An Interview with DJ/Producer Valentino Kanzyani
It could well be said that alongside fellow countrymen Laibach and Umek, Valentino Kanzyani is one of Slovenias biggest musical exports. As well as spinning techno and house on three decks across the world to huge crowds and acclaim he has released a barrage of dancefloor anthems for labels such as Primevil, Yoshi Toshi, Intec, Wet Musik, Tronic, Primate, Consumer Recreation and his and Umeks jointly run Recycled Loops and Earresistible imprints. If anyone can lay claim to putting Slovenia on the techno map then the name Valentino Kanzyani ranks high as one of its biggest propagators. Already a big name DJ within his native Slovenia, in 1995 a club called Ambasada Gavioli opened and Valentino Kanzyani became known as the man behind one of Slovenias most famous venues. During a three and a half year period he booked and played with literally every DJ from around the globe but as the new millennium approached he left to oncentrate on his own DJing and production work. It was after going into the studio with his old friend, Umek that Valentino was to release his first record as Recycled Loops on Primevil in the summer of 1999. Thus, Valentino Kanzyanis name was soon to be heard in DJ sets all over the world and similarly his DJ gigs went supernova as he joined the jet set elite of globe-trotting record spinners.Following the success of their initial release Umek and Valentino set up Recycled Loops as a label and have never looked back. Now having released some 12 records the duo also co-run Earresistible for their more house inspired production work whilst Valentino Kanzyanis single-handed production skills have graced labels as varied as Intec with the House Soul EP and Tronic (Burros Eslovenos) to Yoshi Toshi with the massive Flying whilst he has most recently remixed Carl Coxs new single, gaining Essential Selection status from Pete Tong.Earresistible evolved due to the pairs shared passion for tribal house and elements of this and Valentinos techno side can be witnessed on the expertly mixed CDs Rock The Discotheque Volumes 1 and 2 (Matrix Musik) and the 40 odd remixes he has carried out on labels such as 23rd Century, Premier Sounds, 20:20, Urbana, Shine, ZYX, Intec, Wet Musik and the list goes onValentinos DJing has taken him to every corner of the world. His three deck skills are second to none and as a result hes toured the world steadily for the past few years taking in Brazil, Colombia, Japan, USA, Australia, Singapore and every corner of Europe, whilst on radio he has been heard across the globes airwaves culminating an Essential Mix on Radio 1. >From 10,000 plus strong crowds at the worlds biggest festivals to intimate club gatherings Valentino Kanzyani now finds himself in the premier league of trans-global Deejays. With a new DJ mix CD out on Carl Coxs Intec in 2005 and the new label Jesus loved You out in 2006 the next twelve months look set propel him even further into the stratosphere.
mK: What’s like being called “Slovenia’s big thing”?Valentino Kanzyani: I am very happy about that because I am coming from a little town located at the Slovenian coast line with barely 30 thousand rezidents - I managed stay out of trouble and become something special. I make my family proud of me.. That´s what matters for me..mK: Tell us a bit about your early djing days.VK: The music is and was my driving fuel - at that time around 1991 there were no ˝superstar djs˝ and stories and it was all about being there for your own passion and love. Nowadayz a lot of youngsters have different perception of what a DJ should be like - they often see just the ˝jet set˝ side of it. So a lot of them are missing the point: many of them become famous because of their production skills and when they come to the club they deliver a poor performance. I am happy that I did my long line of low-profile locations with poor equipment and bad sound systems, because today I am able to solve any coming problems. So my early djing was all about learning and growing into what I am today…mK: How would you complete this statement? “Music is…”?VK: the only truth.mK: One of your latest releases include a mix compilation for the legendary techno club Palazzo, how did you choose the track-list for this mix?VK: It was a long and joyful work as I always take time to choose the tracks. The compilations for me are like statements in time and I want to make it perfect from my point of view…I am really happy with the track selection and I am really looking forward to hear the reactions, that is what matters even more.mK: How are things with your digital label “Jesus Loved You”? Future releases include…VK: Great! My label is expanding, we did a lot of things this year to promote it : we had an event during Sonar in Barcelona, we have our own radio show on Proton called Simplicity and so on… I am very happy with the music we are receiving and releasing, especially because it comes more and more from our country and ex yugoslavian countries..
