With an avalanche of hot new dance material, including some 400+ new tracks to announce we are also pleased to unveil two new labels to the ever expanding global EPM roster including Bermuda based Permanent Damage and South Africa’s Strutmode Recordings. First off we see Benny Benassi’s house classic ‘Satisfaction’ get re-worked on High Fashion with brand new Dutch remixes, Dirt Crew’s James Flavour is back and asking ‘Who’s in the House?’ and the superbly titled Spangled Ballet make a techno comeback on Firefly (with no Kemp brother in sight!) Logos Recordings deliver a sublime album of deep house and techno from Yasuo Sato, aptly called ‘Slow Days’, the hotly tipped Nightslugs imprint return with Egyptrixx’s mash-up of house, garage and dubstep featuring a corking remix from Ikonika and Hi-Phi music release their debut album from the longtime studio pairing that are International Peoples Gang blending electronica, downtempo and house into one gorgeous sun-kissed groove called ‘Up’. Purveyor of all things techno and house, Jamie Anderson once again teams up with Owain K for Freerider (part 2) on Elevation Recordings, Bonzai fire in with a healthy dose of hard dance and trance as we get various ‘Best Of’ selections from the likes of Cherrymoon Trax, Phrenetic System, Fire & Ice, Airwave and Thunderball as well as seeing a welcome return from longtime producer Frank De Wulf, whose ‘B Sides Volume 5’ brings elements of techno, trance and electronica into the mix.

Permanent Damage Records is a label on an intergalactic scale based in Bermuda, because that’s where the best rum is! Their general philosophy is that the label’s music can be danced to and is interesting. Starting off along the lines of techno, dubstep and deep house the label will also enlist the production talents of Dominic Owen (one half of Notty Culture and producer of artists such as Nas, Lil Kim and Biggie Smalls) as well as ricciocomoto, 1undread, sysex500, Naughty Culture and many more. PDR have a global perspective with roots in the UK, Germany, Bermuda, Canada and Brooklyn. One of their stated goals is to provide new artists with fair representation and the respect they are due that is often not seen in the recording industry. With six releases already lined up for 2010 we think you will be hearing a lot more for this rather interesting new label. http://www.permanentdamagerecords.com ( http://www.permanentdamagerecords.com/ ) A record label based in the heart of South Africa, Strutmode Recordings alongside its new subsidiary label Cocoplum will be showcasing fine and everlasting artistic expression, with house, downtempo, electronica and world styles as the template. Brian Basil Van Heerden, better known as South Africa’s DJ /Producer Brian Snr, is the owner of Strutmode Recordings ( http://www.vinyl-distribution.nl/index.php?seite=labels&unterseite=S&param1=strutmode%20recordings&param2= ) and has recently started a Strutmode Recordings’ sub-label, Cocoplum Music ( http://www.myspace.com/cocoplummusic ). Brian Basil Van Heerden is the mastermind behind the composition, production and mastering of all tracks released by Strutmode Recordings, including artists Brian Snr ( http://www.juno.co.uk/artists/Brian+Snr/ ), Janova Jacks ( http://www.junodownload.com/labels/Strutmode+France/tracks ), Southside High ( http://www.junodownload.com/labels/Strutmode+France/tracks ) and Little Libra ( http://www.audiojelly.com/?a=track.cfm?id=50125 ). The track “You Dance, We Dance” from the Indigo Children by Southside High ( http://www.junodownload.com/ppps/products/1374936-02-8.htm ) (Brian Snr and Arman Srsa) was licensed for Clubstar’s series Addicted to House, Volume 7, ( http://www.junodownload.com/products/1374936-02.htm ) featuring alongside artists like Alexander East, Rick Wade, King Sunshine, Izmo, etc and Brian SNR’s track Saturn Forever won the Toronto Exclusive Awards’ Best Electronica Song for 2009. http://www.myspace.com/strutmode ( http://www.myspace.com/strutmode )

