of what I think house music should sound like.
Do you still play out only with vinyl and is there any reason for that? Are you anti mp3, CD, etc?
I'm pretty purist with respect to vinyl as it's the whole reason I got into this music in the first place. I love everything about it, the way it looks, smells . . . as far as CDs are concerned, I just think it's cheating. You can put a mix on a CD , play it and how do you know . . ? It's the same thing when you DJ with Ableton or Traktor. You can edit it with a wave editor . . . I just feel that it's cheating. It doesn't make sense to me. The one remix I did for Blank Artists is the only thing I want released as an mp3.If I put a lot of love and effort into my stuff, I don't want to see it appearing just as a file.
Finally, what are you listening to at the moment?
Sei-A/Droido (the same guy) is amazing. His stuff is really freaking me out at the moment. . . . there's new release on Ibadan . . .Flora Cruz "Let The Sun Shine Out" which has a classic piano house vibe. The "Sunrise EP" by Delano Smith which was mentioned before. Soulphiction, Man-made Science, anything that's coming out of the Philpot camp, the last track on Millions of Moments by Ribn. I feel that what dub techno needs is more dancefloor-friendly stuff . . .anything that Agnes does . . .the whole Slowhouse series. I'll play loads of old stuff anyway from the last twenty years or so.
Cheers Kris. Nice chatting to you
KRIS WADSWORTH (KW, ETAL)
*Anonym, Roman, Etal “AR001” AnonymousRelease AR001
*Kris Wadsworth “Whosworth?” St@ic Records Detroit JSH 002
*Kris Wadsworth “Get Your Wadsworth” Morris/Audio MA61
*Kris Wadsworth “Deport This” Hypercolour HYPE012
*Kris Wadsworth “True To It” Adult Only AO32
*Kris Wadsworth “The Electric Truth” Morris/Audio MA64
*Kris Wadsworth “Dig” Boe Recordings BOE005
*Kris Wadsworth “TBA” Snapshot Records SN006
*Kris Wadsworth “TBA Album” Hypercolour TBA
*Kris Wadsworth “TBA” BRUT! TBA
*Kris Wadsworth “TBA” Millions Of Moments TBA
*Kris Wadsworth “TBA” Morris/Audio TBA
*Kris Wadsworth “TBA” Adult Only TBA
*Kris Wadsworth “TBA” Hypercolour TBA
*Josh Dahlberg “Night Fire” (KW’s Home Sick remix) Blank Artists
*Hatikvah “Love Bells” (KW’s Detroit Sleaze remix) Morris/Audio Citysport Edition
*Ekkohaus “Not Trying To” (KW’s We Love Be Bop remix) BRUT!
*TBA “TBA” (KW’s TBA remix) Bloop
*TBA “TBA” (KW’s TBA remix) Hypercolour
Mark Henning to come before the end of the weekend. Keep it locked.
Sunday, January 11, 2009
The first show of 2009 went a little something like this
Radar (Ashley Beedle remix) - Riz MC (Crosstown Rebels)
Cosmic Booty - Fabrice Lig (Musica)
Heaven - Moodymann (KDJ)
Walter Neff - Mathias Aguayo (Kompakt)
Groovin' - Anton Zap (Quintessentials)
Funkstart - W+P Hgg (Cornuta Sound)
Izvor 3 - Samoil Radinski (Logos)
Three Rows - Reboot (Raum Musik!)
Garuna (Bros Vibe remix) - Gorge (8-Bit)
Aphrika - Seth Troxler (Wolf + Lamb)
1 - Le Jockey (CDR)
He So Crazy - Wbeeza (Third Ear)
The Struggle (The Plan remix) - Aaron Carl (Aaroncarl.com)
Kuhl Fliege (Hugo remix) - Matt Star (International Freakshow)
Talking Computron - Ana + One (Siteholder Uncut)
7 - Pom Pom (Pom Pom)
Ambush (Brian Taafe remix) - Rob Glennon (Static Recordings)
Casual Care (Samuuli Kempii remix) - Peter van Hoesen (Time To Express)
From Within (Marcel Dettmann remix) - Scuba (Hot Flush)
Harmonisch Serie - Max Cooper (Traum)
The above photo, and the one with the bloke with a jet pack were filched by me from the excellent "Little Detroit" forum (link on the right). There is an ongoing "photos" post on their main forum. Check it out.
Friday, January 09, 2009
Keep it locked.
Thursday, January 08, 2009
Tuesday, January 06, 2009
Friday, January 02, 2009
The first post of 2009 is a repost of a Dave Congreve mix produced exclusively for my show back in the summer of '07. I'm reposting it due to popular demand, and also because there are surprisingly few of Dave's mixes floating around. He's playing one of the Horseplay warehouse parties in Cambridge in a few months too.
Here's a link to the post with the mix tracklisting, and here's the link to the mix. Happy New Year!