Future releases include: Space Explorers with a rmx by Boris Brejcha, Adriano Filipucci, Marko Nastic and others.
mK: You are currently on tour for your booking agency “Kne’ Deep”, the past few years you’ve been giging all over the world, which is your favorite location?VK: There are many locations I like but I always speak out about Brazil and Spain… I must add Colombia after the amazing tour we recently did.. It was incredible and I look forward to going back there soon….mK: Production wise which is your most useful studio tool? Any secret tips for young techno producers?VK: My lap top, of course. Its my studios heart and my traveling studio, too.. My best tip is to reduce all the software to the minimum and know all the little secret your software is offering….mK: Currently we see you producing more minimal, electroish stuff, what are your main influences at the moment?VK: My main influences are always the same, they come from all around the globe but in the recent two years I must admint that I get a lot from spending my summers in Ibiza, I love this Island and it always fills me with new ideas and energy.mK: If you were to choose between djing and producing which one will you choose?VK: Hehe, DJing is my first love….mK: You are pushing your music through some of the best techno imprints out there, like your own Recycled Loops, Cox’s Intec, 20:20, Primate and the list goes on.. Ho do you feel about this?VK: Proud!mK: Speaking about Recycled Loops which you co-own with Umek, tell us how this project come about and when you two meet?VK: We met in 1993 and please read my biography for the rest, cause I told this story already a 1000 times..:)mK: What more should we expect from you in the near future?VK: A collaboration with Marco Nastic and more great music and Remixes to come. Also I want to focus on more Jesus Loved You events.mK: Thanks for your time Valentino, wish you all the bestReferences: http://www.myspace.com/valentinokanzyani, http://www.danceradio.gr/
The award-winning and revolutionary Lemur control surfaces have been wowing crowds around the world on their highest profile outing yet. No one knows more about innovative performance than Björk, so it is perhaps inevitable that she is the first high profile artist to embrace the power and performance capabilities of the groundbreaking Jazzmutant Lemur for her latest tour, including her amazing performance at Glastonbury. On stage, alongside two Lemurs, Björk sings with a 10-piece brass section that doubles as a backing band, laptop and electronics ‘players’ plus keyboard and percussion virtuosos. It’s about as unusual a set-up as you’d expect from the world’s most innovative and unusual performer, and it all combines to produce one of the most talked about live shows that’s playing to stunned crowds across the globe.Jazzmutant’s Lemur control surfaces have bought the performance back into music making. No longer do computer musicians feel the need to hide behind their desktop and laptop machines on stage. With these futuristic controllers they have the ultimate playing surface to perform their music and can give their fans an opportunity to witness a real live spectacle.Alan Pollard is the man responsible for much of the technology on the tour, while Damian Taylor is actually at the controls of one of the Lemurs on stage. Together they provide a valuable insight into how the machines enhance the experience for both players and audience alike.“We were mixing Björk’s album in London with Spike Stent last November,” recalls Damian, “and Mark Bell [production, live laptops and controllers] pulled out the online [Lemur] demos that were posted on YouTube, just to say, ‘aren’t these cool?’ At the time Björk was just beginning to think about touring the album and she really liked how strongly they represented elements of electronic music in a visual way. We wanted to see if they translated from looking cool into being a cool thing to use musically. Luckily the answer has been a resounding ‘yes!’”
Damian and Mark now have two Lemurs installed as their main controllers on the tour and use them extensively with Ableton Live on pretty much every song. Of course other controllers could have been used, but few can match the power and the sheer beauty of the Lemurs, and those looks have also helped add a striking visual edge to the show.“Absolutely!” agrees Alan. “The visual thing is important. There are specific cameras just on the Lemurs and we’ve put large plasma screens in front of Mark and Damian to show what is going on with them. That was originally Björk’s idea, she’s into anything that has got an interesting interface - she wanted people to see that this stuff is actually happening live. The electronics are very obvious and visual. In fact, we’re using the Lemurs so much in the show now that we actually need a back up!”The band are now so into using the Lemurs that they have even created several custom controller sets for the tour.Damian: “We have 42 songs in the band’s repertoire from which Björk will choose around 17 for each gig - but only a few hours before we go onstage. The fact that I could create controller sets for each song that let me perform completely intuitively was what really made the Lemur indispensable for me.”“Now that I’ve gotten used to the feel of the Lemur,” he continues, “I actually really like the way the tactile interface encourages me to play live. I’m now fully rocking out during gigs and my body can interface with the Lemur in a totally visceral way.”
