Techno Laud

Stroboscopic Artefacts Showcase at Corsica Studios, London

info@technolaud.co.uk (http://www.technolaud.co.uk) — Mon, 14 Feb 2011 17:23:00 GMT

The planets have aligned ...

Stroboscopic Artefacts bring their vision of the deepest and freshest electronic dance music to London for the very first time on April 2nd 2011. The SA family have destroyed Berlin’s Berghain and New York’s Oktave party, and now Corsica Studio's Funktion One sound system is in for some techno induced damage.

Room 1 sees the man behind the label, Lucy, present his dubbed-out, turned-up vision. And be sure to listen out for him dropping cuts from his album “Wordplay For Working Bees”. Keeping it twistedly-dark, Singapore’s Xhin packs a suitcase full of sinister sounds. Xhin, the creator of some of SA’s most loved, most charted and most played releases, is something to behold: the hair, the bass line, the brilliance. Truss brings ones of his trademark experimental techno

sets, its 4/4 for the dancing-yet-thinking-man. And as if that wasn’t enough one of techno’s most exciting figures, Jonas Kopp flies in to make his UK debut. Just give a listen to his SA releases, we need say no more. With visuals from Oblivious Artefacts -the artist collective responsible for the entire graphic concept of SA- expect Corsica to erupt into a darkly elegant, futuristic world of monochrome flowers and hallucinatory landscapes. The SA family will be joined in Room 2 by EarToGround's finest residents including the choice selections of Hans Bouffmyhre.

...It’s going to be apocalyptic!

LINEUP:

Room 1: SA Showcase

Lucy

Jonas Kopp (UK debut)

Xhin (UK debut)

Truss

Oblivious VJ

Room 2: EarToGround

Hans Bouffmyhre (London debut)

Chris Stanford

Gareth Wild

Dan Lively

Maker + Meyer

ADVANCED TICKET BOOKING IS STRONGLY ADVISED.

FOR DISCOUNT TICKETS (£10), EMAIL:

thelab@live.co.uk

OR buy your ticket online:

http://www.residentadvisor

.net/event.aspx?221342

http://www.datatransmissio

n.co.uk/ViewEvent/10383/

£12 / £15, £20 on the door

Artizan Music

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 10 Mar 2010 15:27:00 GMT

Jafar & Maxime Cescau are a producer/DJ duo based in the UK and Sweden. Here, we present their pride & joy: Artizan Music. Launched back in 2005 from the embers of their previous labels Kwaito and 4bit, Artizan was set up with additional studio collaborator Andy Touchfingers, as an outlet for their solo and joint productions as 'Poussez'. Alongside the trio, the label boasts a packed roster of respected “master craftsmen” from around the globe. Artists include:

Demarkus Lewis (Grin Music, USA)

Nacho Marco (Freerange, SPAIN)

Funky Transport (20:20 Vision, UK)

Pete Dafeet (Lost My Dog, UK)

Rhythm Plate (Winding Road, UK)
Rithma (OM, USA)

Eightbitrate (Muak, ITALY)

Spieltape (Global Underground, RUSSIA)

Blacksoul (Blacksoul Music, CROATIA)

Terry Farley (Junior Boys Own, UK)

John Larner (OM, USA)

As the name might suggest, Artizan is not to be a flash in the pan. With almost two decades in the music industry, Jafar and Maxime call upon their rich DJ and production heritage and are now releasing their music across limited vinyl, CD & digital formats.

The label’s events side, ‘Uptownboogiedown’, has held London residencies at much loved venues East Village, Neighbourhood, The End and Notting Hill Arts Club, and they’ve enjoyed joint parties with club giants Mulletover, Retox and Lovebox over the years. And with a foot in Sweden, Artizan also hosts international showcases there too. The musical output of the label is a tasty smorgasbord of warm, melodic techno, future deep house, sleazy nu-disco and heady, late night electronics. The ‘progressive vibe’ permeates much of the music they release. Talking with Jafar, he tells us their music is “progressive… in its truest sense”. Jafar & Maxime's own production work has, over the years, seen them release with the likes of LoudEast, Huddtraxx, Hydraulix, DustTraxx, Blacksoul, Universal Vibes, Berwick Street, Sensual NYC, Friends of the Family, Waxjakkers, Plastic Fantastic, Gravitation, Hustle Music, ToneControl and many more.

Artizan's design aesthetic, seems thoughtfully conceived by Maxime Cescau, James Piercy and Chicago based fine artist Pepe Navarino. It demonstrates a keen attention to detail and style, which can be seen in their release artwork, newsletters and events flyers. On the whole, Artizan have a clear direction and show that they know what the like, as they lovingly deliver it to the world.

Artizan Music hosts their fortnightly Podcast, rotating between Jafar's Sweden Studio and Maxime's in London. Each episode promises a fresh mix plus regular guest appearances by Artizan's friends and from their artist roster.

Katja Diefenbach interviews Achim Szepanski

info@technolaud.co.uk (http://www.technolaud.co.uk) — Sun, 21 Feb 2010 20:35:00 GMT

We'd like to share this fantastic interview with Achim Szepanski. He's the man behind a range of techno record labels and is a key player in the development of glitch music.

[NB: This interview was not conducted by Techno Laud, any of its staff or its affiliates. This has been shared on the site, and can be originally found here. The interview was conducted in German, and later translated.]

Katja Diefenbach: Force Inc. has established a Sublabel that is named after the most important book from Deleuze and Guattari, MILLE PLATEAUX. What connection do you see between Techno and post-structuralist theory?

Achim Szepanski: According to statements from Foucault his books should function as little tool kits. The thinking of powers and knowledge is also thinking as strategy and subversion, which escapes even the writer's intentions. Foucault himself said that the more unplanned uses that his books take on the more it would please him. I think that it is in this sense that we are trying to use the thoughts of Deleuze and Guattari in Mille Plateaux; to find instruments and tools that directly inspire the process of producing sounds. The central theme of this book, in the chapters about music, is that today the essential relationship in music - but also in philosophy - is that which is between material and forces. This means that the sound machines that have structures, like the synthesiser or the computer, produce sound material in that they molecularise, that means they break down, particular forms of music and at the same time expand it. Music is then more than the reproduction of tones, it is a process to produce sounds. The tone is first of all just a noise that is bound up in a canon of rules - and is only a tone in these circumstances. The music of the whole occident builds a system, creates models that filter the noise, the rauschen* (electrical noise) and the currents of sound, and controls what is heard. The Paris school for example, turned against this exclusion by treating concrete sound material like hissing, water drops, the noises on the street, as genuine musical sound qualities. The synthesiser is a structure that, through the varied possibilities of sound synthesis, not only makes new sounds audible, but also the process of the production itself. It is the musical work with sound material itself that allows new energies, intensities, to be captured, according to Deleuze.

