RAYDEUS (GuerillaBASS, STiRTy, Jungo Road, SF)

Jungo Road contributor Raydeus (a.k.a. Darin) pumps up the dirty, throbbing bass with a mix specially crafted for the heat of summer. It starts out with Greena’s groaning and breaky drums then quickly builds into a blistering mix of bass, beats, and breaks. It’s all about the B’s.

You nu disco and fidget house heads will find the sounds that make you go jump on the dance floor too. Raydeus delivers a set that turns it out and doesn’t let go until the final beat.

Get more info on Raydeus at Raydeus.com, Facebook, and right here at Jungo Road.

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Stream the mix and support the musicians by purchasing the tracks and hearing them played live! You can also download this full podcast mix above.

1. Greena – Actual Pain
2. Big Bang Breaks – Get Down (Skip To My Loops Mix)
3. Eddi Zanetti featuring Jackinori – Bust Dis (Lee Mortimer Remix)
4. NT89 & Distrakt – Pumpin’
5. The Gulf Gate Project – Beezy (Electric Soulside Remix)
6. Dom G – Work (DJ Dan & Mike Balance Remix)
7. Elite Force featuring Hatiras, Vandal, JELO, Stanton Warriors – M.A.D.
8. Soul Puncherz – Crush Nasty (Filthy Rehab Remix)
9. Altered Grooves – Higher Raver
10. DJ Fen – Here Comes Funky
11. DJ Mutiny – Tell U Something (Afghan Headspin Remix)
12. Mr. Tools – Humanize
13. Javi Gongora – Studio Number 8
14. DJ Dan – Chop Shop (extended version)
15. Calvertron & Tim Healey – Back 2 The Ghetto (Krafty Kuts Remix)
16. Mightyfools – We Dont Care (Tommie Sunshine & Figure’s Brooklyn Fire Remix)
17. Lady Packa – Pretty Bop feat. Elise 5000 (RunRiot Remix)
18. S-File – Heads Up (F.O.O.L Remix)

Hey, all. Check out this video for Fort Knox Five’s Shift featuring Afrika Bambaataa! The track is the soul and the visuals are the trip. They’ve got b-boys and go-go dancers turning it out alongside slick visual gravy that… well… my eyes lapped up. Stu Mackay-Smith and DJ Ball directed it and, you know it, stars Afrika Bambaataa, Mustabar, and Fort Knox Five.

Along with this video is a bunch (13!) of remixes for Shift. You can get them at iTunes ($5.99 package) and at Beatport ($12.99 with a higher bitrate for DJs and Hi-Fi’s). Personally, I lean towards the Sub Swara remix; you know me, I’m a dubby kinda guy. You can stream the remixes from SoundCloud under the video.

Shift featuring Afrika Bambaataa & Mustafa Akbar (Remixes) by fortknoxfive

Dale recently came back from a trip to Berlin where he listened and danced to more techno than he thought possible. Berlin has a fantastic mix of youth, culture, EDM, and harness of technology that reminds him of San Francisco. He tells us, “Berlin was invigorating to me. I would go out any night of the week and find several very good parties going on easily until 4am. Berliners love celebrating and music! Combine that with artists creating installations in warehouses and makeshift galleries, I’m very drawn to the city and am going back.”

On Dale’s mix is also several house tunes. This is a big change for him. Dale grew up a house head and enjoyed west coast parties like Stompy, Sunset, SuperHighway, and Flammable. About 2002, he felt house music wasn’t progressing and become more interested in breakbeat and hip-hop. Now eight years later, he’s finding new life in the 4/4 tech and deep house beats.

[WARNING: Please, get some good speakers or earbuds; not the terrible ones included with iPhones and iPods. Without them, you just won't hear the bass that is essential to enjoy this mix. For those few extra bucks you’ll get better sound at lower volumes which also helps to save your ears.]

Get more info on Dale Phurrough right here at Jungo Road as well as Facebook.

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Stream the mix and support the musicians by purchasing the tracks and hearing them played live! You can also download this full podcast mix above.