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EPM 10_2010.xls EPM Newsletter 10_2010.pdf

With another 400+ tracks to sweat the dancefloor, its business as usual at EPM towers as we hit Miami with a storm of hot new releases. Talking of which we have the rather timely ‘WMC Miami 2k10’ from Banshee Worx and Bonzai Music, showcasing the labels hottest new house tracks for the legendary US music conference and we also find La Musique du Beau Monde hitting the house floor running with Les Mecs ‘Don’t You Want Me’ and a new label compilation, aptly titled ‘Cool Music For Cool People’ that takes house, breaks, electro and latin influences under its wing. Orlando Voorn’s ‘Nightvision’ imprint was exactly that…a futuristic label destined for the early hours and beyond and we see a welcome return with remixes from the likes of Ken Ishii, Quantec, Chez Damier and Orlando himself of classic techno cuts from the label’s archives. Curser Minor makes a new foray into the world of electronica as ‘Shakin Heathens’ gives us a taster of this summer’s new album on Uncharted Audio, the Space DJz drop a double whammy on Potential with two new explosive techno EPs and the ever dependable nutempo show us what minimal is all about with a new release from Mindcurve. What then follows can only be described as an Irish invasion! Nice N Nasty hit us with four new releases from the likes of T-Polar, Orlando Voorn (busy boy!) and Itokim as well as a new compilation in the shape of ‘Katsuhiko presents Pentacle’ and then Dublin Xpress pile on the oirish pressure with a further five new releases of prime time house, techno and electro to boot. Keeping their techno in the ‘banging’ category, fellow Space DJ Jamie Bissmire unleashes a label compilation on his own 50Hz imprint, showcasing an array of beats that could floor a rhino at 20 paces, Dopefish Audio continue their unique take on electro-house with Tuff Wheelz’s ‘Renegades EP’, Clonk’s Nutmann finds his minimal ‘Glory Hole’ and we round things off with another Miami bound package courtesy of LS City Records and their house stylin’ Miami WMC 2010 Sampler. See you by the pool!

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EPM 09_2010.xls EPM Newsletter 09-2010.pdf