KD: On your first CD on the 'Modulation & Transformation' label, you quote a piece from Mille Plateaux; a song of praise for the synthesiser as a consistency machine. How would you explain that?

AS: The synthesiser is a machine to generate sounds. Particular currents of sound and sound spectrums are created through the connection and combination of individual modules. This refers to the analogue synthesiser. It is a creative process that holds the various sound materials together, the various elements in the material itself - one thinks of oscillators, generators - that serve the working of the original signals. At the same time the sound material must be able to float between the various synthesisers, sequencers and computers, and be accessible for synchronisation. Deleuze refers to the mechanical self as the synthesis of heterogeneity, diversity. This synthesis of sounds needs a certain consistency; the synthesis must not make the individual elements unrecognisable, otherwise everything becomes a suffocating din in the end. The question that arises with Deleuze is the following: How can the inaudible be made audible by these machines. Capture energies, allow currents of intense quantities to flow, question the music about the degrees of fastness or slowness; all this gives the music cosmic dimensions. Music however seems powerless when it creates a jumble of sounds and tones; a permanent overflow of signals makes us become unconscious. We also become unconscious when we hear nothing but perfect harmony, just repetition and its refrain. Perfect melodies and perfect chords, that's what folk music and pop music offer us daily, just the circulation of clean sound currents, cleaned of the noises and sounds that could disturb prosperity. The masses can also be forced into deep sleep by a synthesiser. So the harmony, the chord, even the tone itself must be exploded; one must open the door to noise itself, make even the channel to the sound currents quake. That is the place for electronic music to strike in, whether one calls it techno or what ever.

KD: Guattari has been a life long advocate for a vague movement for the acquisition, the use of machines. For example, he spoke on the Italian radio station, 'Radio Alice'. Do you all see your techno - production within a movement, somewhere between radio pirates, computer hackers and techno - producers?

AS: What the system always tries to shut out, of course the world wide computer net system too, is the interferace. The hackers create noise when they break into other systems, that leads to the destruction of some areas of that system. But at the same time this noise can signalise the beginning of a fresh news, This depends on the complexity of the system and place from which I move. This means that the exclusion function is at the same time also an inclusion function. The systems expect the noise, with malfunctions, and they develop mechanisms to correct and regulate deviations and disturbances. They acclimatise themselves to the deviations. In the same way that one became acclimatised to the lunatics, the radio pirates etc. and all the other dissidents of the seventies, so one becomes acclimatised to hackers, the techno - dissidents of the nineties. The media industries occupy the sub-culture, but at the same time alignments develop, potentials build up, that cannot so easily be occupied by the system. In the same way that computer hackers operate with sign sequences in electronic space, so do the techno dissidents use sound material in electronic sound spaces; free from any semantic that would force itself onto a memory. A euphoric movement could look something like that. But at the same time one moves around in these sub-systems, the refuse that the large systems, including the military, throw off. They are reduced for the user, who is allowed to operate the gadgets that the leisure industry offers him.

KD: What are the consequences for you all? Do you still use the term techno and move around the edge of the scene, or do you try to move along your own path?

AS: One must assume that the industry causes forced restrictions in the music, not only through the building of the hardware and the employment of software, but it also reforms the manner of distribution and the listening habits of the masses through music's own suppliers, the former independent labels.
The scene, however, is a conglomeration of heterogeneous groups. Is it on the periphery as opposed to the centre? One spends time on the periphery and is then suddenly in the centre again. In some cases, the periphery of one system leads directly to the centre of an other system. The interaction of the systems itself produces a net of centres and peripheries. 'Moving on the edge', is an unsuitable metaphor. Molar machines are systems with many variables and changing control mechanisms. The periphery is repeatedly surrounded and vice versa, the scenes work on norms that are greedily adopted by the systems, if they serve the development of complexity and control. In this way systems and scenes can strengthen each other, but of course always under the dominance of the molar machines. If one analyses the reactions to Force Inc., by both the industry and the techno-scene, one sees that the same mechanisms are at work in both. One excludes and at the same time distributes honours. One kills and castrates. In these conditions today, one must look for alignms a jumble of sounds and tones; a permanent overflow of signals makes us become unconscious. We also become unconscious when we hear nothing but perfect harmony, just repetition and its refrain. Perfect melodies and perfect chords, that's what folk music and pop music offer us daily, just the circulation of clean sound currents, cleaned of the noises and sounds that could disturb prosperity. The masses can also be forced into deep sleep by a synthesiser. So the harmony, the chord, even the tone itself must y different from the development of a techno track, in every dimension. Techno tracks are produced through the so called mixing process, a certain synthesiser and its sounds are synchronised through a sequencer, the midi-line transfers all parameters between synthesiser and computer. In the end all the sounds are layered over one another through the mixer, sounds are cancelled or added etc.... And then often a dramaturgy of the track appears, that is audible, as planned, and that appears then as the creativity of the producer. OVAL however finds itself in an acoustic empty space and their 'organisation' allows music to develop, music that according to their statements cannot be wanted, because one could not imagine it. How does that happen? On the level of computer games and simulation. What is found becomes music, an organisation of sounds developed through filtering the rauschen. That means signals are sent through the time variation filter or sinus waves are added. They are then stored these days on a digital medium, for example the CD. In the practical execution itself, OVAL shows the production of what they call sound design, and that music does not only have to reject the world of noise, but that music can also integrate these noises.
The interference noise, in the case of the OVAL CD, skipping noises or accidental noise itself, are the found materials that are not layered as in the mixing process, but flow simultaneously into one another; loops with loops joined in a completely additive and cumulative manner: The midi software builds the door that opens to time horizons, beyond the linear chain of time moments. The time becomes molecular, a time of jumps, reversal, delay. OVAL creates a music that goes forward but at the same time it skips strangely, but this skipping is always a micro jump. These micro jumps are audible as clicks and serve the joining of loops and different time environments that are peculiar to these loops. Rhythm, when the sounds and tones are rhythmetised, they become a web of pure speed. The conception of music itself becomes available for arrangement, in this way. Here small minority strategies are built that annul particular concepts of making music and music listening.

KD: How far has the development of the production means, the productive forces, changed the concept of music? Which reality has music under digital conditions?