• A Familiar Sound – Boxcutter
• Earth Sings (South Rakkas Crew Genesis Remix) – A Man Called Adam
• Over feat. Zarif – Breakage
• Sincere (Nero Remix) – MJ Cole
• Throbbin’ The Light (Jupit3r Mix) – Quade
• On Your Own (XI Juicebox Remix) – James Yuill
• Dis Vicious (J. Rogers Tech Stepped Mix) – Shdwplay
• iThought – Anja Schneider
• Zoo Comunale – Hugo & Marcin Czubala
• Back For More (DJ Odissi Mix) – General MIDI
• Green Eyes (CJ Reign Vocal Mix) – Goldielocks
• Quantum Echo – Timonkey

Its perfect that you can catch Tektite this Friday June 11th at Vitamin B’s Old School Night in Brooklyn, NY. Its also his birthday bash so you know it will be a good night.

Get more info on Tektite at Vitamin Breaks, Facebook and MySpace.

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Stream the mix and support the musicians by purchasing the tracks and hearing them played live! You can also download this full podcast mix above.

• Gangsta Boogie (Original Mix) – Faust, Shortee
• Weapon Of Choice 2010 feat. Lazy Rich (Lazy Rich Remix) – Fatboy Slim, Lazy Rich
• Inna Dat (Rico Tubbs Club Mix) – Tomb Crew
• Jack Track (Black Noise VIP remix) – Tonka
• If We Try “The Love Anthem” (Atomic Hooligan Remix) – Reset!
• Kicks (Original Mix) – DJ Icey
• Youth Blood (Rico Tubbs Speed Garage Remix) – Jinder
• Blau! (LA Riots Remix) – Lee Mortimer, Laidback Luke
• Drop Hits (Santiago & Bushido Remix) – Hatiras, DJ Dan
• Don’t Break It feat. Bobby K (Lazy Rich Remix) – Monolythe
• Roc Da Beatz (Original Mix) – Rhythm Rockerz
• WTF feat. Kid Sister & Pase Rock (Deekline & Tim Healey VIP House Remix) – Tittsworth
• Take It Ezy (Original Mix) – Deekline, Tim Healey
• Show Me Love feat. Robin S (AC Slater Vocal Mix) – Steve Angello and Laidback Luke
• Set Me Free (Harvard Bass remix) – Drop The Lime
• Hype The Funk (Hirshee Mix) – Critical
• Watch Out For This Girl (B. Rich mix) – Norrit
• London Town (Foamo Remix) – Man Like Me

Jan van Lier, a Mexican-born Californian of Peruvian and Dutch descent, has been consistently on the rise in the ever-expanding world of underground Techno ever since his first release “One Through Seven” (on Loöq Records, 2007) got itself caned by none other than Carl Cox, broke the producer into Beatport, and bought a bit of name recognition. But it was his track “Deeprush” (on Definitive Recordings, 2008) and its remix by John Acquaviva that achieved “massive” status, and remains one of the tracks for which Jan is best known. His most recent EP “Deepfloor”/”Hung Lo” (also on Definitive) has enjoyed support from Cox, D-Nox, and Kobbe, among other progressive specialists, as well as breaking the Top 50 House chart on Beatport. Jan has played DJ gigs in Madrid, NYC, Portland, San Francisco, Baltimore, Eugene, Miami (at WMC), and Peru. His track “Rishada” (Definitive) was licensed for Cox’s Space Ibiza 2009 CD (the big man is clearly a Jan fan).

JR: What genre(s) do you most identify with (DJing and producing)?
JvL: Peak hour Tech-House, Techno, and techy progressive; deeper house/tech for warm up sets and more mellow environments.

When did you get interested in / exposed to this genre?
I’ve been DJing since 1999, started out with Jungle and Trance, then moved to hard techno and later, deeper house with Deep Groove Society in Humboldt County, CA. I’ve been a fan of all types of music all my life, and electronic dance music since 1997 after hearing John Kelley FunkyDesertBreaks mix CDs on Moonshine Music.

What do you like (or moves you most) in electronic dance music?
The energy and the uplifting nature of the music. For the harder genres it’s also the intensity which I think reflects the intensity of the world around us. For dancing though it’s deep house, nothing makes me feel happier than a beautiful day and a fun dancefloor full of positive house music, it’s very healing.

Do you have any formal music training?
No. I played guitar and sang before DJing in a punk band and played guitar in a jazz band. No formal training other than some guy who I paid every month to teach me Iron Maiden songs.

What do you like about DJing and/or producing?
Everything.

What do you not like about DJing and/or producing?
Nothing, though the fickleness of the scene gets to me occasionally.