Future dates:2007-11-17 @ Palacio de los Deportes, Bogota, Colombia
“The Sound of the Eighth Season” is not a mix compilation like all others. Even the fact that this series of Mix-albums is facing its eighth edition now does not show many parallels to other (Techno) compilations. Besides the success of the “Season” series during the last seven years, Cocoon and Cocoon Recordings look back to a highly successful year since the Closing Party of 2006. The eighth season ” themed “Freakshow” ” broke all records. Despite a hard beginning with the move to the “Privilege” exile, Cocoon Ibiza was able to boost both the numbers of visitors and the level of party spirit. Legendary nights, incredible DJ sets and live gigs, an almost unique crowd and a Sven Väth who was in top form during the whole summer. Also, the official Freakshow album by André Galluzzi and Raresh was one of the main gadgets in summer 2007 in order to get the Ibiza feeling at home. Unforgettable performances by the grandmasters Ricardo Villalobos and Richie Hawtin or the live performance of shooting star Guy Gerber from Israel round up the image of a perfect season.On the eighth edition of the “Sound…” series, one can also find ” besides the big hits of the Cocoon summer ” some new wild youngsters, who not only keep the wheel turning but even give it more drive. So, Tolga Fidan ” a name not being too well-known to many ” has made it to the tracklisting of Sven’s Mix-album already for the second time; the greek-british newcomer Argy is also part of the Ibiza retrospective 2007. And when it comes to newcomers, the name Martin Buttrich is actually one not to be missed. Although being one of the senior producers in Techno and House since the early nineties and the man behind many Timo Maas or Loco Dice hit records, Martin has not taken the step to an international solo career so far. This has definitely changed after outstanding releases on Planet E, PokerFlat as well as with remixes for Tracy Thorn (ex-Everything-But-The-Girl). His next release for Cocoon Recordings is already in the pipeline and has also made it to Sven’s Mix-album.With this Mix, Sven Väth, the man behind the Seasons series and Cocoon mastermind, does not give his opinion of what Techno was, is or might be, but he rather delivers the soundtrack to a certain concept of life. Already in the past, Väth has included House hymns like “Timbuktu” by New York’s Jerome Sydenham (Ibadan Records) in his Ibiza retrospective and in this tradition, he presents one of the big summer tunes of 2007 on the current volume: Carl Craig’s remix of Junior Boys’ “Like A Child”.However, the most important factor of the enduring success of Sven Väth is this certain extra portion of courage that distinguishes him from many other DJs of his status. He regularly breaks with conventions and keeps his eyes and ears constantly open to new artists and their music. Jamie Jones for instance, well-known only for a short time here, represents the young generation of Techno & House artists on the eighth edition of the “Sound…” series. And as it is suitable for a brave mastermind like Sven, the album finishes with Pepe Bradock’s “Rhapsody in Pain”. Both the artist and the title seem to belong rather to the art scene than the Techno universe (not for nothing is the name of Bradock’s label “Atavisme”) - the deadpan comment an internet user made to “Rhapsody in Pain” illustrates this: “funny and disturbing, but too gross” ” this seems to be exactly the right track for Sven and his current Mix-album!Ladies and Gentlemen: THE SOUND OF THE EIGHTH SEASON, mixed by Sven Väth!Tracklist:CD1 - Freak
06. Steve Rachmad - Moog On Acid
When Luke Solomon’s name is mentioned, it’s quite often in reference to his band, Freaks, Classic - the pioneering record label he co-founded with Derrick Carter, or his legendary DJ performances. Get ready for that to all change, Luke has delivered one of the most interesting, complex and diverse pieces of electronic music for a long time.Let me introduce the man himself to explain further… “Inspired by hours of book reading, the title came about from a book by William Gibson, which in turn came from one of the first computers built by Babbage. Originally I wanted to make a DJ mix of original music. The reason for this being that an album of dance music as separate tracks is a really tricky thing to do well. The audience has changed and peoples tastes have changed, so by bridging that gap I felt I could essentially keep peoples interest whilst they were doing the cooking at home, while they were getting ready to go out, and of course keep the DJ’s happy too. I also wanted it to emulate my taste in electronic music both past and present. Taking inspiration from early deep house records, alongside 80’s punk funk, acid house of course, and the more current produced electronic sound. Once I had that in my head, I then wanted to add musicians that I respected and wanted to work with. This was the glue for the mix. Lyrically and musically it deals with pretty much a whole range of personal emotions, and the trials and tribulations of life, careers and getting older. The title I felt signified my thought process. For me, music is about taking inspiration from the past and using it with the present in order to move forward. It is not about following trends and fashions. It is not about copying what has been done already. And it is definitely not about reliving what has gone before.” 