AS: Music, not the reproduction of tones, but the creation of new sounds, that is the condition to start from. As the composer could previously review the sound results of his notation only retrospectively, and because the demands of the composer on the music machine could only be relatively realised through the interpreter's increased practice, so the interface - person / machine - must itself become the issue. Then the individual types of the instruments themselves could be set in order, they proved themselves to be compositional straight jackets. In this century the first electronic instruments were developed, also the first sound storage, tape recorders. This was important for concrete music. Now real existing material could be worked on; cuts, transformations, techniques of slowing down and speeding up came into use. The analogue synthesiser was already being talked about, the invention and mass distribution of the microprocessors allowed sound runs; compositions as the generation of music through the use of algorithms appeared. At the same time music became a frequency phenomenon. Vibration runs were created, that can be dangerous for the human ear and that no composer could have written down before hand. The copyright disintegrated, can one be author or owner of frequencies or sounds? The storage mediums conserve sounds that had always been just copies of copies. The composer or author works under contingent conditions; he can only create the consistencies that Deleuze means when coupled to the sound machine. Units also dissolve on the side of the receiver. Echo effects allow sound hallucinations to occur, they delocalise the perception apparatus; forms of perception develop that, strangely, one had previously attributed to lunatics or schizophrenics.

KD: I would like to concentrate on the term schizophrenia. How would you describe that in the music - a process of structures disintegrating, which were, in a subjective sense, relations, identity, ego /alter ego?

AS: Since the fifties, in musique concrete, later in rock, in the industrial music up to techno one heard diverse noises, screaming, chirping, creaking, hissing. Actually all noises that one related more to madness. With the mechanical production of these noises it became clear that madness itself is a metaphor for techniques. The use of these techniques in music leads to de-territoriallisation currents. They disintegrate musical forms, shatter sound material into varied elements that are ordered according to new speed and time relations of variables, like fastness and slowness. Also spatial relations became unstable. In the stereo-system the sounds wander from bellow to above, from left to right and vice versa, the place from which the signal originates becomes audible, but is at the same time a non place. Schizo hearing becomes necessary because the schizo himself is de-territorialised; he follows the sound currents, he plays with the effects and the forces of drugs, without taking any drugs. He is not a clinical case - quite the contrary to the masses of ecstasy eaters at the large raves, who quickly become objects of the clinical and pharmaceutical industry. The schizo must log on to the sound machinery, he must make it function, produce diverse sound occurrences. Techno is also schizo music in the sense that it deconstructs certain rules and forms that pop music imposed on the sounds; on the other hand it has to invent rules itself, that are subject to consistency operations. At the same time the music repeatedly falls back into the old rules, or it builds itself new immobile models, the process of de-territorialisation becomes blocked.

KD: Deleuze and Guattari described the movement of the de- and re-territorialisation in the first book 'Anti-Oedipus', the forerunner to 'Mille Plateaux'.

AS: Both are types of movement. The de-territorialisation is the movement by which one leaves the territory. It is a process of disintegrating blockades, the exploding of established channels, etc. Without discussing the individual processes of the de-territorialisation that Deleuze names, one can say, somewhat simplified, that the de-territorialisation is always accompanied by re-territorialisation, nothe sound results of his notation only retrospectively, and because the demands of the composer on the music machine could only be relatively realised through the interpreter's increased practice, so the interface - person / machine - must itself become thuld just be a return. Of course that happens too, one only needs to think about the phenomena of the DJ. It is taking on the character of the star cult again, with all the imaginary identifications, that always see the self in the other person. This is a comedy of mistakes, that become completely obscene. The other only exists as a special image, an image manufactured by the media industry. The expansion of these images, the manufactured star type, is the hero-worship of the average, according to Adorno. Or take the music itself. The use of melodies and voices, that claim to be the music itself, create an aesthetic of boredom, a self sufficient repetition. The tracks are overwhelmed by signature tunes, the potential fascism that Deleuze speaks of in music. Td that no composer could have written down before hand. The copyright disintegrated, can one be author or owner of frequencies or sounds? The storage mediums conserve sounds that had always been just copies of copies. The composer or author works under contingent conditions; he can only create the consistencies that Deleuze means when coupled to the sound machine. Units also dissolve on the side of the receiver. Echo effects allow sound hallucinations to occur, they delocalise the perception apparatus; form blocking and damming up of the runs, in which electronic music or techno is just beginning to liberate itself from the traditional rules. Suddenly the producers outputs are made up only of sounds and signals that are automatically programmed in the synthesisers; one is content with the regurgitation of a standardised repertoire of sounds, that result from certain switches. The principles of the production associate with each other again. The order from order principle, as the system theory calls it; not the order from noise principle, order that doesn't reject noises, rather welcomes them and plays with them. One techno context needs to be avoided now, the one that bonds the music to a hardware (Roland, etc.) and software (Cubase, etc.) syntax. This can be done by switching the machines away from their regular use and making the interfaces a new issue; repeatedly transforming the sound itself through the different effect machines. One could similarly discuss the effects of techno on the body or the space that it is being performed in.

KD: Can you describe the beginning of the raves and techno parties - where the subversive impulse was to be found?

AS: The immediate subversive moment at all small illegal events, warehouse parties, was in the fact that the face check at the door of every disco didn't take place. The production of the events themselves still contained all the characteristics of the theatrics found in the discotheques. These are also spaces that are not formed by walls and partitions but by light and music; a simulated space that creates a mobile image of itself, through lasers and spotlights, that is indistinguishable from itself. The illegal events, however, reduce the streams of light radically - fog and strobe light - so can the music multiply its effects. These events are more sound events than visual space. One logs on to the sound machine and its noises, in that one becomes a part of its surroundings and accepts the synthesis of light and music. In dancing the body disintegrates into elements, elements that can take on varying degrees of speed, elements that can be influenced in completely different ways and manners. We translate the flowing stimulations into speed; speeding up, bringing into circulation, whirling rotations, that creates their own space, as if the discovery of speed serves to capture forces, forces transmitted by the music. But at the same time spaces come into being, in which the alignments are broken or tumble into catastrophe. This is the kind place that the rave seems to be today. Here the visual and non visual pillars of the traditional geometric order of the rooms are newly defined. This type of room is not peculiar to the illegal events; it is a connection for many different room elements, a space in which the reinstatement of a middle point, or centre, controls the dimensions of the room, defines the positions, within which the masses are to move. An organised model develops that is thought out into the last detail, made of tactile, visual and sound dams, that control the sound and body currents. Even the theatrics of the discotheque disappears. In short: reduction of sound to the signature tune and a stupid metric - the bass drum leads all - existence of a space for heards. Perhaps Adorno's phrase is right: 'Fun is bathing in steel.'