We load up more releases into the EPM cannon and also welcome six new labels to the fold as 1212, B-Bass, Backstage, Division X, Key Records and The Lydian Label join our ever-evolving roster. Super-Beat return with two new EPs full of tech-house grooves as Mat Le Star and Colin John set the dancefloor tempo, Superstonic’s Axiom delivers some much needed ‘Mind Emancipation’, Giovanni Verga turns on the techno for Trenton and Rodz-Konez drop more dancefloor bombs, this time from Tomohiko Sagae. New label, Lydian looks set to raise a few eyebrows as first release from Laszlo traverses different electronic genres right across the spectrum in just one debut defining EP, Psychonavigation maintain their grip on Ireland’s electronica crown with Anodyne’s ‘Corrosion’ and La Musique Du Beau Monde continue their assault on the club charts as Les Mecs and Nite Groovers throw the house party doors wide open! We then go back to the old school as Stefan Robbers 303 dance division unleashes some remastered classics from Acid Junkies, 1212 Records launch with a hip hop message of hope as all proceeds of debut single ‘A History of Silence’ going to the people of Haiti, Diarmaid O’Meara gets lost in selfish bass for Gobsmacked and Deep Explorer delve into the worlds of deep house and techno via two new EPs of pristine nocturnal grooves. After producing and releasing records with Hip Hop and Reggae vocalists such as Tenor Fly, MCM (Caveman), Grandmaster Caz, Donald D, Serocee and more Edinburgh based duo Capitol 1212 had many label offers coming their way. To keep full control of their work they have decided to start their own label, simply titled 1212 and already they have planned releases with artists such Jungle Brothers, Dizzy (Ugly Duckling), Tenor Fly, California’s Time Machine, Serocee and more. Many established and upcoming artists are also coming on board with what promises to be a very interesting new hiphop label indeed. www.myspace.com/capital1212 ( http://www.myspace.com/capital1212 ) New BIP label B-Bass Recordings will feature new releases across the board of house and latin house from artists such as Dj Glenn B, Dolce & Muller, Morinho, Mark Laurenz and Niels van Zandt  http://b-bass.nl ( http://b-bass.nl/ ) Techno imprint Backstage has been run by DJ HU and Standa since in 2002. Featuring funky and dry 136bpm techno clubtracks for the floor including remixes by Christian Wunsch, Olga+Jozef, Rumenige and more, these days Backstage is releasing techno and techhouse, mostly by HU. http://www.myspace.com/backstagesk ( http://www.myspace.com/backstagesk ) Division X Records is a Detroit based electronica label founded in 2007 by fellow DJ/Producers Rob Messerschmidt and Adam Hofmann. Division X releases tend to focus on the more avante garde side of electronica, encompassing; IDM, Electro, Trip-Hop, Industrial, Techno, Breakcore, Grindcore, Experimental and Noise and features releases from Nyarlathotep, Gusto, INDSCY4, Messerschmidt, M-Theory and Beat Bakery. Hofmann left the company in early 2008 and was replaced by IDM producer and graphic designer Matt Novakowski. All artists on the roster contribute and function as a united creative team helping to promote the Division X brand of electronica. Division X currently has thirteen artists on it’s international roster– all of which produce, promote and perform (live pa) in their respective markets. Division X is committed to the artistic expansion of electronic music outside of the club scene and is currently partnered with local charities as well as various gallery based projects. The label’s next intention is to supply fresh, new genre’s of electronica for film, music videos and video games. http://www.divisionxrecords.com ( http://www.divisionxrecords.com/ ) New Italian label, Key Records is all about raising and nurturing new techno talent onto the global arena. Featuring the likes of Thanatos, Lifeforms, Knobs, Freddy K,A. Paul,Fabio  Mc & Massi P,Marco Piovesan and more the label is already growing with good international feedback under the supervision of K1971. Hearing is believing… www.myspace.com/keyrec ( http://www.myspace.com/keyrec ) Electronic music should not be limited to one style and certainly should not be limited to electronics. The Lydian Label was setup up with the kind of music in mind that incorporates electronics, live instrumentation and innovative sounds, but remains fresh and listenable. Truly putting the ‘I’ in to IDM is the name of the game, but we don’t want to pigeonhole specific genres at this stage, as long as the music fits then it is the Lydian style. First release coming from the artist Laszlo, with his unique blend of live recorded instruments and electronics. Expect more releases from him later in the year, along with collaborations with a number of musicians and the producer Todd Baker with their ‘Music Box Project’ and further release from Evil Sun (bass player/electronics in Bonobo), Lee J Malcolm and Schoolboy Error. A compilation showcasing remixes and other artists will also appear later in the year. www.myspace.com/laszloproductions ( http://www.myspace.com/laszloproductions )

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EPM 08_2010.xls EPM Newsletter 08-2010.pdf

The Warehouse Project 2010 Presents EASTER WEEKEND 01 – 04 APRIL 2010 http://www.thewarehouseproject.com/eflyers/eflyer_easter10_01.htm Beneath Piccadilly Train Station Store Street Manchester M1 2GH www.thewarehouseproject.com

Cocoon at The Warehouse Project 
Easter Bank Holiday Sunday 4th April 
Buy Tickets