Tracklist:1. The Difference Engine
JazzMutant’s Lemur is an innovative input device to control computer real-time applications. It combines a distinctive industrial design, a brilliant modular graphic interface concept, and a unique and patented touchscreen technology that can track multiple fingers simultaneously. The Performers Best FriendAre you seriously planning to control a 32 band vocoder with a fader box? Have you ever tried to change a realistic reverb made of nearly thirty parameters in real-time? Which input device allows you to take all the benefit of a powerful physical model synthesizer?Easy to use, fully configurable and with a great visual feedback, The Lemur is the first hardware controller which fits the ever increasing sophistication of real-time softwares.As a performance interface, the Lemur is immediately appealing. You touch colorful rounded interface objects on the 12″ LCD display to control your computer in any way you can imagine. Using an editor application running on your choice of Mac or Windows, you drag and drop switches, faders, and other objects into an exact simulation of the Lemur’s screen. Make any number of interfaces, store them in an XML-based project file and it’s ready to go.Page Up and Down buttons above the display will flip through your pre-defined interface pages, instantly changing the appearance and behavior of the device. One moment you can be mixing by moving several faders simultaneously. The next moment you can be controlling a software synth or composing real-time video sequences with switches and balls that can be thrown around in a two-dimensional space.Tap pads, drag balls, stretch strings: the Lemur understands all sorts of hand gestures and transforms them into any kind of data. Assign a fader object to change filter cutoff. Use a two-dimensional controller for multi-channel panning or scratching a sound file. Spend some quality time alone with your imagination: whether you’re a composer, performer, DJ, VJ or sound designer, you will find no shortage of cool applications for this animal.
Make Your Laptop A Real InstrumentAt first glance, the Lemur does not seem to be anything else than a modular and extremely versatile Star Trek style controller. In a way, that is true, in so far as the palette of user objects allows the Lemur to advantageously replace any type of known controllers, from a mixing deck to a video remote, a 16-step sequencer or any other existing control device. Merely looking for a way to trail along with your whole studio slung across the shoulder? No doubt, the Lemur is made for you!However, if you are willing to spend some time exploring its whole potential and all its great advanced features, you will quickly realize that the Lemur is much more than a simple controller. It will literally transform your computer into a real instrument. For that purpose, in addition to the standard user interface objects (faders, switches, monitors), the Lemur’s library also includes powerful and groundbreaking two-dimensional objects. Although they might puzzle you at first sight, these new objects will soon change your studio works and live performances into exhilarating experiences.In addition to taking on any size and shape, the Lemur’s user interface objects have “physical” properties (including friction, evaporation, and attraction force) that can be customized at any time - even while performing. Items can either stay where you drag them, or slide away from your finger as if on ice. Apply a gravity model to a bank of sliders and they will behave as if they were held by a virtual string. “Throw” a low-friction fader hard enough and it will bounce off the bottom of your mixer.Last but not least, a powerful mathematical expressions parser allows you to create high level layers of interaction between your fingers, the different objects and your favourite applications. It means that you’re not forced to control the nonlinear world of audio with 0 to 127 anymore: objects can be attached to arbitrary mathematical expressions to transform your movements into appropriate ranges for what you are trying to control. In addition, use the Lemur’s internal accurate clock in conjunction with very basic mathematical formula and you will generate any kind of time-domain function : LFOs, envelopes, sequences, etc.Once you will have come to grips with your Lemur, you will catch yourself playing your computer in a way you never imagine before.A Step Beyond The MIDIRecently, the Lemur has been provided with the capacity to generate MIDI messages, so that it can work with your favorite software. Moreover, it is one of the first hardware controller that complies with Open Sound Control (OSC) protocol, an emerging ethernet-based standard for controllers that has numerous advantages over MIDI: low latency, higher data capacity, 32-bit numerical precision, and easy configurability.OSC is currently supported by modular music applications such as Max/MSP, Reaktor, Pd and SuperCollider, and also by powerful real-time video creation tools such as Jitter, Processing, Isadora or Flash - and more OSC- compatible applications are on the way.Once you experience the ability to name controllers freely, hook them up to