Hot on the heels of the Original release of Searching, which landed a #3 spot on Traxsource and massive support in South Africa, in part due to the Jazzuelle…
Here's why NERVOUS RECORDS belongs on this list.... 1) Our logo is the shit! Does not just represent House Music...reps all underground club and dance culture since it was born in '91. People see that logo and just know right away what it means...namely NYC nightlife! Plus ain't nobody else merchandised the fuck out of their logo like we did. And how about our record bags standing the test of time....I still see people using those joints where ever I go. 2) We were the only indie dance label to successfully move into hip hop...which through the years has always dipped in and out of dance! It's not an easy road for a label to navigate, and we successfully did it! So credit is due. 3) Our catalogue has some of those iconic titles that are forever stamped in underground conscious. Maybe not the ones that crossed in a big way, but the ones that other labels would not have worked the same way and with the same big time results. Nuyorican Soul / The Nervous Track?? That created a whole new genre. Winx / Don't Laugh? Of course the track is classic Josh so it's amazing...but still what are the odds of a track with him laughing would be sooooo big?? Plus Armand's First release, PVD's first american release. 4) Finally who else has been doing this so long and never sold out to major label bozos or to asswipe corporate clowns???
Anyway lists don't matter...and I got nothing but love for Beatport but dammnnnnn you guys have lost the touch of the industry somewhere along the way so maybe it's better to not even be on your list?? Although it does seem like lately you're trying to get it back...so hopefully that's the case...and when you do this list again in five years maybe make some adjustments. Beatport
America has played a key role in the story of dance music (step right up, house and techno), and record labels have helped lead the charge. This being Thanksgiving week, the time feels right to show some love for the dance imprints…
This Monday we introduce something new which we call Producer’s Monday. Producer’s Monday will feature every week - well at least we'll try to make it weekly -a different tip regarding studio work, which fellow colleagues will find useful and others probably still interesting. To kick start Ralf has to share this, which might sound obvious, but nevertheless seems to get forgotten often.
Producer’s Monday (1) Ralf GUM
I feel this is a simple, but very worthy tip to start and no worries we will get deeper into production related topics with following posts. I definitely work most efficient when I am well rested and had some food. A day of “producing” means to be fully concentrated for many hours. The brain has to make a lot of instant decisions, of which most are very important for the outcome, and this steadily and simultaneously. To be awake sleep is the best option and to have energy it is food. There’s nothing wrong with a night session or even an inspired recording after the club, however to get into detail, edit, arrange and mix full focus is best.
DJ Kanunu Is A True South African House Pioneer With A Proven Track Record And His Latest Session For DJ Syndicate/Katsaitis Proves He’s Still An Innovative And Vital Funk Force.
A Collection Of Contemporary And Soulful South African Sounds ‘Soul Meditation’ Also Shows How Versatile The Tshwane Spinner is: it’s Kanunu’s first mix for the country’s most established compilation label since he blended up the banging ‘We Love ‘Buzzin’ Fly’; before that he broke ground with the ‘Wicked Sounds Mid-Tempo’ CD, which showcased the slo-mo grooves then engulfing the local dance community.
Local is the focus again on this disc, and it’s timely: the entire house world is looking to South Africa for fresh sounds and bright talents, and this collection contains plenty. The producers in Kanunu’s spotlight include the most blazing beat-makers at work at the moment ‘Soul Meditation’ also includes lesser-known but highly promising prospects like Essential I, Msk And DJ Tea and DJ Khosto with Tshidi – another example of Kanunu shining a light on great new groundbreaking rhythms. Musically this is on higher ground to anything else around – jazzy, melodic and with song-like structures, it demonstrates that Kanunu is still on top of his game – and streets ahead of the pack.