With the first three nights of the Warehouse Project’s Easter run long sold out, the final allocation for the huge Easter Sunday Cocoon session at The Warehouse Project are now available. Ticketline did briefly sell out of these yesterday but have now released the final 250, so are back up and running. Cocoon tickets are also available from the other regular WHP outlets. Here’s a little background on the line-up which includes a long overdue warehouse debut for Cassy, the new first lady of house and techno, WHP favourite Dubfire, and a return for Cocoon and Berghain resident Andre Galluzzi. Dubfire’s jet-black, polished-chrome techno harnesses three and a half years of upward momentum, highlighted by notable productions and remixes landing at the top of “best of” charts and set lists the world over. 2009’s “Split the Line [Dubfire Mega Remix],” an alchemic symbiosis of Paul Ritch’s “Split” and “Walk the Line,” best exemplifies the dark and evocative sound Dubfire has cultivated since embarking on his solo journey. In 2006 – after 15 ground-breaking years topping charts, winning Grammys, and earning acclaim as one-half of legendary electronic partnership Deep Dish – Dubfire returned to his roots: a diverse foundation spanning punk, industrial/new wave, jazz, dub, hip-hop, house and techno. “I Feel Speed,” his first solo release, is a remake of the classic Love and Rockets track with Dubfire himself on vocals. It marked a musical crossroads in his passage towards a deeper and darker sound. As Dubfire’s productions delved into techno’s moodier, sonically edgy dimensions, critics and fans alike celebrated the new direction with admiration and enthusiasm. Dubfire now sits alongside the likes of Sven, Richie, Ricardo and Dice as one of the foremost exponents of the house and techno scene. André Galluzzi was born in Frankfurt and raised in Wiesbaden, and today he lives in Berlin. He started DJing in 1990 in clubs such as Parkcafe (Wiesbaden) and Dorian Gray (Frankfurt). In 1992 he began to perform in Bunker (Berlin) and later on in Tresor (Berlin). Together with Paul Brtschitsch he founded the label Taksi in 1995. Galluzzi is a resident DJ at the Berghain in Berlin and has also played for Cocoon around the world. A real djs dj! Cassy (real name Catherine Britton) was born in Kingston Upon-Thames, England to a Caribbean father and an Austrian mother. She moved to Austria as a child and then back to England as a young adult, performing stints as a singer and actress. While living in Austria, Cassy was exposed to a diverse, high-quality electronic music scene, which offered everything from trance and techno to the eclectic sounds of artists like Kruder and Dorfmeister. This exposure spawned Cassy’s passion for electronic music and eventually led her to begin a career as a DJ and producer. In 2003, Cassy moved to Berlin and proceeded to build a reputation as a talented house and minimal DJ. Among other accomplishments, she secured a residency at Panoramabar and had the honor of mixing the first Panoramabar compilation. She has collaborated with artists like Steve Bug, Ricardo Villalobos, Luciano, DJ Elin (aka Autorepeat), Dave the Hustler, Mathew Jonson, and Swayzak. Her tracks and remixes have been released on labels like M_nus, Playhouse, Perlon, Dessous, and Mental Groove. She has also started the label “Cassy”, where she has currently released two records, to serve as a vehicle for releasing her own music. While Cassy has achieved much as an electronic music DJ and producer, her achievements alone do not reveal the depth of her artistry. Cassy has a mystique that tends to captivate and intrigue the attentive listener or observer. When playing a set, she exudes an aura of serenity and passion for what she’s doing. Her mystique is due in part to her unique and diverse set of cultural and musical influences. She has lived in different countries and drawn inspiration from a wide array of musical sources. Adam Shelton champions music that is true to itself, and sounds crafted only for the best of times. Known to many as one of the UK’s strongest resident DJ’s, Adam has spent the last decade quietly sketching out his own definition of authenticity.His skills, versatility and range have seen him guest at some of the world’s best clubbing spots including Panorama Bar, Cocoon, Back to Basics, The Garden Festival in Croatia and Space in Ibiza. In times like these, this is an accomplishment indeed without any productions of his own – until now. An avid vinyl collector himself, Adam has recently launched One Records alongside Subb-an, friend and resident of Adam’s own night, Below. The label aims to encapsulate the energy and dexterity of artists and crowds that the party has connected with most, and doing exactly that their first release ‘The Musik EP’ brought two deep and off-kilter acid house tracks, with praise from DJ Mag, Radio 1 and Germany’s De:Bug magazine, amongst others. If music is the Universal language then Toronto Native, Carlo Lio is surely multilingual. It is this universal appeal that has allowed Carlo to speak to so many people without ever having to say a word. His ability to capture sounds and emit them so expressively is a gift. Music has always been a priority in Carlo’s life; anyone who witnesses him gracing the decks can attest to this. Carlo can turn a careful observer into a dancer through the raw emotion and passion in his music. Music is a language; it is a means of connectivity, intimacy and communication and Carlo has brilliantly captured and shared this with his fans. Carlo emulates great confidence and is a strong visionary and leader in Toronto’s club culture. If you have a yearning hunger for the beat, just open wide; Carlo will satisfy your mind, body and soul and leave you salivating for more.