high-resolution values and send hundreds of those at once, MIDI will seem very 1980s (which it is, by the way). Not surprisingly, OSC can be used with multiple controllers on a network, so if one Lemur is not enough, just use a standard ethernet hub and you can have a whole zoo full of them.Would you like to simultaneously perform both your granular sound textures generated by Reaktor and your powerful Jitter-based 3D scenes? Just plug your two laptops on a local network and kindly ask your Lemur to control them both.Finally, you can also use the two-way nature of OSC to display numerical status information sent to the Lemur from your computer, allowing you to track what is going on with your computer without the computer being anywhere nearby. This means your performance can look more like performing and less like office work.Down With ControllersThere are many controllers available on the market today and we bet that much more will come in a near future. Hard to use, lacking any visual feedback, and a pain to configure: they have lacked the sense of infinite possibilities we have come to cherish in software.Above all, the most significative innovation of the past five years in the controller industry has been the impressive price drop. Meanwhile, the gap existing between increasingly sophisticated software and archaic controllers has dramatically widened. Even the combination of dozens of previously released controllers would not equal the Lemur’s capacity to mirror the unlimited potential of modular softwares.
How Does It WorkConnect the LemurTo start with, plug your Lemur to the ethernet interface of your computer by using its cross-over Cat5 / RJ45 wire. This configuration does not require any additional hardware or software driver. Provided that your computer network interface has been correctly configured, it should be ready to go.Alternatively, you can connect it to your local area network. It might be helpful in case you own many computers or (lucky you!) several Lemurs.Build Your InterfaceThe Lemur is provided with JazzEditor, a cross-platform interface builder. Run it and start the connection with the Lemur. Create as many interfaces as you need by dragging and droping graphic objects on the JazzEditor main window. Copy and paste them, change their size and their shape with the mouse. Finally customize their appearance as well as their physical behavior. Interfaces are instantaneously updated on the Lemur display, so that you can try out what you are editing in real-time.Assign Control ObjectsEach object sends out a certain number of control parameters that correspond to their state. These parameters can be used to :
Hardware FeaturesMultitouch sensing with visual feedbackThe lemur’s top feature is its unique multi-touch sensor, able to track an unlimited number of fingers at once. This transparent sensor is set on a top of the range industrial-class 12” TFT display. Compared to the average laptop monitors, the Lemur’s panel is much brighter, contrasted and it offers a much wider viewing angle. Thus, you can always see what is on display, even under spotlights or in a critical lighting environment.Built-in computing ressourcesThe Lemur also embeds an internal CPU, a powerful GPU (graphic processing unit) as well as a FPU (floating point arithmetic unit), which makes it a quite independant pet for your laptop. In other words, since it manages video rendering and other processor-consuming tasks by itself, it will not overload the processor of the computer.Robust designAs any electronic device or musical instrument, the Lemur obviously needs to be handled with care. Nevertheless, no worry about that, you can use a Lemur in any situation wherever you are : although it is not unbreakable, it has been designed to comply with industrial product standards and it is robust enough to work in the most critical contexts. Indeed, the whole system is housed in a sleek, robust though lightweight aluminium enclosure. The sensor itself is protected with a vandal-proof coating that resists to scratches and humidity. And since it is glued on a 3mm glass plate, the touchscreen also protects the TFT display from being damaged.Fast ethernet connectivityThe Lemur communicates with the host computer using Fast Ethernet connection, thanks to its built-in 100BaseT interface, which means that the Lemur is capable of exchanging thousands of control messages at once with your application. It also means that you can connect numerous computers and Lemurs on a local area network and make all of them party together.Instant navigationThe Lemur can deal with a great number of interfaces simultaneously. Thanks to the +/- navigation buttons, you can navigate on-the-fly among those. The Lemur also features an Interface List button that opens a thumbnail gallery displaying all the current interfaces. Thus, you can directly go to the selected interface by touching the corresponding thumbnail. The interface change happens without any latency.Fully upgradable firmwareWe are always working on improvements and new features. The Lemur can be fully updated with a new firmware by the user through the LAN interface. A checkout system prevents the systeme against improper programming.