Tracklisting:
John Lundun & Afrique Essence – Meeting Of The Minds Dj Khosto Feat Tshedi – Don’t Wake Me Up MSK & DJ Tea Feat Dave – Nomperere Jerah – Child’s Play BlackJean & CavoDeep ft Komplexity – Free Falling Hypnosis ft Decency – Hold On Soul Junkie Ft Seh – I’m Not Gonna Make It Vuky J – Search Inside (Main Vocal Mix) John Lundun ft Rhema Osborne – Love’s Rain Big Mo – Tribute To Alice 60 Hertz Project – Signature
Remember D'Angelo? Takuya Kuroda and his producer Jose James certainly do—this excellent collection has that loose, swampy, stoned feel from 'Voodoo' closer than anyone since, putting across that feel of thick, still air on a scorching hot, languid, afternoon perfectly. D'Angelo worked because he signposted a way to fuse the classic jazz influenced soul of say Marvin Gaye, Smokey Robinson, Al Green and even Prince to modern hip hop grooves without diminishing either genre. By putting that sound into a soulful jazz context Kuroda has arguably chosen to accentuate one of the elements in that original mix so that the whole can be kept fresh sounding while new possibilities can be explored by his excellent band. The key to getting this sound right is the choices of personnel and instrumentation made by the bandleader and Kuroda clearly knows what he is doing. So, for instance, Corey King's trombone adds to the feel of warmth that fits well with the Afro-beat influence that emerges on a couple of tracks and Kris Bowers opts for the more muted tones of the Fender Rhodes on all but one of his featured tracks. The Afro-beat influence probably bubbles through from Kuroda's 6 years in the Brooklyn based Akoya and he has spoken in interview of how that gig was important in teaching him the importance of musical feel as opposed to say the more musical theory orientated dues paid by the modern classical or jazz musician. Lionel Loueke's inventive and unconventional guest spot solo on "Afro Blues" is a good example of how to keep that looseness or feel within an original rhythm pattern, but still find a way to take it further. As Kuroda put it simply in a recent interview, Loueke "killed it." Kuroda and James have worked together in James' band since the singer's Black Magic collection of 2010, and the more groove led approach was apparently at the latter's instigation. James himself contributes an impressionistic vocal cameo on the first of two Roy Ayers' covers—the successful trip hop update of "Everybody Loves the Sunshine." The core quintet are clearly comfortable with the musical direction and play beautifully throughout, showing a great understanding for example in the uplifting call and response interplay between Kuroda and Corey King on tracks like "Piri Piri" and title track "Rising Son." That is not to say that the album is all about soulful, Afro-beat dynamics however—one of the highlights is the gentle sensitivity of "Sometime, Somewhere, Somehow" whose melancholic trumpet and shuffling beat was apparently inspired by the significant loss of Kuroda's grandfather. On "Mala" too the band do a reasonable approximation of the early Blue Note work of Erik Truffaz or maybe even the sort of territory that Nils Petter Molvaer explored in the late 1990s, but this is far from a straight bop album. While Kuroda has expressed a desire to return to playing the more straight ahead jazz of his previous work, here the seam of creativity that runs through this modern fusion collection appears far from exhausted. As a debut for Blue Note the album was clearly intended to make a statement and it succeeds admirably on its own terms. Let's just hope Kuroda manages to follow it up somewhat quicker than D'Angelo has managed with "Voodoo" where the clock currently approaches 14 years!-
The name Takuya Kuroda should sound very familiar to fans of Blue Note recording artist José James. If you’ve ever seen James live, or caught one of his many YouTube live sessions, you will have seen Kuroda in action anchoring the horn section behind James’ powerful vocals.
The Japanese trumpeter and composer made his first trip to the U.S. just 13 years ago. He couldn’t speak a word of English, but the universal language of jazz provided the framework for the most unlikely manifestation of the American Dream – Becoming a jazz musician. After honing his chops at New York’s New School, and learning the ins-and-outs of the business alongside James, he’s ready to step out into the spotlight with his Blue Note Records debut ‘Rising Son.’The album is supremely accessible – A simmering mix of the cultures and influences that make Kuroda one of the most distinctive young players around. From the entrancing Lionel Loueke-assisted afrobeat rhythms of “Afro Blue,” to the big drums of hip-hop infused “Piri Piri,” to the soulful vibes of Roy Ayers cover “Green and Gold” (my personal favorite cut on the album), to the funky vibes of another Ayers cover of “Everybody Loves The Sunshine” with José James on vocals – Elements are mixed and melded as they permeate every corner of the album to create a near-perfect combination of the old and the new atop a foundation of jazz. This isn’t an album you can’t sit still and listen to – The result of album producer Jose James’ influence. He told Kuroda: “Make sure you have something in the music that makes people bob their heads.” Musicians take note – This is timeless advice. But the question that will no doubt be on every commentators mind is: Is It Jazz? I can almost hear the jazz-purist blogger’s keyboards tapping away as they pontificate about the issue, but at the end of the day none of that matters. Genre is not as easily defined as I may make it seem in the last paragraph, and as a community (if you believe a ‘jazz community’ exists), it’s time to hang up these outdated notions and barriers that provide some rigid and arbitrary definition of something that is fluid, ever-flowing, and ever-evolving. Everything you need to know about this album can be summed up in a single sentence. Rising Son represents the fusion of all of Takuya Kuroda’s influences as a musician, and a skilled one at that. This album should be required listening for anyone with an interest in jazz, funk, afrobeat, hip-hop, or any combination of the above. This is a solid major-label debut that proves Kuroda’s rightful place is in the spotlight. -David La Rosa
A young bedroom producer has reportedly taken to Facebook for the sixth weekend in a row to post a status letting everyone know that he would be staying in all weekend to work on some tracks.