Thursday 1st April – SOLD OUT!
WHP & Annie Mac presents 
2manydjs (DJ set)
Annie Mac   Villa 
Special Guests TBA
Krysko 
Andro 
Now Wave DJs 
Drop The Mustard
      
£20 advance 
21:30 – 04:30

Friday 2nd April  – SOLD OUT!
Hospitality  
Roni Size & Dynamite MC  
High Contrast  
Shy FX   London Elektricity 
Logistics 
Joker 
Distance 
Geeneus ft Katy B 
Emalkay
Martelo 
Hatcha 
Netsky 
Prophecy 
Rich Reason 
Ken Evil 
MCs: Dynamite / Wrec 
/ Tonn Pipe / Mad Rush
 £17.50 advance
21:30 – 05:00

Saturday 3rd April – SOLD OUT!
An Easter Special 
Carl Cox  (WHP Debut) 
Eric Prydz   Krysko Greg Lord    
£20 advance 
21:30 – 04:30

Sunday 4th April 
Cocoon  
Dubfire  
Andre Galluzzi  
Cassy  
Dinky  
Adam Shelton   Carlo Lio Krysko
Andro  

£20 advance  
21:30 – 05:00
 Venue location: Store Street / Beneath Piccadilly Train Station /Manchester/M1 2GH

E-FLYER: http://www.thewarehouseproject.com/eflyers/eflyer_easter10_01.htm

TICKET DETAILS:

Ticketline: 0161 832 1111 / www.ticketline.co.uk Info: 0161 835 3500 www.thewarehouseproject.com PRESS & RADIO CONTACTS: THE DETAILS BELOW ARE NOT FOR PUBLICATION. They are for press and radio contact purposes only.

For all PRESS enquiries please contact Jonas at EPM on +44 (0)20 8566 0200: jonas@epm-music.com

For all RADIO enquiries please contact Addy at EPM on +44 (0)20 8896 1324: addy@epm-music.com

WHP EASTER WEEKEND PR2.doc

ARTIST: VARIOUS TITLE: BACK STREET BRIT FUNK COMPILED BY: JOEY NEGRO LABEL: Z RECORDS FORMAT: 2XCD + DIGITAL CAT. NO: ZEDDCD018 RELEASED: 17 MAY 2010

“I thought I had it all when it came to Brit Funk and beyond but then again I hadn’t been round Joey Negros had I!!! A crucial selection from a world that inspired a whole generation of DJs and bands.” – Gilles Peterson (BBC Radio 1)

Back Street Brit Funk is the latest compilation from Dave Lee aka Joey Negro released on the Z Records label. The double disc album features highly collectable and rare tracks from the late 70s through to the mid-80s from the likes of Freeez, MBT, The Hudsons, The Warriors, Mirage and more.

Brit Funk tells the story of the underground scene in the UK when punk and disco were giving way to a new blend of jazz, soul and funk, heavily influenced by the American big hitters of the day but re-worked by the UK pioneers for the British dance floors.