Object LibraryFaderThe Fader tracks your finger with a virtual “knob” and transmits one value corresponding to the position of the knob. The fader can be set horizontally or vertically and resized in both directions. The value as well as its label can be displayed. Other available options include physical model (linear interpolation or mass-spring) and object color.MultiBallThe Multiball object assigns each finger to track one of a number of balls in a rectangular space. Balls can either always be visible or only appear when you touch the space. the latter is called ephemeral mode. The multiball supports up to 10 balls and provides 3 parameters for each of those (X, Y and Brightness). Thus, the Multiball object can output up to 30 continuous control simultaneously! The indice of each ball and the object name can be displayed. The area border color can be adjusted. By balancing the numerous physical properties of this object, you will obtain a wide range of interesting behaviors.RingAreaThe RingArea is another 2D controller, except that the ball is inside a circular space. Moreover, the ball is linked to at least one ‘attractor’, so that it comes back to its point when you release it.MultiSliderThe MultiSlider object tracks movement across an array of sliders (up to 64). You can “wipe” all the faders to a set value with one horizontal gesture. This is pretty hard to do with real�”or virtual�”faders. It also includes a ‘gravity’ mode which allows the MultiSlider to emulate the physics of an object similar to a plucked string anchored at the left and right sides of the array of sliders. Your fingers “pluck” the string by lifting it up in one or more places. The values of the sliders ramp up to meet your fingers and track them as they move. Lifting your finger(s) from the surface releases the string, and its subsequent behavior is determined by the Tension, Friction, and Height values.PadsThe Pads object is a two-dimensional array of buttons that are triggered by touch. They are intended to trigger events instead of represent state, since they eventually return to an “off” value after you touch them.SignalScopeThe SignalScope displays values of other objects and variables on your Lemur. The “trace” shows a recent history of the value of what you are monitoring.SwitchesThe Switches object is a two-dimensional array of toggle switches whose values are reversed when you touch them. Switches can be used to represent and transmit one or more on-off states.MonitorThe Monitor sends no data when you touch it. Its purpose is to display values from other objects or information sent to the Lemur by your computer.