When did you first start producing tracks?
For fun, around 2000 with shitty groovebox-type equipment. But in 2006 I decided to make it my full-time passion and began using computers.

Do you use any particular software/technology when you DJ or produce music?
Logic Pro for production. CDJs or Serato/Traktor when DJing.

What are other DJs and music producers that you admire?
Compuphonic, John Acquaviva, Carl Cox, Sebastien Leger, Eric Prydz, Olivier Giacomotto, and of course my good friends Taurus and Vaggeli.

What the best/favorite venue you’ve played at?
Taboo in Madrid was insane. It didn’t even open til 1:30 AM and was packed and rocking by 2:30!

Up next for Jan: He will perform at the Vaikhari festival (Rebel Bass Collective) in July and is preparing to relocate to Philadelphia.

1. Marcus Almen – Flip Switch [Wire]
2. Nalin & Kane – Beachball (Joris Voorn Remix) [Superfly]
3. John Acquaviva, Alex D’Elia – Global Cooling [Definitive PROMO]
4. DJ Tonio – Shibuya [Definitive]
5. John Acquaviva, Olivier Giacomotto – Hoo Cha Cha [Definitive PROMO]
6. Jan van Lier – Alter Ego (Top Secret Mix) [Definitive PROMO]
7. Unknown – Pain Pill [Unknown]
8. Jan van Lier – Bird Troubles [Unreleased]
9. Tyler Hampton – Fenske (Jan van Lier Remix) [Audio Logic]
10. Ben Lb – Olympics (Spartaque Remix) [Definitive]
11. Compuphonic – Dirty Dancing [Parquet]

More about Jan van Lier on his and Facebook, MySpace, and Soundcloud

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Mr. Pope is back once again with an ill-behaving mix on Jungo Road, whipping through 19 tracks of breaks, house & tech-funk in 68 minutes… much of it rare unreleased gems, including his own new track “All About This”… And check out his latest collab with Chad North, “Off The Wall”… the way it’s tearing up dance floors, it won’t be unsigned for long…

1. Wiley – Never Be your Woman (Shy FX Remix) [White Label]
2. Aaron Pope – All About This [Unsigned]
3. Tim Healy, Tomcraft – Real Smooth (Krafty Kuts Remix) [Taste/d Music]
4. Sub Focus – Could This Be Real [RAM Records]
5. Ou Est Le Swimming Pool – Dance the Way I Feel (Armand Van Helden Club Mix) [Stiff Records]
6. Chad North & Aaron Pope – Off the Wall [Unsigned]
7. Timbaland – Morning After Dark (Wolfgang Gartner Remix) [White Label]
8. The Prodigy – Take Me to the Hospital (Adam F and Horx Remix) [Take Me To The Hospital]
9. DJ Zinc – Wile Out [NEWS]
10. Binkers – Do It Right (Calvertron’s 59 Fifty Remix) [Legacy Kids Club]
11. Passion Pit – Little Secrets (Jack Beats Remix) [New State Music]
12. Neelix – Disco Decay (Felguk vs reFaze Edit) [White Label]
13. Yeah Yeah Yeahs vs Elite Force – Maps [White Label]
14. Sarah Mcleod – He Doesn’t Love You (Hook n’ Sling Vocal Mix) [Renaissance]
15. Emanual Kosh – Make My Sushi (Zodiac Cartel Remix) [Electric Sushi]
16. Lee Mortimer & Foamo – Superman [Wearhouse]
17. Shystie – Nu Style (Deekline & Ed Solo Mix) [Rat Records UK]
18. HiPopulation – Bring That B (Chad North & Aaron Pope Remix) [Erase Records]
19. Bassbin Twins – Rhythm Rocks the Blue (Elite Force Mix) [u&A Recordings]

Teaming up with bi-coastal composer/producer/DJ/label-owner Ming (Hood Famous Music, Habitat Music, Ming + FS) once again, the duo take their remix into darker tech-house territory and bring the vocals to the forefront. Compliment that with a funky bassline and decidedly techno-oriented blips and bleeps – and the result is a fresh dancefloor friendly version of a tune that will be sure to rule the airwaves in a months time.

[Editor note: We apologize for the previous host location of the mp3 download. We have moved the MP3 download to our Jungo Road servers where we usually host and won't make the same mistake we made this time. Thank you for your patience.]