Barry Jacobs, a self professed “sound engineer, beat maker and tonal impressario”, makes further claims that he doesn’t want to go out partying because “making tunes is so important to [him]” – a claim he also made unsolicited via a Facebook status update which received seven likes, most of which came from fellow self promoting “producers”.
He was also keen to point out how much he loves “these weekends off from partying where [he] can work on some serious beats” and how much he “can’t wait to drop these sick bangers on fuckers” because apparently “people are going to freak at this shit”.
“Nothing beats just chilling out, unwinding and getting stuck into making tunes bro,” he was heard tell a casual friend unprompted at a party. “I’ve been making tunes for years,” he continued, holding back from saying “I’m cool aren’t I? Love me please, I make music.”
Friends of the “producer” were quick to dismiss his claims that he’d be “strapped to ProTools all day Saturday”, claiming that in the five years that he has been DJing and producing they’ve never heard a completed track.
“Yeah I’ve heard snippets and 30 second clips of beats,” remarked one, David, “but never a fully formed and finished track.”
“I actually called over to him on one of his producing weekends,” he continued. “I found him playing World of Warcraft eating cheese Doritos and smoking spliffs.”
“He said he was just ‘taking a break’ but I could tell that he was lying by the embarrassed look in his eye and the fact that there was about four hours worth of wanked-in tissue in the bin,” David added. “The ones on top weren’t even crusty yet.”
“He always posts the same statuses on Facebook that say he’s busy working on his album despite the fact that he definitely isn’t, no-one has ever heard his music and his bedroom, rather than being a recording studio, is more accurately described as a wank dungeon,” concluded David. “It’s almost as if he just wants the props and acclaim of being a serious musician without actually being one.”
From house party DJ to South Africa's Got Talent, our new favourite DJ is on a mission.
He might have only just turned three, but DJ Arch Jnr has already won the hearts of people all over the world thanks to his skills on the decks.
The judges on South Africa's Got Talent loved his filter and cross fader work so much on his DJ controller, they slammed down the golden buzzer to send him straight through to the semi-finals.
He might not be beat matching or mixing tunes, but he's got plenty of years in front of him to fine-tune that and, judging by the amount of people he got on their feet with his fruity house beats, nobody's too bothered how he delivers the music.
It can't be too long until fellow South African Black Coffee gives him that co-sign, either. Watch DJ Arch Jnr's performance below.
5 Favorite Freerange Releases by Pittsburgh Track Authority
SEP 27, 01:00 PM
Pittsburgh Track Authority’s sound is a real amalgamation of styles that deliver a house music texture that touches on classic NYC garage, a touch of Detroit techno and even a hint of broken beat and R&B. The outfit consist of Preslav Lefterov, Thomas Cox and Adam Ratana; a trio of Pittsburgh producers and DJs who’s latest release ‘Your Situation’ is the perfect example of their sound and style.
Available now on Jimpster’s Freerange imprint, this proper 3-tracker is going to be causing some serious damage to the world’s dance floors. To celebrate the release on Jimpster’sesteemed deep house label, we asked the PTA boys to select their 5 favourite Freerange tracks and with a seriously wide range to choose from, this was far from an easy task!
Hanna “The Race”
Hanna is one of the most slept on house producers. Funky drum programming and nice instrumentation like most of his jams. One can never go wrong with him!
Robert Strauss “Rhythm of Life (Yoruba Soul Mix)”
The legend Osunlade turns in a mix that is not even house music. This is more along the lines of neo-soul and a very good interpretation it is.
Esoterik “Alcyone”
Kirk Degiorgio is maybe known more for his techno these days, but he is quite capable across many genres. This one mixes classic techno and house quite nicely.
Blackjoy “Untitled”
Perhaps one of the more obvious selections of Freerange jams, but for good reason. Classic deep house right here!
Swell Session vs Seiji “Prepared To Go (Jimpster Dub Mix)”
The man Jimpster does the dub mix to a Swell Session vs Seiji jam, both of whom are sick producers on their own as well. A lovely warm jam.
Pittsburgh Track Authority artist page and releases on Traxsource.
To celebrate the release of the amazing Bloq, the new sample based virtual instrument for Kontakt, Ableton Live and Logic Pro X, we decided to have a nose around the studio of Sample Magic’s very own super producer Sharooz.