[*Translators note:
Rauschen - german word for rustle (leaves, silk, radio), rush (flowing water, wind), roar (storm, waves);
rausch - intoxication, drunkenness; rauscshend - rustling etc., orgiastic (party) swelling (music).
In this case the word is used to describe the electrical noise.]

I Don't Know - Launches Tonight

info@technolaud.co.uk (http://www.technolaud.co.uk) — Fri, 19 Feb 2010 13:50:00 GMT

FRIDAY 19th FEBRUARY: The launch night of 'I Don't Know'!

This is a monthly party at The Legion on Old Street, with free entry all night! Here are a few words from those that run the night:

"Our party is dedicated to providing quality underground house and techno music in the heart of Shoreditch. With its thumpin' Funktion One sound system and friends & family vibe, it's the only place to be for a night of dancing in the true spirit of house music! See you by the bass bins!"

Launch Party Headliner:

Dean Muhsin (Bearweasel | 8bit):

Dean is one half of the highly respected Bearweasel duo, who since their inception in 2007 have had a string of releases on some of hottest labels around including Tsuba, Murmur, 8bit and Supernature. Their distinctive sound merges early house and techno with an unmistakable deepness, winning them support from Steve Bug, Peace Division, Sebo K, Motorcitysoul and Lauhaus, to name a few. Dean's DJ sets are of an equally high calibre, mixing deep house and techno with a relentless groove that will truly get the party jumping-this one not to be missed! Here is a recent mix by Dean Muhsin for Buzzin' Fly Radio:

Support will come from the 'I Don't Know' resident DJs, Thick As Thieves and Carlosi. For another little taster to get you in the party mood here's a mix from Thick As Thieves for WEPLAYMUSIC:

CLICK HERE TO SEE THIS MIX ON "WEPLAYMUSIC"
RIGHT-CLICK HERE TO DOWNLOAD THIS MIX

This night will be reviewed on Techno Laud soon.

Jan 2010 Production Comp winner: Dario Davide

info@technolaud.co.uk (http://www.technolaud.co.uk) — Thu, 11 Feb 2010 13:10:00 GMT

[CLICK HERE TO VISIT DARIO'S SOUNDCLOUD PAGE]

Dario Davide is the winner of the January 2010 production competition on Techno Laud! We simply loved the energy of Dario's groovey tech funker,
'Bad Hairday'.

And now for a little info about the man behind the track...

Favourite DJ/Producer:

I dont really have one but i like Speedy-J, Joseph Capriati, Oliver Huntemann, Umek, Dubfire, Adam Beyer, Extrawelt, Spektre etc.

Favourite clubs:

Melkweg, Westergas-fabriek, Studio 80

Best party I went to lately:

Awakenings Drumcode night (2009)

Worst party i went to:

A few, but when that happens, I make sure that I don't remember!

Favourite food:

Italian and Indonesian (which also happens to be my origin)

Dream alter ego:

I Don't know, but I can fly in my dreams...

What clubbing means to me:

Dancing, meeting new people, hearing new music, having fun, dancing dancing, releasing and going berserk!

Currently living in the suburbs of Amsterdam, Dutch-born Dario began his musical journey as a young child at the age of 5. He and his mother lived above a bar which his mother owned. Dario started to sneak into the DJ booth to play records from popular artists of the 70s such as Boney-M, Kool and the Gang, and The BeeGees.

It was then through the likes of Grandmaster Flash, Afrika Banbataa and Doug E Fresh that Dario grew an interest in scratching vinyl records, and even formed his very own 'B-boy posse' right in the middle of the scratch-hype of the early 90s!

Around the age of 15, after being asked to play at an Acid House graduation party, Dario became interested in the growing house scene of the time.

Using equipment such as a Boss drum-computer, S1200s and an Amiga 500, Dario was able to gain his first production experiences through cutting samples and beat-making.

In 1996, he entered several turntablism competitions, including the Dutch DMC championships - for which he was sent to Italy, where he competed to be the world champion. Dario was knocked out, but left with some invaluable experiences.

After his son was born in 1992, Dario took a step back from DJing and producing and slowly learnt the ins and outs of production whilst building up his own studio over the years.

Dario explains why techno is now his main point of focus:

"I love many styles and have never had the urge to go commercial so I have always made music just for the fun - this went from hiphop, soul, breaks and trance to techno until about 3 years ago, when I started to focus mainly on techno music which gives me the freedom to combine everything that I like!'

And these days...

"Once in a while I will meet someone from back in the day, and the first thing they ask is "Are you still doing the i-oe-ioe wiggy wiggy" (making scratch noises)."

Since 2009, Dario Davide has started to make his re-appearance as a promising techno DJ and producer and is sure to have some more great tracks to be let lose in the near future, so keep your eyes peeled!

Dario was also very proud to tell us about his son, Wesley, who has also started DJing - Be sure to have a listen to his mixes here!

[LINKS]

Facebook | Myspace | Soundcloud
Dario's new techno parties (Dutch site)

Plastikman Returns

info@technolaud.co.uk (http://www.technolaud.co.uk) — Thu, 11 Feb 2010 12:41:00 GMT

Richie Hawtin is preparing a brand new one hour live show under the guise of his Plastikman persona.

The last Plastikman show to be performed was at Canada's Mutek festival in 2004. Richie says he wants to continue to explore the connection between visual, audio and interactivity.

He goes on to say: “It has always fascinated me how sound, lighting, visuals and human interactivity define and deepen a concert experience. By focusing on my own unique Plastikman sound I hope to find new freedom and explore the extremes of where these elements converge, challenging our senses, stimulating our memories, and creating an experience of physical and mental intensity that can be only Plastikman.”

Plastikman Live will be debuted at this year's Timewarp festival on MAR 27th, 2010. This marks the first date of the first ever Plastikman world tour. For more information, visit the Plastikman website.

Jan 2010 Mix Comp winner: Steve Worrell

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 10 Feb 2010 23:37:00 GMT

(Click on the "info" tab for the Tracklist)

The mix competition for February 2010 has been won by Steve Worrell, 24, of Milton Keynes. Congratulations, Steve!

Favourite DJ: Marco V

Favourite producer: Elon

Favourite club: Berghain (Tresor a close 2nd!)