This remix is available as a FREE 320k mp3 download above in our podcast. You can also stream the track below.

Also available on Soundcloud are Chad’s remixes of Lady Gaga and Beyonce “Telephone” and 30 Seconds to Mars “Kings and Queens”.

Leading artists like Krafty Kuts have understood the mobile computing platform and brought their musical vision to them. We asked him a few questions so you can get a sense of the genius of this artist. We also used his iPhone app and now bring you what we think about both. They’re brilliant!

DJ tools are the most fundamental of sampling instruments. Kool Herc invented the breakbeat by using other records as his DJ tools to play sounds, samples, and rhythms that could be played together to create an entirely new track. Similarly, Krafty Kuts has put together an effects palette of 108 sounds which are so easy to navigate, select, and play – that Kool Herc himself would be dumbfounded.

These sounds are for DJs who want to transform an otherwise ordinary set of other people’s music to a personalized set. This app would not be appropriate for DJs who keep their eyes fixated on the mixer and turntables. This is an app specifically built for the DJ to engage and interact with the crowd. It seems especially fit, not so surprisingly, for breaks sets.

The idea is that you launch the application, and then plug your iPhone into any available channel on your mixing board. The application interface is seamless and a breeze to manipulate. There are 9 pages to scroll through and 12 buttons per page; each labeled with a brief description of what the sample is.

The buttons range from electronic sounds such as Laser, Woosh, and Squelch to vocal samples like “Now Hear Dis” and “Make Some Noise”. Another cool feature is that it splits up phrases such as “Ain’t no trick my DJ can’t do” into separate samples for “Ain’t” “No” “Trick” “My” “DJ” “Can’t” “Do” – which is perfect for adjusting to tracks with different tempos and builds.

Krafty Kuts iPhone app fits in your pocket, plugs into any mixer, and is a steal for $4.99 USD (£2.99). Up the ante next time you play to an eager crowd of trainspotters… “Wait, that’s not in the original tune”!!

Krafty Kuts, when did you or your family notice your interest in music?
I grew up in the UK and discovered music in the early 90’s when listening to The Specials, The Beat, ska, and 2 tone. Later, found electro, hip-hop, and loved the whole movement and culture. I taught myself to break dance and DJ. Then, the world of music opened up and my life changed from that moment.

When did you get interested or exposed to electronic dance music?
Also in the early 90’s, I started buying records like the Street Sounds Electro compilations and going to car boot sales and 2^nd hand record stores collecting funk and disco. It became an obsession to have the biggest and best collection. I would spend every spare minute travelling around the country finding those ultimate rare gems. I built up an awesome record collection.

What music moves you?
The music I listen to varies constantly with my moods. When I am feeling upbeat or have loads of energy, its drum & bass and breakbeat. Or, when I need to reflect or chill, funk and disco is a must. Then, when I feel like some fun and nostalgia, the 80’s classics are in full effect. Music is my life and I play, study and listen to music every day.

What do you like in electronic dance music?
Wow, there is so much out there right now: Sub Focus, Chase & Status, Pendulum, Afrojack, Tim Healey, Deekline, Duck Sauce, Wolfgang Gartner, Deadmau5, DJ Icey, Scratch Perverts, A. Skillz, Bird Peterson, DJ Craze, Black Noise & Jack Beats just for starters. I am very open minded about all genres and like to keep ahead of the game. To be honest, I live and breathe music.

When was it that you started DJing?
The early 90’s. It was the perfect chance to play all this amazing music I had been collecting. I played rare groove, funk, hip-hop and disco gems. It was the most amazing feeling expressing my emotions, influences, passion, love, desire and mostly fun to what was eventually going to become my career path.

What do you do to get ready for a set? And what are we going to dance to?
I spend many hours putting ideas together; getting acapellas and scratch samples, intro’s and also making my own edits of songs to give my DJ sets more of a cutting edge and unique flavor so when people come to see me play, they hear new fresh music and sounds. I try to do something different with every set. In fact, I never play the same set twice. I’m known for hip-hop, breakbeat, electro, drum & bass, funk and dubstep. But, I’m always looking to push the boundaries and move things forward. Who knows what the future holds.