With support from the likes of Moby, James Zabiela, 2 Many DJs, Erol Alkan, and Mark Knight, Sharooz is a one man machine when it comes to firing out super slick dance music on labels like Modular, Fools Gold, Lektroluv, GND and La Bombe. As one of the creators of Bloq, which a whole host of classic, iconic synths and drum machines, we thought it would be interesting to see what kind of set up our man had, as we went Inside The Studio with Sharooz.
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1) Congratulations on your first virtual instrument, BLOQ. How is it being received so far?
Thank you. It’s been incredibly well received. Computer Music magazine just gave it a glowing review and we’ve got a few other reviewers saying they’re really enjoying it. I’ve been responding in person to all the user feedback we’ve had and so far it’s been overwhelmingly good.
2) Tell us more about BLOQ. What was the main inspiration behind it and what prompted the move into virtual instruments?
I’ve enjoyed using and collecting vintage gear for years. It sounds so warm and none of the remakes come close. I rely on the sounds so heavily that I started to sample each machine, gradually building my own personal library for all the travelling and touring I was doing. With Sample Magic, we’d never done a Kontakt instrument before so it was a natural progression to release it commercially. I got in touch with Matt Fudge who did an amazing job on the scripting and making the most of bringing all the unique Kontakt features into the mix.
3) What is it about BLOQ that make it unique?
Bloq is unique firstly in the sheer quality of sampled sounds. Our signal chain was unparalleled – we used the Prism Orpheus as the AD conversion front end, the Neve 1073 and Focusrite ISA430 channel strips and the highest quality cables. Every sound from every drum machine was sampled in every possible pitch, tone and attack/decay iteration at 24-bit resolution. Every key in every synth patch was sampled uniquely and some of the patches even have three separate velocity layers for each note. We also spent ages putting together an innovative sequencer design. Matt, Luis Burdallo (the GUI designer) and myself spent weeks getting it just right so it would fit exactly in the limited screen estate we had available, but still excel functionally. The drum patterns took me ages too. I programmed four patterns for each drum machine and really went into detail with the variations, velocity levels and accents. Oh, and some of the kits are pretty unique – I’m almost sure ours is the only instrument to include rare drum machines such as the MXR 185.
4) Give us some insight into your production process. How do you typically begin constructing a sample pack?
Firstly I’d have to check the sampled source synth was exactly in tune with no dropouts and crackles in the sound. Then I’d create or recall a unique patch and sample each note at exactly the same length across 61 keys. We’d check the pitch again and make sure each sample was normalised and had matching transients and decays (with many of the older analogues this can’t always be guaranteed). Next I’d build the patch and loop samples if the preset was a continuous tone like a pad. Then I’d add unique effects, ADSR, filter settings and a sequence pattern if needed.
5) What equipment do you have in your studio?
SYNTHESIZERS: • Roland Jupiter 6 • Roland Jupiter 8 • Dave Smith Prophet ’08 • Clavia Nord Lead 3 • Teenage Engineering OP-1 • Roland MC-202 • Roland SH-101 • Elektron Analog Four • Roland TB-303 • Yamaha DX7 • Korg DW8000 • Korg Poly 800 • Korg Poly 61 • Korg Volcas • Korg Electribe 2 • Korg MS20M • Arp Odyssey • Sequential Circuits Pro One • Roland Juno 106 • Access Virus TI Snow
6) What is your favorite piece of equipment to use in the studio and why?
Right now probably the Roland TR-808 because it’s actually a relatively new acquisition. It’s used on everything and just sounds like history every time you switch it on. The punch, the timing, the warmth, the bass, the dirt. My friend Dean Coleman gave me the Roland SB-X 1 to clock it with all the other Roland gear via DIN sync and it has an amazing, swingy, tight feel to it.
7) What piece of studio equipment or production process defines your sound?
Probably the Empirical Labs Distressor. I’ve had it for years and unlike most people I use it in mono. Usually I’ll treat drum hits on the way in, crunching up the transients on kick drums and snares. It also works great on vocals, guitars and live bass on the rare occasion I get to do live tracking. It can be a very smooth, warm compression or an all-out assault. It’s got distortion and tape-warmth emulation which always work a treat.
8) What piece of hardware/software elevated your production to a higher level & how?
A few years ago we made the Magic AB plugin and it’s an essential part of my mix buss chain. It sits on your channel master and allows instant mix AB’ing with up to 8 tracks. My mixing and in-house mastering have gone up several notches and I can’t imagine working without it now.
9) What fresh equipment have you recently added to the lab?
Korg recently sent me the MS20M with the SQ-1 sequencer. It’s the kit version. It’s lush. It sounds just like the original to my ears and the sequencer has some awesome little features. I’ve taken it out live and done a few sets with it.