Best party of your life: The last Trapped event, until 7am

Worst party of your life: The last Trapped, AFTER 7am, when 'Captain Kezzle' reared his ugly head!

Favourite food: Italian

Dream alter-ego: "Stefan Vorrell", the pretentious German techno DJ with a pet crow!

Ultimate self-indulgence: A credit card and Beatport.

What clubbing means to you: You can't put into words how I feel about clubbing and techno!

Steve's mix, "guide to Berlin" has been inspired by his experiences at Tresor club in Berlin, amongst others.

Steve has been DJing since he was 14, only ever playing house music. He discovered minimal and techno only a couple of years ago, when trying some "new things"... and he was smitten!

As with this mix, the music that Steve plays & makes is generally inspired by the Berlin scene. He describes his affinity for clubs like Tresor and Berghain. In his own words:

"They (Tresor and Berghain) hold a special place in my heart. I love minimal and techno together, they compliment eachother so well. Minimal for the groove, techno for the energy!"

Steve runs his own club night on the 3rd Friday of each month in Milton Keynes, called Trapped, where they recently played host to Alan Fitzpatrick, and are in talks with Elon - another Berlin-inspired choice!

Steve had an anecdote to tell us...

"I Made a really crap tune in about 20 minutes before I went to work one morning. I dropped it round to my mate Fraser's house and said it was a groundbreaking new tune from Richie Hawtin called "The New Techno". I told him it was going to revolutionise techno as we know it and that I wanted his thoughts on the track. Later that night, we got in from a night on the tiles and had a bit of the afterparty. Fraser played "The New Techno" no less than four times at the afterparty, telling everyone how groundbreaking the track was, little did he know that everyone at the party was in on it. I broke his heart in front of everyone when I told him the truth!"

...Oh, the humanity!

Steve is playing for Mimo at the Whitehouse on Mar 6th, and at Ministry of Sound on Mar 12th... "So, if you're around, please come and say hello, and grab a CD from me!"

[Links]

Youtube | Soundcloud | Trapped

Production Competition - Sample Magic Giveaway!

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 3 Feb 2010 01:00:00 GMT

Great news, techno children!

We've been sponsored by Sample Magic for February's production competition. The lucky winner will get to choose and keep one of the amazing sample packs from Sample Magic's catalogue for free! For your chance to win, show off your production prowess by sending the Techno Laud your own original track!

Sample Magic are renowned as one of the very best brands of samples, and are used by top producers worldwide. This prize will prove a great asset to any budding, or experienced, producer. As well as getting the sample pack, the winner will have a feature article written about them on Techno Laud.

Opening date for entries:

1ST FEB 2010

Closing date for entries:

28TH FEB 2010

===========================

[TERMS & CONDITIONS]

+ Entries sent after these dates will be considered for the March competition, so make sure you stick to these dates for your chance to win the samples!
+ Sample Magic's new book, "The Secrets Of House Music Production" is not included in this prize giveaway offer.

[SUBMISSION FORMATS]

+ Links to submissions must be posted as a comment below this post, or emailed to: competition@technolaud.co.uk

+ You may send links to online streams, or to download the track from an online host.

+ Email attachments will NOT be accepted.

+ Streaming tracks must be encoded at a reasonable quality (at the very least, 192kbps)

+ If you are sending a download link, accepted formats are: MP3 (320kbps) / WAV / AIF

===========================

The winner will be informed by email.

You can check out the great Sample Magic products on offer here.

The winners of January's production competition and mix competition will be announced soon!

Sample Magic Demos:

Music DNA: The future of digital media?

info@technolaud.co.uk (http://www.technolaud.co.uk) — Tue, 26 Jan 2010 13:26:00 GMT

The people responsible for the MP3 file format have decided to take things a step further. MusicDNA has had a mixed response from the industry, but is this simply becuase we don't yet know enough about it?

This system has been created by Norwegian developer Dagfinn Bach, who worked on the first MP3 player in 1993. It's funded by, amongst others, German Researcher Karlheinz Brandenburg (left), who invented the MP3 format and is currently the Director of the Fraunhofer Institute for Digital Media Technology in Germany.

What we DO know, is that MusicDNA is a deluxe file format with the ability to hold up to 32GB of mixed media. This could include videos, images, song lyrics, interviews, bonus tracks, sleeve notes... you name it. The files are made to be extremely searchable, and they will dynamically update with new content every time you connect to the internet.

MusicDNA appears to also have it's own 'player' software, which includes a recommendation engine, as well as the ability to display any web content. This means that people who make music can use MusicDNA files to provide their fans with a vast array of information. Blog posts, Facebook event pages, practically anything can be included. This makes MusicDNA a potentially huge marketing tool beyond any previous formats for media release.

Being so dense in information, they will likely cost more to buy than your standard iTunes or Beatport purchase. Bach & Brandenburg are hoping that users are prepared to pay up for the extras. Some, however, are skeptical. There are those who say that iTunes, whilst not only being the worlds biggest digital music retailer, also has many of these system (although not as extensively) in place. The recommendation engine included in MusicDNA is preceeded by iTunes' "Genius" toolbar, which many feel already does a good job of reliably suggesting relevant music to its users. Cover notes, bonus tracks and videos are also things iTunes has offered for some time. So why the fuss? Are people going to stick with the old, or embrace the new?

The move from iTunes to MusicDNA is much like the move from DVD to Blu-Ray. The previous format is by no means unsatisfactory, and already includes some great features. However, the newbie is a logical progression into more varied, detailed media with features galore. Stefan Kohlmeyer, who works for Bach's company 'Bach Technologies' says: "Out of a rusted old VW Beetle we are making a Ferrari... We are taking an existing idea, giving the end user a lot more and making that file much more valuable - like transforming a tiny house into a huge villa."

At current, this is the only released image showing the potential look of the MusicDNA software:

Support for the format has come in the form of small labels signing up to use the format for their releases. Typical of their aversion to changing how they work, none of the large record companies have signed up yet. Hopefully, this will change. The key to saving the business of selling music is to move forward with the digital age, and to embrace all its new changes.

A beta version is being launched this Spring, with a full roll-out expected at the end of Summer, given that everything goes to plan. Click the logo below to visit the MusicDNA website, where you can also sign up to be a part of it.

Supercool

info@technolaud.co.uk (http://www.technolaud.co.uk) — Fri, 22 Jan 2010 15:09:00 GMT

As per our duty to the London scene, we're spreading the word about this great House & Techno party. Check back later for an updated post, where we'll be interviewing Tommi & Nic, who run it, delving into the concept of their daytime-dance-do, and discussing their future vision.