You produce your own music. What was that like starting? Any tips?
I have been producing under the name Krafty Kuts for 12 years now starting back in 1998. I released three EP’s with the Ministry Of Sound’s label FSUK and also a track on Norman Cook’s Southern Fried. The Southern Fried track Gimme The Funk opened up many doors and people around the world were buying this record which helped me get DJ bookings. Also, with being associated with MoS, I got exposed to the masses. I needed a manager and agent and so my venture into the music industry began.

My first releases were very successful and many things followed like Mix CD’s (Mixmag covermount CD), Slam the Breaks 1 & 2, tour of Oz, Europe & Canada all came flying in and my life totally changed. I think, musically, my proudest moment was my first release Gimme The Funk. I love this track even to this day and it was the first track I ever produced and for it to come out on Norman’s label was such a thrill. I have so much respect for Norman and I really learnt so much from his DJing and music, these moments will live with me forever. My biggest tip for creating music is to study the music that you love; taking in all your influences old and new, and try to combine these flavors and styles to create your own unique masterpiece.

For the equipment geeks out there, what equipment do you use?
When I DJ, my setup consists of 4 CDJs, 1 turntable, and a DJM-800 mixer plus my very own Krafty Kuts iPhone app. When I produce, I use Logic, Ableton and Cubase with all the latest plugins.

What are some of the best venues you’re performed at? Festivals or events?
Field Day in Sydney and Belvoir Amphitheatre Theatre in Perth (both Australia) are tops. Close behind are Mighty (San Francisco),Vanguard (Los Angeles), Matter (London), and Twilo (New York City). Then there is An Evening with KK at London’s Matter, Glastonbury, Glade & V festivals.

Thanks for your rerub of Laidback Luke vs Robin S’s Show Me Love for our podcast listeners to download. And, also for releasing your DJ Tools iPhone app!

Catch Krafty Kuts on 20 March “Mikato” @ Lehmann (Stuttgart); 26 March “An Evening with Krafty Kuts” @ Matter (London); 27 March “Rejected Rocstars” @ Sub Zero (Essex); 2 April “Thank Funk its Friday @ Coxs Yard (Stratford-Upon-Avon). More dates on his MySpace page.

More about Krafty Kuts on his blog, MySpace, SoundCloud, Twitter, YouTube and Facebook.

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On his just-released compilation album Re:Vamped (March 8—my birthday, no less!), Shack revisits some of the classic tunes and sounds of the past several years—mashing them up, remixing them, slicing them, blending them, and spitting them out into pure dancefloor rapture. Injected into this madness are some new tracks – including breakbeat juggernaut “The Law of Life”.

JR: So Shack, tell us, when did the idea for Re:Vamped come about?
EF: The idea to actually release the tracks came about around August of of last year. They were all originally intended just for use in my own DJ sets, but then I realised that there would be a good chance of being able to get licenses for a lot of the tracks I’d used, so we set about doing that … and man, it was a mission! We got there in the end though, even though some of the more ’snooty’ dubstep and techno labels weren’t willing to play ball.

JR: Is it any accident that much of this record is getting back to your breakbeat roots? Is it a fair assumption to say your roots are in breakbeat??
EF: I think that’s what people’s perception is yes. My own personal roots pre-date releasing or making any music really, and the first things I put out were techno 12″s and rock/rap crossover tracks with an extra helping of industrial yowwwlllll. But yes, I think most people know me more for my breaks productions than anything, and it just happens that a big chunk of this album is beats-orientated, as that was the stuff I felt was lacking from my own sets.

JR: While we’re discussing genre, you’ve had a lot to say about this matter on your Beatport blog, do you find that others are embracing your anti-genre position as you travel the globe?
EF: I honestly don’t think it matters that much to people on the ground — if the dancefloor’s moving and people are happy with the night and the sounds, then the job is done … it’s only when you delve into the darker corners of the internet on a Monday morning that you hear whispers of discontent from the self-appointed taste police and I’m done being bothered with all that.

JR: What are your impressions of where the US scene is at right now?
EF: It’s a tricky one to answer really given I don’t spend all that much time out there (I hope that will change after this album’s been released), but the opportunities to come out & play in cities other than San Francisco have been very thin on the ground over the past few years. I think it’s always going to be tricky in the US … there’s no cohesive national radio, each city has it’s own identity, the over 21 drinking rules are stupidly repressive and without serious tour support behind you to do what the likes of Crystal Method have done over the years, it’s very hard to make an impact. That being said, it’s been really inspiring to see what Bassnectar has been doing out there using his own unique vision of how to connect with people, and to an extent that’s been a lead I’ve been following in the last few months in establishing my own way of doing things, and the project has grown exponentially during that time!