10) What are your essential studio supplies?
I’m so boring, ha! It’s crucial to get things right in there so anything that increases focus and concentration with all those long hours. Team green juices. Ginkgo Biloba (I’ve heard it increases blood flow to the ears), biscuits, fish oil (seriously haha!), fresh fruit, etc.
11) What list of artists have influenced your sound?
It’s always changing. My all time favourite is Juan Atkins – such a huge innovator and still timeless in my opinion. Right now I’m really loving Danny Daze, Clark, Oliver, Daniel Avery, Django Django, Waze and Odyssey, Jimmy Edgar, Maelstrom, Canblaster. Classic influences would be Jeff Mills, Todd Edwards, Dave Clarke, Ian Pooley, Masters at Work, King Unique, Derrick Carter, DMX Krew, Orbital etc
12) Give us 3 of your favourite personal productions.
• Sharooz – Ryse I built this using solely analogue machines clocked with the SBX-1 and I’m giving it away free
• Sharooz – Krone I imagined this as a dystopian vintage horror soundtrack or something and used a lot of the old Korg boards like the DW8000 and Poly 800 to give the lo-fi feel.
• Sharooz – If This is the first time I ever did anything that wasn’t straight four-to-the-floor. I was aiming for something a little more atmospheric with a nod to the classic sound of Drexciya or Juan Atkins.
13) Any handy studio tips you would like to pass onto producers out there?
Always check your mixes on as many different systems as possible and reference as much as possible against your favorite tracks. It’s the only way you’ll get things right. And play your own stuff out – so important for correcting arrangement tweaks.
14) Whats next for you and Sample Magic?
I’m actually taking a break from doing ‘Sharooz’ for a while. I’m working under a new alias which I’ll reveal soon and am hugely excited about the direction it’s taking. I want to get out live too and bring some of these old boxes up on stage with me. Sample Magic have some great new plug-ins coming out by the end of the year and I can’t wait for the world to see them.
All 5 tracks offer up a wide range of eclectic styles and influences, with some seriously old school hip-hop flavours rubbing shoulders with some jackin’, deeper house joints. We sat down with the boys to talk about the interesting direction the label is heading, as we got deep into the Splendor & Squalor of Brame & Hamo.
1. Great name for a record label! How did it come about?
After deciding to make the label, the name was the thing. We both loved the contrast, clean & dirty, rich & poor, good & bad. We think that these come across in the music.
2. What kind of sound will the label be purveying?
Definitely the hip-hop and jazz sound but of course that can also change. We’re pretty open.
3. The Cotton Club EP features a range of different styles. Will this be a norm for Splendor & Squalor releases?
Maybe. This label is just our own project at the moment, so there really is no structure to it, but we will definitely be experimenting with stuff on it with future releases.
4. Are there any particular artists that you think would be the right fit for Splendor & Squalor?
We haven’t really thought about putting out original music by other people, but if we could get anyone it would probably be Moodymann or Andrés.
5. Track three ‘In Control’ is a proper old school style hip-hop joint. Is that sound something that’s influenced you over the years?
Yes of course. Although we were both born in and around the golden age of hip-hop and weren’t listening to it as newborns, we most definitely got into it. Haha, that sound has definitely influenced both of us and our direction on the label.
6. What kind of hip-hop artists do you like?
Too many to name but we’ll name a few. Old stuff like “A Tribe Called Quest”, “The Roots”, “Eric B. & Rakim” to more of the newer UK artists like “Fliptrix”, “Verb T”, “Ocean Wisdom” and of course Irish hip-hop act “This Side Up” who are one of our (Hamo) brothers and friends.
7. How does it feel to be rated number 2 in our Top 20 Deep House Artists of 2015 so far?
Feels great. Thanks a lot. We really didn’t expect to be named at all.
8. Where’s the most splendid place you’ve ever visited?
Roberto’s! It’s a takeaway in Sligo. Unreal burgers, man.
9. If you found yourself living in squalor, what would be the thing you would least like to sell?
Probably ass.
10. How do you see the future of the label?
Well for the near future, we are working on 003 at the minute and planning 004. Maybe we will incorporate some of our friends in there. Who knows, but hopefully people keep digging the stuff we put out.
Brame & Hamo artist/label pages and releases on Traxsource.
Well done to Black Coffee taking home the “Breakthrough In Association Mixcloud” Award at the 2015 Ibiza DJ Awards last night. We are also proud to announce that South Africa wins “Dance Nation of the Year” Award! We’re EXTREMELY proud this morning!
SEP 27, 01:00 PM