For the time being, we're letting you know about the upcoming Supercool party on Sunday 24th Jan at Public Life.

For all details about this "mother-f****** badass" party, see this great video they put together for your information:

And finally, to get you in the mood to dance the day away, here's a mix from Tommi, who is also a resident at the excellent Always Fridays at Egg:

Dec 2009 Production Comp winner: Alex Mark

info@technolaud.co.uk (http://www.technolaud.co.uk) — Sun, 10 Jan 2010 22:35:00 GMT

Congratulations to Alex Mark for winning our production competition for Dec 09 with his track, "Sticky". We loved this track for the deep spacious sound of its pulsating sidechained chords, along with a nice rolling beat. Some great production here, with a clear and focused palette of sounds. Great work!

Alex Mark

Alex's influences have come from a number of different backgrounds, which in turn, have shaped the soundscapes of his 2009. Citing Pokerflat, M-nus, Mobilee, Mothership, TuningSpork as favourite labels and influenced by Sebo K, Martin Landsky, Max Cooper and Radioslave, to name but a few, it seems that he’s aiming high to achieve releases that match those of his peers, but his philosophy of constant studio time coupled with experimentation seems to be paying off. Aside from the underground electronic scene, Alex also looks toward other influences, still firmly routed in electronica, but on a more ambient level, such as Boards of Canada, Vangelis and Krafwerk, for inspiration, whilst maintaining the need to make people move and be moved by the complex beats and haunting melodies, that are key to his production ethos.

2009 was an interesting year for Alex . Having wrapped up his successful monthly night ‘WoRd!’, which was, strictly speaking, the only night during 2007-2008, at which you could hear Minimal and Tech House being played anywhere across the North Wales coast, he embarked on producing his own music again, having taken a break to get his night off the ground.

This isn't the only production competition Alex has won... In summer of 2009, Alex’s remix of Tim Sheriden’s track “Villain” won the VeryVeryWrongIndeed remix competition, giving him a solid platform for his next remix for the Heavy Duty Brothers track “Check This Out” in November of that year.

Since then, he’s been working towards getting his own productions released, some of which are being supported by the likes of Rob Maynard (passionFM/DirtyDJ recordings), 10Sui (SamuraiFM), Jamie Gittins (FilthyGorgeous) and Ibiza veteran Curtis Randles to name but a few. Right now, Alex is aiming to get his sound as a Producer/DJ firmly on the map in the Techno/Tech House scene and build on the success of his busy 2009.

Links for Alex Mark:

Soundcloud

Podcast

Facebook

Gorkem Ozkaynak's "Outsider"

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 6 Jan 2010 21:20:00 GMT

Originally from Turkey, Görkem is now based in London as a DJ and producer... and he's also a dab hand at animation - He's made this video for his track 'Outsider':

(Tracklist Unavailable)

Görkem's career in production is beginning to take shape now, and we're hoping to hear more tracks from this producer... keep an eye out for this one! He often plays back-to-back with Yll Matluma, a fellow budding producer from Albania. This is a mix they recorded together.

Click-2-Click (Richie Hawtin + Dubfire)

info@technolaud.co.uk (http://www.technolaud.co.uk) — Tue, 22 Dec 2009 05:29:00 GMT

Richie Hawtin and Dubfire teamed up at the 2009 Exit Festival. They played a back-to-back set using an array of laptops, synths, and MIDI controllers. The act is named 'Click2Click'.

(Click on the "info" tab for the Tracklist)

Here is a live recording of their
set at Exit Festival
(as a Radio 1 essential mix),
followed by another
back-to-back from
Magda and Loco Dice...
a nice bonus.

Richie and Dubfire collaborated
once more in December '09 at
Womb in Tokyo. Here's a great
video taken inside the booth,
showing the guys in action!

Wehbba - Simplicity (DJ Set, 01/04/08)

info@technolaud.co.uk (http://www.technolaud.co.uk) — Fri, 18 Dec 2009 19:02:00 GMT

(Click on the "info" tab for the Tracklist)

Having enjoyed playing Wehbba's fantastic tracks for some time now, this mix affirmed my respect for him as a DJ - An intuitive mixing style and a keen ear for some great, dancey techno tracks helped Wehbba set this mix apart.

Enjoy!

Alternative:
Rapidshare Download
[ http://rapidshare.com/files/104041335/Wehbba_-_Simplicity__2008_-_04-01_.mp3 ]

Monthly Mix / Production Competition - Announcement

info@technolaud.co.uk (http://www.technolaud.co.uk) — Mon, 7 Dec 2009 12:16:00 GMT

Send us your mixes & tracks, and every month, we'll post an article on the blog about the winning artists (one for best mix of the month, and one for best track of the month) and their work, including biographies, and any media related to the artist.

To send us your mixes & tracks, you can simply click on the button at the top-right hand side of the blog, or just email them to:

competition@technolaud.co.uk

(links to listen to online streams are preferred)

We love to hear innovative ideas in music, and look forward to receiving your entries!

Squeezed Alien Mash-Up

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 2 Dec 2009 13:03:00 GMT

Here's a mix by Sven Laux I just had a listen to, and absolutely loved:

Squeezed Alien Mash-Up by Sven Laux

Sven Laux has released plenty of unique Minimal / Electronica, and can be found on Beatport:

Rabid Festival '09 + Lost Souls Afterparty Review

info@technolaud.co.uk (http://www.technolaud.co.uk) — Mon, 30 Nov 2009 14:51:00 GMT

On 7th November of this year, the very first Rabid Festival took place. This is London's brand new winter techno festival. The line-up boasted such names as:

Umek : D.I.M. : Matthias Tanzmann : Paul Ritch (LIVE) : Ambivalent : Fabrizio Maurizi : Peter Van Hoesen : Mike Dehnert : Andre Kraml : SIOPIS : Marcin Czubala : Scuba : Deepgroove (LIVE) : Sigha : Silversurfer : Spoc : Jacob Husley : Peter Pixzel : Cormac : Hannah Holland : Mikki Most : Ian Robinson : KeToLoCo DJs : Ivan Escura : FB Julian : Pinto : Nazareth : Christopher Ruvalcaba : Sebas Ramis : Rama Bloom : Haine et Doute : ITM : Multifarius : Mario Leal : Pepper

...and a whole host of others.

With a line-up this extensive, playing in a chilly London winter, we needed a big ass club...
The festival sprawled over 5 rooms of London Bridge's SEOne.