JR: Was 2009 your first experience playing at Burning Man? What was that like?
EF: It was my first time, yes, and it’s a struggle to put it into words, even after months away from the Playa. I’m certainly not a religious person, but there was a spiritual element to Burning Man which really floored me & whilst I’m not 100% sure I’ll be able to go back this year, it’s very hard to imagine not being there again. The DJ sets out there were a lot of fun and full of spine-tingling energy, but they were only a small part of the experience for me.

JR: About three years ago, we were chatting pre-show at Mighty (SF) about how to stand out as a producer. You mentioned that you receive countless demos and that aspiring producers really must understand how high the quality has to be. Do you have any advice on how aspiring producers (such as myself)—even those of us with some limited success on other labels—can take their game to the next level?
EF:It’s evolution not revolution for 99.9% of people. I think people’s expectations as producers tend to be unduly high and this usually means that people are unwilling to really listen to critical opinion on their music. The fact is that even a relatively successful release will only give you a slight bump in your profile, and if you’re not ready to follow it up with more material at regular intervals, you will find yourself sliding back each time you make a little progress, so it’s important that you are very organized and you follow up and follow through with any positives that come from your work. Use the networks heavily and creatively:  Twitter, Facebook, iLike, LastFM, Blogs, MySpace, E-Mail databases all have roles to play, so make sure your time is well spent and be prepared for a long hard slog with a LOT more hard work than most people imagine!

JR: The first time i heard “Mad as Hell” by Vandal was at Opulent Temple at Burning Man 2005 – Lee Coombs dropped it on an unsuspecting Saturday night crowd and completely changed the universe at that moment. As an example from this album – how on earth did Hatiras, JELO, and Stanton Warriors enter the equation on M.A.D? The result is amazing.
EF: Well when I was messing around with some ideas for new tracks & mashups for the album, I tended to have 30 or 40 tracks loaded up in Ableton in the same key as one another and just started experimenting with taking basslines form here, leads from there and big breakdowns from here … the basic principal was that ‘There are No Rules’ and no copyright (seeing as none of it was going to be released), and the result was a very liberating & fresh approach to the source material. If I ever did another one of these albums (which I may well do) i think it would be hard to be able to think quite as liberally as I could on this one, given that I’d be thinking about licensing restrictions & suchlike.

JR: Congratulations on all the success of your label U&A. What does the future hold?
EF:More of the same really. Developing the label as a brand a little more with some dedicated label nights, bringing through some of the younger artists I’ve been working with and giving them the best possible platform for the world to hear their music, and also looking forward at ever more creative ways of releasing music and communicating with people.

We would like to thank Shack for stopping by to answer some of our questions… and seriously people, do not waste time – pick yourself up a copy of this record on Beatport right away. Even by Elite Force-standards – this album is the fucking b.o.m.b. GO NOW!!

Album Review:

March 8 2010 sees Elite Force, one of Dance Music’s most admired artists, unshackle his brand new album, Re:Vamped, a jaw-dropping mix of bespoke refixes and re-edits that will redefine the art form.

Right from the word go, when Simon ‘Shack’ Shackleton created Elite Force the moniker became synonymous not only with gilt-edged class but also with the ability to deliver guaranteed club carnage time and time again. Straddling styles and riding roughshod across genre lines, both as a DJ and producer, Elite Force has carved an enviable reputation as an innovator, never staying still creatively long enough to be pigeon holed or trapped in a single scene.

The strength of his own musical output led to a series of critically lauded remixes for the likes of Miles Dyson, UNKLE, Groove Armada,Crystal Method Dylan Rhymes and Grandmaster Flash, that continue to cement his reputation as an aural trailblazer with a distinctive take on music. Already famed within DJ circles for his on-point re-edits that have drawn heavy praise from the likes of Fatboy Slim, James Zabiela, Laurent Garnier and Sasha, Elite Force has moved on from the simple restructuring of tunes to fit his set, viewing the tracks sent to him as raw material to be reshaped, retuned, chopped and reborn as something new, something fresh.