Just as revolutionary as the Brit clubber’s style was the music they were into – often provided by American musicians easily twice their British audience’s age and what’s more, very much from the American jazz establishment. Names such as Roy Ayers, Lonnie Liston Smith, Donald Byrd and George Duke had already been around as dedicated jazzers, while groups such as Earth, Wind & Fire and The Crusaders were also borne out of that tradition. It’s this body of work, along with the more commercial dance music du jour, that provided the inspiration for a new wave of UK bands and clubs to develop their own Brit Funk scene. 
By 1980 the “disco” bubble had pretty much burst in the cooler UK venues, and even the more mainstream discos were starting to play jazz funk, with totally club driven records by the likes of Rodney Franklin, Azymyth and Mystic Merlin rubbing shoulders with Adam Ant, Abba and David Bowie in the Top 20 of the national charts.

Add to this a wealth of UK bands inspired by this happening club scene – Light of The World, Atmosphere, Hi-Tension, Freeez – being the better known examples. Often this home grown music was released on independent, self-financed (white) labels, or outlets based in specialist record shops like Soho’s Groove and Record Shack. Created by British musicians for the UK audience, Brit Funk was raw and up-tempo and what it lacked in the smooth finesse of the polished American jazz funk it made up for with unbridled enthusiasm and energy.

What Mr Lee has done here is uncover some of the genuinely ‘unsung’ heroic records of the style; hard-to-find but absolutely right THERE in terms of those soul, jazz, funk and disco influences – with that Brit Funk twist! 
As the ’80’s progressed, home-grown groups like Shakatak and Level 42 took the whole thing to the Top 10 and Top of The Pops, while variations on the UK club theme could be seen and heard in the New Romantic, Rare Groove and Acid Jazz scenes; in turn, also creating stars such as Spandau Ballet, Haircut 100, Soul ll Soul, Sade, Boy George, The Brand New Heavies and Jamiroquai.

Brit Funk follows the highly successful, must have albums previously compiled by Joey Negro: Soul of Disco Vol.1 & 2, Destination Boogie and Locked In The Vinyl Cellar.

This is a unique selection of high quality music, which will have a shelf life lasting well beyond the current trends and fads. All tracks have been Cedared and re-mastered to a very high standard and now sound better than ever before.

Joey Negro has also re-edited many of the tracks exclusively for this album, updating them with a fresh new approach.

www.zrecords.ltd.uk / www.joeynegro.com

Retail Tracklisting (please note: promos are 14 track samplers):

CD 1
01 Mirage – Summer Grooves 02 Freeez – Keep In Touch 03 China Burton – You Don’t Care (About Our Love) 04 Breakfast Band – L.A. 14 05 Hudson People – Trip To Your Mind 06 Ritual – Sore Lip 07 The Warriors – Destination 08 Savanna – Never Let You Go 09 Stikki Stuff – The Wiggle 10 Nigel Martinez – Better Things To Come 11 Surface Noise – Zero One

CD 2
01 52nd Street – Express 02 Incognito – Parisienne Girl 03 MBT – You Know Too Much 04 Elixia – Soho Phaze 05 Style X – No Secret Affair 06 Leiah Ikafa – Disco 2000 07 Antilles – Latin Dream 08 Ransom McKenzie + Friends – Orange Grove 09 Intrigue – I Like It 10 The Cool Notes – I Wanna Dance 11 Adrenalin – Feel The Reel 12 Ed Bentley – Bentley Boogie

“At long last the perfect Brit Funk album and of course it comes from the archives of Dave Lee. We have had a few discussions on Brit Funk/Jazz Funk in the past and it’s a pleasure to listen to these tracks and smile at the memories of roller skating jams, plastic sandals, Grandad shirts, leg warmers, hung belts and all dayers. This music is in my DNA. A wonderful lesson from Mr Lee on true Brit Funk! ” – Ashley Beedle

“Some of these tracks take me back to the Jazz-Funk days when I was DJ’ing at Wigan Pier, and appearing at various All-Dayers throughout the North and Midlands. Great to see some forgotten gems in there” – Greg Wilson