Rooms were hosted by WetYourSelf, DJ Mag, Ketoloco, Trailer Trash and Lost Souls, who also played host to the amazing official Rabid afterparty at Cable.

Those who went to Rabid will know that much of SEOne, apart from WYS's main room, was quite empty - which really was a great shame. This brave debut was brought to a recession-hit clubland of financially reluctant ravers. Rome wasn't built in a day, and the hope is that as each year comes round, this will grow. I waited in DJ Mag's room, with bated breath, to hear Fabrizio Maurizi play. As his set time neared, the music stopped and a burly bouncer inflitrated the dancefloor, announcing that the room was closed. Pretty upset, I shuffled out of the room with the other Maurizi hopefuls, to later hear the dancefloor buzz that he would be playing at the Cable afterparty... even better! Boy was I pleased.

Dancing out the rest of the night in the WetYourSelf room was a treat. Paul Ritch and Matthias Tanzmann banged out some absolutely mental beats. Pounding, chunky, rhythmic techno to our hearts' content. The crowd, myself definitely included, loved absolutely every minute of it.

Umek, after some technical issues (prompting him to do what any great technician would do - swearing and aggressively flashing V-signs at his laptop), finished things off at SEOne, bringing the mood down to a deep, rolling groove that segued nicely into the short walk to the afterparty...

And what an afterparty it was! Cable is an excellent club, designed by the same clever folks that put together the layout of Fabric - the only shortfall being the treachorously slippery floor in the bar room, and (tragically) on the staircase... be warned! The sound system and acoustics in that place are, in my opinion, totally spot on.

This served Seth Troxler and Jamie Jones well, playing a back-to-back set with warm acoustic sounds and grooving percussion throughout. In contrast, Fabrizio Maurizi transmitted his signature electronic, mechanical, even mathematical sound. His Daddy Diego-esque crushed synths and clicking beats went down oh so well. The intimate and friendly feel of this shindig was second to none. A real social vibe permeated the atmosphere. It was a far cry from the messy come-down extravaganzas often witnessed at afterparties.

Three cheers for Antony Difrancesco and the rest of the Lost Souls team who did a great job of putting this together!

The Rabid website is here, which currently displays some more videos from the night. I'll certainly be checking the goings on at next year's installment, which will be on Sat Nov 6th 2010. Hopefully, I'll see you there!

JM

DJs for DRC

info@technolaud.co.uk (http://www.technolaud.co.uk) — Thu, 26 Nov 2009 20:18:00 GMT

One subject that seems to be hushed by mainstream media is The Dominican Republic of Congo. Currently the country is recovering from an ongoing civil war that has claimed over 3 million lives. Many people are now dying from disease and starvation, and there is an estimate of 45,000 civilians dying per month. The Congo is described as 'the worst in the world' for sexual violence and rape, where many women and children are often kidnapped and forced to work as sexual slaves. Education is also lacking in this country, as 5.2 million children could not receive an education due to the war, and many parents cannot even afford to pay enrollment fees to send their children to primary school.

DJ and producer Jay Haze has started the DJs for DRC project: a charity to provide relief for those living in the Congo. The project targets those working in the dance industry and asks DJs to contribute 50% of their earning fees to DJs for DRC. Jay Haze states "DJs are blessed to be able to travel the world playing the music they love, and they can make a small sacrifice like this to make a collective difference in the world". DJs who have contributed include Tiefschwarz, Loco Dice, M.A.N.D.Y, Luke Solomon, Luciano, Spencer Parker, Tiga and DJ Sneak. Jay Haze has also pledged to donate half of his DJ fees from September until the end of this year and contributed all of the proceeds from his Fabric 47 album. Be sure to keep an eye out for Jay's documentary, as he plans to travel and film through the Congo in Spring of 2010 to spread more awareness of this tragic situation.

If you're interested in being apart of this amazing project you can make a donation on the website, contribute half of your DJ fee from an event, or support these DJs by purchasing their tracks on the DJs for DRC BeatPort chart:

Links:
DJs for DRC official website
Jay Haze Official Website
Charity Chart on Beatport
DJs for DRC on Facebook

-Allison Ferreira

WetYourSelf!

info@technolaud.co.uk (http://www.technolaud.co.uk) — Thu, 26 Nov 2009 17:40:00 GMT

No, this isn't an instruction from someone with a frustratingly obscure fetish... unless you consider mind-twisting techno and dark, throbbing house music to be just that...

WYS is one of London's best parties. It runs every Sunday night at Fabric. Almost every single week, they bring in a well-known name in techno or deep house. Gaiser, Popof, Pig & Dan, Alex Kid, Tomboy & Fredski, Chris Liebing, Spencer Parker and many, many more have already ripped up the decks for WetYourSelf's great crowd of party people. Each week, the residents are there to warm up for headliners, and end the night, always in good taste. On some weekends, the residents are featured without other headliners, at which times they always shine as upstanding DJs in their own right.

Residents are:

Jacob Husley Cormac Peter Pixzel

WYS originally started at Club Aquarium on Old St. This is a great club, with one hell of a beefy sound system, a strippers pole and a swimming pool... all the essentials, then! When WYS was at Aquarium, it looked something a little like this...

[The track on this video is

"I Like You More in the Dark" by Husley & Gunz]

Now they've moved on to bigger and better things at Fabric. For this Sunday night stomper, only Fabric's main room is usually open, but it's packed with an electric atmosphere, generated by a crowd who really are there for the music (apart from the odd tourist who asks you, with a grimace, when Pendulum are going to be playing). Here's a video of Chris Liebing's set earlier this year. We'd been to see Style of Eye earlier that same night at Camden's Koko. We had a little chat with him after his set, then headed down to Fabric to hear Chris's set. When we hit the dancefloor, we saw Style Of Eye again - he couldn't resist coming to WYS to hear Chris Liebing play a live set!

WetYourSelf recently had a big outing at Rabid, London's winter techno festival, the first of which took place Nov 7th this year. This was a smashing night, with an absolutely incredible afterparty (more on all that in a later post), and the WYS room at SEOne was pumping all night long. The WYS residents started the night, then handed over the proceedings to guests Paul Ritch, Mathias Tanzman and Umek amongst others... Needless to say, the place went wild...

So, if you can make it down to Fabric on a Sunday night, go for it! Check out the WYS line-ups, pick the headliner you like, buy your ticket for a very reasonable 8 quid, then turn up. Easy... peasy.