Software FeaturesUser-friendly software editorThe Lemur is provided with JazzEditor, a crossplatform (Mac/Win) interface builder. This software enables to create interfaces consisting of graphic objects on your computer and to store them in the Lemur. The number of interfaces that can be included in a single project is not limited: it only depends on the number of objects. Indeed, a Lemur project can contain up to 1024 interactive objects and 1024 mathematical expressions.Easy and advanced configurabilityIn addition to the editing features, the JazzEditor also provides a comprehensive hierarchical overview of your project. It also offers a full set of options to customize each object: dimension, shape, appearance, status and behavior.Mathematical ExpressionsOne of the most powerful features of the Lemur is its mathematical expressions system. Thus, you just have to use arithmetical or logical operation to alter the objects’ value range or behavior. You can also create as many additional control messages as you need, which can be pretty useful when you wan’t an object to control several items at once. This mathematical expression system features a full set of logical and arithmetic operators, and you can create your own user-defined functions.OpenSoundControl compatibilityThe lemur is the first control surface to comply with OSC protocol. Thanks to this protocol, the Lemur is capable of:
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Like a good wine, any great label takes time to mature, stewing and brewing away in ancient barrels. For its 10th anniversary, Berlin’s favourite swinging and swaying Shitkatapult risks an almost too transparent drop too many from the cup of festive reflection.The drunken cheer spawned the simplest of plans: to dust off the good old German tradition of ‘drinking songs’, take them out of the world of wood-panelled shacks and dusty trophies and, just in time for the fifth season, give them a sparkling new overhaul: a dash of strobes in a Berlin pub, so to speak. For this very exclusive concoction we shook, stirred, poured and spared no pains. Besides a bunch of sing-along evergreens, expect some brand new input for the bottomless archives of German drinking songs (6,000 wine ditties alone from the tiny Moselle south/Bad Urrach region), bound to scare some of you and warm the cockles of others.SMASH SHITS will flaunt the proud cat. no. 88 and slot in seamlessly between all of Shitkatapult’s other boozing favourites - from the latest smashes by ANDERS ILAR, APPARAT, SUN ELECTRIC and SYNKEN to T.RAUMSCHMIERE’s recent ambient whoppers. It’s precisely this gushing, heart-warming love of music that has kept us alive and driven the label from strength to strength for the last ten years!!!So, we are proud to present a line-up that’s bound to get you drooling. Hamburg’s favourite martial arts whizz kids DEICHKIND follow up their T.Raumschmiere tribute Jägermeister Wellen with last record’s uber-hit PROST (FEAT DAS BO). An arty smash snuggling up to equally infectious anthems by GELD ET NELT and T.RAUMSCHMIERE feat. ELLEN ALLIEN (DIVING IN WHISKY) as well as the sensational cover of (in)famous German punk hit STEIFHEIT (BETONCOMBO) by DAS BIERBEBEN. From disco to delirium in three easy steps.Shaking up those evergreens, expect (Heino’s) CARAMBA CARACHO EIN WHISKY, DIE REBLAUS (Hans Moser’s grandeur appropriated by Marc Marcovitz) and RED RED WINE in a dubstep version by FENIN feat. GORBI.As part of this aural drink fest, we are especially proud to feature some critical voices by composers not totally taken in by all-you-can-drink parties with 2,500 sloshed medical students. Loud and proud, enjoy budding comedy star and Thuringian future hope RAINALD GREBE, who toasts that incomparable day-after feeling on DIE FETE. Or check out soft drink stomper TRINK EIN COLA by Hamburg’s DIRTY DISHES. And last, but not least, we have snared the tireless media sentries of STUDIO BRAUN for a Bierlied!The icing on the boozy cake: HELGE SCHNEIDER chips in with his keyboard ode to secret drinking, ALLEIN IN DER BAR.The CD will be accompanied by a lavish 20-page booklet featuring alcohol-soaked ramblings by Rocky Schamoni, Kai Pohl, Jurg Sundermaier and Daniel Meteo. Plus a few lyrics to shout along - and a cartoon.A joke? Sure. Here’s to you!Tracklist:01 Deichkind - Prost (feat. Das Bo)
Moby will release his sixth studio album “Last Night” on 10th march 2008. The album was recorded in moby’s home studio in Manhattan N.Y. and features a number of guest vocalists and includes the original 70’s MC Grandmaster Caz one of the writers of rappers delight, Sylvia from Kudu, the UK’s MC Aynzli and the nigerian 419 Squad. “It’s a lot more dance oriented and electronic than my last few albums, probably as a result of all of the dj’ing i’ve been doing lately, and it has some interesting guest vocalists. my favorite guest is the rapper on ‘I Love To Move In Here’. His name is grandmaster caz, and he was one of the writers of ‘Rappers Delight’. He’s been rapping since 1975, and i’m really happy to have him on the record.” - MobyReferences: 
Many turn the last month of the year into a merciless chasm-filling throng of merriment and shiny cheer; and we are no different. Although we’re not ones to embrace the commercial surface; we draw our happiness from below. And we mean way down low, propelled by a constant, almost omnipresent sub bass, mirth drowned deep in tension, dark delicious moody music and for many the future sound of London. That’s happiness, masked as dubstep delivered readily by two of the new guard of sub soldiers, Caspa & Rusko. FABRICLIVE 37: CASPA & RUSKO is an almost perfect blend of dark narcotic melancholy and up front torrential dancefloor delight, all wrapped in cavity filling ridiculous low-end bass destruction and delay.Brought together by a love of each other’s music, Caspa (25-year old Gary McCann) and Rusko (22 year old Chris Mercer) are considered part of a new breed of dubstep talent, sweeping the deep furrows of ground laid bare by peers like Digital Mystikz, Iration Steppas, Kode9, Skream and Benga, mixed with their own jump up comical party fresh and somewhat relentless sound. Coming together from Leeds and London with mutual loves of dub reggae, drum’n’bass, hip hop, and as fans of their own scene, Caspa & Rusko have been DJing and producing for just a few years, yet have been representing the dubstep dream the globe over as music fans from all corners draw them into a constant stream of performance and release requests. Their musical roots are somewhat similar, with both having delighted in their musically involved upbringings. 