“Dave Lee and Z Records unearth some forgotten gems from the UK’s often over looked Jazz Funk era, worth it alone for Hudson People’s “Trip To Your Mind” and MBT’s “You Know Too Much”. This is a great comp.” – Simon Faze Action

BRIT FUNK PRESS RELEASE.doc ZeddCD018 Track by Track.doc

Following Robert Hood’s exclusive M-Plant minimal masterclass we now have Ireland’s Nice N Nasty providing us with an exclusive, all Irish mix for a special St. Patrick’s Day EPM Podcast. Recorded by Desy Balmer and Dave Ingham (aka Dagham & Remlab) the mix features some of Ireland’s finest electronic producers, remixers and labels. Featuring the likes of Boxcutter, Donnacha Costello, Orlando Voorn, Chymera, Rennie Foster, Decal, T-Polar, Rob Glennen, Fish Go Deep and more the mix takes in deep techno, acid house and electronica on its way to dancefloor nirvana. To download/stream EPM Podcast 7 – hosted by Dagham & RemlaB click here. Nice & Nasty and Desy Balmer are pretty much one in the same. Desy started Nice & Nasty records in 1993 in Belfast. Dance music and rave culture offered Northern Irish people an alternative space to enjoy away from the troubles and the social, community division. Inspired by people like David Holmes, Robbie Nelson, Iain McReady, Glenn Molloy and Keith Connolly, Desy started DJing and got into running clubs in the early 1990s and set up his own label in 93 with the release of Bolivian Angel by Ubiquity – who went on to become Agnelli & Nelson. To date Nice N Nasty have 14 vinyl 12s out, 3 CDs and over 80 online releases. The label boasts some of the best local talent and some of the worlds premier league stars – Chymera, The Parallel, T-Polar and Derek Carr for example alongside Marco Bernardi, Orlando Voorn, Rennie Foster and Terrence Dixon. This mix is a showcase of the top quality Irish music scene. It features local labels, local artists and artists on the world’s top labels and the world’s top artists on local outfits. It is a representation of where Ireland is musically and a showcase of how important Irish music and the Irish diaspora are to global sounds and scenes. There is far more innovation and creativity to Irish music than Bono, Christy Moore and Chris De Burgh. Further, electornic music and culture has always broken barriers and forged community across borders and historic division without prejudice. Desy himself is a native of Belfast but now lives and works in Dublin (well Kildare to be precise). Nice & Nasty has a roster full of producers from the four provinces and this mix also features artists and labels that showcase all of Ireland: from Ulster we have Box Cutter, T-Polar, Phil Kieran, Psycatron and Timmy Stewart; from Munster we have Mark O’Sullivan, Fish Go Deep and Jamie Behan’s Bastardo Electrico; From Connagut we have Aruba and Elevation recordings; whilst from Leinster we have Tr-One, All City records, Chymera, Donnacha Costello, Static Recordings and many many more. There is also a fair slice of Nice & Nasty in the mix for good measure. There is Detroit techno, deep house, minimal, abstract hip hop, dubstep and more. Unfortunately there are serious players left out but that’s nothing more than time limits, maybe we will have to do a part two next year… The mix was recorded by Desy Balmer and Dave Ingham. Dave is a native of Leeds (UK) but after holding down residencies in Belfast and Bagor in the 90s released a 12 on nice & Natsy and then moved to Dublin at the turn of the century. Dave was inspired by clubs like the Warehouse and Orbit in leeds and used to play at Fantasy raves in yorkshie in the early 90s with sasha, cox and all. Dave is also well known as a funk, northern soul DJ in DUblin and manic record collector. Desy Balmer and Dave Ingham have been DJing and producing together for 15 years now and are committed to breaking musical barriers and showcasing local, fresh talent. Desy is also respected as a writer, writing for BBM, M8, The Event Guide to name a few and editing Hold it Down.