As sHack puts it himself: “I decided to embark on a whole new extension of the re-edit idea looking at creating a number of brand new tracks out of components taken from older tunes… proper mash-ups. Some were born out of simple live jams that evolved into finely tuned studio creations, whilst others were ground-up rebuilds where I was effectively writing new pieces of music using samples from other tracks. There was no fixed way of working and no sacred cows that went un-plundered.”

The result of this new approach is Re:Vamped a seamless excursion through Elite Force’s unique record bag taking in artists as diverse as Danielle Papini, Hugg & Pepp, Classixx and Bassbin Twins. Kicking off with the pounding kicks of Final Whistle sHack takes to the task with relish fusing French funksters Popof and Delon & Daclan with Lee Coombs & Dylan Rhymes before slipping into the euphoric energy of Red Lights & Lasers. Barbar Blaze’s bouncing b-line takes no prisoners as Palmer Brown’s searing a capella from Blaze’s ‘Do You Remember House?’ takes the track into the realms of uncharted mayhem, Harness The Nonsense sees sHack doing just that, entering heads down territory for a run of superlative cuts reassembling recent clubbing history into a whole that effortlessly transcends the sum of its parts. Dissecting elements of Propellerheads, Blatta & Inesha, Wolfgang Gartner and Meat Katie and assimilating them into a world of fierce subs, cavernous beats and incessant leads, before stitching them back together with consummate ease, Re:Vamped is brought to a heavyweight close with a re-reading of Bar9’s Shaolin Style that underlines Elite Force’s musical vision faultlessly.

In all twenty-eight mash-ups have made their way into Elite Force’s sets since the project’s inception, 16 of which appear on Pre-vamped. Several of those that didn’t make the mix have become part of the ‘Pre:Vamped’ project, a series of monthly free downloads that are set to become available across a massive network of online blogs & mailing lists. Keep checking http://soundcloud.com/elite-force for more information.

http://www.eliteforcemusic.com
http://soundcloud.com/elite-force

FULL RE:VAMPED TRACKLISTING:

1. Intro
2. The Final Whistle (Elite Force, Popof, Delon & Dalcan, Lee Coombs, Dylan Rhymes)
3. Red Lights & Lasers (Elite Force, Redlight, Meat Katie, Toob)
4. Barbar Blaze (Elite Force, Blaze, Hugg & Pepp)
5. Harness The Nonsense (Elite Force, Daniele Papini, Tim Green, Harnessnoise)
6. Reclaim Control (Elite Force, Calvertron)
7. Annihilate (Elite Force, 6Blocc)
8. The Law Of Life (Elite Force)
9. Rhythm Rocks The Blue (Elite Force, Stanton Warriors, Bassbin Twins, Dopamine)
10. M.A.D. (Elite Force, Hatiras, JELO, Stanton Warriors)
11. Cali Sk8r (Elite Force, Propellerheads)
12. Bring The Panic (Elite Force, Blatta & Inesha, Hijack, Rogue Element, Meat Katie)
13. Divine Act (Elite Force, Classixx, Wolfgang Gartner, Meat Katie, Roland Clarke)
14. Scrammed (Elite Force, Plump DJs)
15. Calypso (Elite Force, Datsik, Excision)
16. Shaolin Style (Elite Force, Bar9)

I first heard the name Dylan Rhymes when I discovered Whole9Yards – the UK record label that would forever change my taste in electronic music. It started with Dark Globe, then I discovered Meat Katie and Elite Force. I knew Lee Coombs from Fingerlickin’… but this was the beginning of my love-affair with all things tech-funk.

The record store I frequented the most in LA at the time was on Melrose Avenue… one of the shop DJs knew I was into breaks and ordered me all kinds of great stuff from the UK. After moving from LA to Chicago and Gramophone Records being my new home for music – it didn’t take long for the shop to know all Lot49 music would be purchased (at $12 per 12″) by yours truly.

Almost as quickly as I had discovered this music, I made my first visit to San Francisco – where a talented young DJ named shOOey was playing Salty at a small bar in the Mission. I knew at that moment that this town “got it”… not less than 4 hours later I would hear Melyss play my all-time favorite Rhymes track Party People at an underground Opel event. This was May of 2005. It was decided: we had to move to San Francisco.