While Rusko (classically trained with a degree in Musical Production, with hip hop and original dub productions under his belt as Rusk), has similar anthemic status for 2007 with the constantly dropped ‘Cockney Thug’ having found fans from the 50,000 Arctic Monkeys punters cleverly plied by Ross Allen, to Diplo, Swith & Sinden, Clipz, Chase & Status and the Scratch Perverts to within the walls of a recent drum’n’bass heavy night one FABRICLIVE when it was the only non-jungle track dropped by three separate headline DJs, all within a few hours of each other. Also a fan, it was his love of original dub reggae that pushed him into production.“Dub is the one for me. The whole studio ethos behind dub music is what got me into making electronic music. Having grown up in Leeds I used to take my tracks down to the Iration Steppas record shop soundsystem in Leeds and they’d tell me �” do this or do that. I’d keep going back and talking to them and those boys guided the way for me really.” �” RuskoCaspa & Rusko definitely recognise a crossover between the dub reggae, garage and drum’n’bass scenes and pull the best elements from each to make the sounds and sets they do, injecting this breath of fresh air into their selection for FABRICLIVE 37. Having chosen a new generation of artists from all around the world, picked because of their tried and tested audience reactions, this mix is as true a testament to the sound this duo emanates as it is to the sound of now.“The Fabric mix is pretty relentless. It’s a full on, current mix of tracks that we felt have smashed the dancefloors over the last few months. If you listen to our sets you can tell we’re party DJs. We take an influence in our mixing style from the drum & bass heads, leaning towards a jump up style with quick mixes, plenty of heavy basslines and chopping and cutting. But we didn’t just want to go for the “power hour” option of an absolute rinse out all the way through! We wanted to include deeper moments to give the whole mix more impact. And the mix includes up and coming artists from across Europe and the US, such as L-Wiz and Matty G, alongside tunes from the likes of DMZ and Skream and some other big names in the world of dubstep.” �” Caspa & Rusko
Tracklist:01. Caspa - Born to do it - Sub Soldiers
“Park It In The Shade” is Sasha at his club-devastating best. It is a conscious testament to his versatility. Markedly different in style and sound to “Coma,” it’s a further reflection of the diversity that informs both his DJing and studio output. Once again we see the track co-produced with his renowned collective Charlie May, Duncan Forbes and Barry Jamieson a.k.a. COMA. Kicking-off with a near breakbeat, the track almost immediately incorporates an arpegiated bass line and heavy, four-to-the-floor kick setting the stage for the subsequent layers that serve to continuously feed the atmosphere and intensity. Ascending and descending FX, mini-breaks and glitched sounds are all thoughtfully built into the mix, which lead to a single, rising chord that develops into a tumultuous crescendo and assured dancefloor frenzy! Says Sasha, “For myself and the few DJs I have handed it to this summer it has been an absolute highlight. I am glad it’s finally seeing a proper release.”Sasha’s “Park It In The Shade” is out December 3 on emFire.References: 
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