WYS LINKS:
Facebook group
MySpace
Jacob Husley MySpace
Peter Pixzel MySpace
Cormac MySpace

Let's Do The Time Warp Again...

info@technolaud.co.uk (http://www.technolaud.co.uk) — Wed, 25 Nov 2009 11:55:00 GMT

So, the legendary Time Warp is nearly upon us again. Usually hopping between Mannheim and Rotterdam, the next one finds itself in the Maassilo club in Rotterdam, on 12th December.

Time Warp regulars Sven Vath, Loco Dice and Marco Carola will be joined by the likes of James Holden, Karotte, Technasia, Gaiser and Click Box, with many more on the line-up.

First run in Mannheim in 1994, Time Warp has also been know to travel about. It hit Prague in 2005, and Vienna in 2006. The week leading up to the Time Warp event is host to the "internationales festival für jetztmusik und medienkunst" (international festival for contemporary music and media art). During the last festival week this year, over 20,000 people visited. This festival is one of the top 5 in the world.

This year, the festivals promoters, Cosmopop (the same team behind LoveFamilyPark, and executive producers of the worldwide Contakt events), celebrate 15 years of timewarp with a special

double mix CD from Marco Carola,

which is well worth a listen.

Those in London, Leeds or Manchester can get to the upcoming Time Warp via a coach trip, organised by their official UK promoters, Lost Souls. These guys are offering an all inclusive deal at a massively cut-down price. Those who would like to go will need to join this Facebook event page, and apply within!

If you want to book your ticket to Time Warp yourself, you can buy your print-at-home early birds here. For more Time Warp videos, you can check out their YouTube channel. Time Warp will return to its home Maimarkthalle club in Mannheim on 27/03/10.

Allison's Pick 'n Mix 01

info@technolaud.co.uk (http://www.technolaud.co.uk) — Tue, 24 Nov 2009 18:48:00 GMT

Every now and then I'll be probing through the internet and picking out a mix to share. This week I've selected Mathias Kaden's guest mix with the Buzzin' Fly radio show, hosted on KISS FM.

Mathias has done remixes for his fellow German DJ/producer Matthias Tanzmann and is currently on tour promoting his album 'Studio 10', which was released in September on Vakant.

To listen to his mix, go to www.buzzinfly.com and select 'radio'.

Track listing: Dario Zenker 'Down There, Then' (Esperanza) >> Felipe Venegas & Andre Butano 'Butangoy' (Chris Carrier remix) (Objazz) >> Julien Chaptal 'Discgo' (Remote Area) >> DeWalta 'Move Yo' (Vakant) >> Matthias Tanzmann 'Chano' (Moon Harbour Recordings) >> Mathias Kaden 'Ikenga' (Vakant)

Enjoy!

Allison Ferreira

Sphere ventures into Techno

info@technolaud.co.uk (http://www.technolaud.co.uk) — Mon, 23 Nov 2009 04:24:00 GMT

Sphere is a London based Drum n Bass producer, who has recently ventured into Techno with interesting results. 'Alert Code' has some nicely produced percussion, and syncopated dissonant synths, sounding not too dissimilar to Trentemøller, without feeling derivative. With a saxophone solo towards the end, to freshen the track up, against its heavily electronic sound, this is a well balanced techno stomper with soul!

*Download 'Alert Code' by Sphere*

Sphere - Alertcode by sphere

Sphere's work in DnB has also attracted the attention of label Future Thinkin, so watch out for potential upcoming releases.
For more info / tracks:
http://soundcloud.com/sphere
http://www.myspace.com/spherednb

M+M Recommend Always Fridays @ The Egg

info@technolaud.co.uk (http://www.technolaud.co.uk) — Sun, 22 Nov 2009 12:16:00 GMT

Our friends have some rather interesting occupations and diversions to keep them busy... like running infamous weekly nights at London's most popular venues. Always Fridays is a top night out, playing all manner of house, techno, minimal, disco, bassline, electro and more... all at one of our very favourite clubs - Egg!

We're regulars to this night, often drooling over their line-ups. Some favourites such as Dusty Kid, Style of Eye, Deepgroove, Format B, Daniel Steinberg , Worthy & Popof have played here in an intimate, house-party-type atmosphere. And their residents (Jacob Husley, Peter Pixzel, Tommi Tonic, Ohliuliu, John & On, and Dekker) always do a good job of banging out that unmistakeable 'Eggy' sound!

For a great night out, with a good natured, up for it crowd, Always Fridays comes highly recommended! I leave you with a video from their 2nd birthday weekender, featuring Niederflur, Gaiser, Carl Craig and Konrad Black...

"Grounded" by Style of Eye

info@technolaud.co.uk (http://www.technolaud.co.uk) — Tue, 17 Nov 2009 13:00:00 GMT

Ain't this pretty damn fun...

Minus presents Contakt @ The Brixton Academy

info@technolaud.co.uk (http://www.technolaud.co.uk) — Mon, 16 Nov 2009 20:09:00 GMT

On Sep 26th this year, we went to Minus presents Contakt at the Brixton Academy in London. The line-up included:

RICHIE HAWTIN

FABRIZIO MAURIZI
MAGDA
TROY PIERCE
MARC HOULE
GAISER
HEARTTHROB
JPLS
AMBIVALENT
BAREM

Here are a couple of videos our manager took during this amazing show.

Very impressive visuals, and absolutely stunning, pumping beats all night!!

OTHER PHOTOS FROM THE NIGHT:

Jon Maker

Techno Laud

Stroboscopic Artefacts Showcase at Corsica Studios, London

Artizan Music

Katja Diefenbach interviews Achim Szepanski

I Don't Know - Launches Tonight

Jan 2010 Production Comp winner: Dario Davide

Plastikman Returns

Jan 2010 Mix Comp winner: Steve Worrell

Production Competition - Sample Magic Giveaway!

Music DNA: The future of digital media?

Supercool

Dec 2009 Production Comp winner: Alex Mark

Gorkem Ozkaynak's "Outsider"

Click-2-Click (Richie Hawtin + Dubfire)

Wehbba - Simplicity (DJ Set, 01/04/08)

Monthly Mix / Production Competition - Announcement

Squeezed Alien Mash-Up

Rabid Festival '09 + Lost Souls Afterparty Review

DJs for DRC

WetYourSelf!

Let's Do The Time Warp Again...

Allison's Pick 'n Mix 01

Sphere ventures into Techno

*M+M Recommend* Always Fridays @ The Egg

"Grounded" by Style of Eye

Minus presents Contakt @ The Brixton Academy

M+M Recommend Always Fridays @ The Egg