It is fitting that we feature Dylan Rhymes this week – the 8th anniversary of Opel is this weekend. I know SF has become as special of a place to Marvin as it has to me, so I decided to ask him a little about his experiences in the city on the bay:

JR: When did you first hear about breaks being popular in San Francisco?
DR: Before my first trip, which seems an age ago now, I had heard there was a big party scene in SF. For such a relatively small city I was amazed at how many people were in to the whole underground culture. Luckily having always worked with Opel promotions there I wasn’t DJing to a one genre crowd. They were very accepting of all styles of dance music which was great for me as I play a lot of different music.

JR: What is the most special about visiting and/or playing in San Francisco for you?
DR: I love going to SF because it is one of the most welcoming places I have ever been to. There is a great spirit amongst the people that live there and I have made some amazing friends. The shows are always fantastic but you gotta prepare for the after party onslaught

JR: Can you share with us a memorable moment from your gigs at Opel over the past several years?
DR: One of many special moments I can remember was playing @ Mezzanine with my Label partner Meat Katie. Prior to the party there was a fashion show of all local talented designers and manufacturers. It blew my mind the work and effort that went in to this production and how well it went. It was only my 2nd or 3rd time in SF and this experience cemented the fact that it would be my number 1 destination to play.

JR: What is it like playing at Opulent Temple at Burning Man?
DR: It is an experience which I find hard to describe as every time I think about it I conjure up different moods and memories. You have to go to Burning Man to fully comprehend and appreciate the hedonism of it all. I guess the easiest way I can describe playing there is to imagine thousands of people in front of you that are having the best time of their life and you are responsible. At the risk of sounding like a Trance DJ, I would say EUPHORIC…if that’s allowed?

JR: What is different about playing in SF compared to other cities around the world?
DR: The main differences are the crowd is very open to different styles and they are out to party. It’s a very simple process for the Bay Area people……they go out…..they get down……they enjoy themselves! SIMPLE!

I would like to thank Marvin for participating in this years “Take Five” (we did a five question interview with Syd Gris last year prior to the Opel 7 year anniversary). His music has been an inspiration to me and I am thrilled we could feature an amazing mix of his this week on Jungo Road.

A little more about our friend Marvin…

Dance music has been the biggest part of Rhyme’s life from a young age. Inspired by early hip hop and electro a la Kraftwerk and Doug E. Fresh, Marvin purchased his first set of decks at 15 and caught the bug in a bad way. Rhythm Design Studios in Uxbridge became the birthplace of Outsiders, Drake and Beaver’s much-lauded project for Junior Boy’s Own Chicago influenced Jus Trax label. Friend, DJ and London mainstay Clive Henry then joined the team and the trio became Peace Division, a project that gained props from every corner of dance music without exception.

Since then he has cemented his reputation as one of the leaders of the breakbeat and tech house scenes through his output through Kingsize Records, Meat Katie’s Whole9Yards and Lot49 labels and his own Blue Black imprint. Besides original work, Beaver has also remixed the likes of Deep Dish, Infusion, Dave Gahan, BT, Overseer, Unkle and Puretone while he has collaborated with Meat Katie, Christian J, Force Mass Motion (as Silencer) and Anthony J Gorry (on his 2004 album, Dead Famous).

Catch Dylan Rhymes in the US over the next month or so starting this Saturday February 27th at Mighty (SF) for the Opel 8 Year Anniversary, March 6th in Tucson, AZ at The Rock, and then March 16th & 18th at SXSW as part of Lot49’s Texas invasion!

More about Dylan Rhymes on his site, Lot49, MySpace, SoundCloud, and Twitter.

Booking: Click to reveal email

Stream the mix and support the musicians by purchasing the tracks and hearing them played live! You can also download this full podcast mix above.

1. Dylan Rhymes + Meat Katie – ONLY YOU (Haggstrom remix)
2. Etienne De Crecy – Move
3. Zoo Brazil – FANCY (Popof remix)
4. Andreas Henneberg, Simon2 – BOLINGO GRINGO
5. Dylan Rhymes + Meat Katie – ONLY YOU (Echo Vacio Remix)
6. Reset Robot – v3
7. Thomas Schumacher – HEAT IT UP
8. G.e.R.M. – GLITTERBALL (Dylan Rhymes re-shift)
9. Odissi – DIRTY SECRETS
10. Cirez D – On Off + Depeche Mode – PEACE (Accapella)