Q&A with Desy Balmer (Nice N Nasty)

1. As a long running Irish electronic music label, how do you feel that the scene has developed on the Emerald Isle since you started Nice N Nasty? The obvious answer is that today there are many labels and producers. There have always been plenty of quality DJs, many of whom travelled the globe, like David Holmes, Agnelli & Nelson and so on, but there were never that many labels. There was Sugar Sweet by Holmes and McReady in Belfast and Mark Kavanagh’s Red Records in Dublin and Nice & Nasty. I have vague memories of U2 starting a label but it had one tune called Bumble that featured the gratuitous fiddle in it and was awful. Soon came labels like D1 and Bassbin arrived. David Holmes had EPI for a short time after Sugar Sweet but literally a decade or more later, a decade and a half in our case, we have some serious new labels like All City, Static, Elevation, Minimise, Mode Music, Gobsmacked, Takeover, Mantrap, Bastardo Electrico and many more. I suppose though the growth of labels was inevitable and for a long time most of the local labels really focused on local artists but now we have some international acts on local labels – Orlando Voorn, Terrence Dixon and Marco Bernardi on Nice & Nasty; DJ Bone and Trench on Bastardo Electrico; Space Djz and Robert Armani on Gobsmacked; and Mark Broom on D1 to name a few. The most pleasurable thing is not the foreign lads wanting to be on the local labels but the fact that Irish producers are leading lights among the foreign labels – Fergie, Boxcutter, Decal, Phil Kieran, Chymera, Sian, Hystereo and Donnacha Costello on the likes of Planet Mu, Cocoon and Soma etc. that’s whats really cool about today Ireland and Irish DJs, Producers are not merely reliant of local labels and local labels are attracting foreign investment. That’s cool, that’s a progression from when I started. When you think that when I started It was rare for an Irish DJ to play outside of Ireland. David Holmes got some early gigs that many of us actually went to and this was at a time before Ryan Air and cheap flights, a time when Dave Hales from Dublin played Belfast and it was a huge deal as most guests were the British DJs. 2.    As an all Irish artist podcast this is the first time we have highlighted the music from one country. Is there a common thread or style that links the artists to Ireland, like say ‘Detroit Techno’ or is the music scene there more disparate? The all Irish bit is a bit like Jack Charlton’s soccer team. We have some people in there under the granny clause (note: you are eligible to play football for Ireland if you have Irish grandparents). Orlando Voorn and Gary Beck appear, however Voorn’s tune is from Nice & Nasty an irish label, my label and Beck is on Soma but the actual mix is the Lee Hollman remix who is 100% Irish. Labels such as Fine Art and Planet Mu from the UK appear, as do a couple of German labels, even Detroit’s own Planet E but then they have Irish artists. In many ways the mix of people, places and blood that appears in the mix represents modern Ireland and the every increasing Irish Diaspora. Morrisey captured this essence best describing himself and titling his album ‘Irish Blood, English Heart’. If there are six degrees of separation between anyone and Actor Kevin Bacon there is maybe only 3, max 4, degrees before you find an Irish relative and anyway on Paddy’s day we are all Oirsih! This mix is a 360 degree look at the Irish electronic music scene and that is vibrant, full of Irish but our scene is also full of Brazilians’ British, Americans, Chinese, Polish and so on and I hope that this mix represents that, irish artists, irish labels, irish remixers, the Irish scene so I don’t claim everything is 100% irish but then I don’t work for An Bord Bia Is there a sound – ummm – I don’t know. For a long time Dublin has been techno city, especially hard techno a la Simms, Surgeon, Ignition Technician or Detroit a la Saunderson, May and Kenny Larkin but today there has been a massive resurgence of deep house. This mix features a few different genres. It goes from Deep house to minimal techno to Detroit techno, electro to abstract dubstep back to Detroit and then into hard tech to finish. Its got something for the true techno lover but its one thread would be good music to listen too but better to dance to. One thing I’d like is for an irish or Dublin sound to evolve, like Detroit, Chicago, Sheffield, Berlin etc but then many of our guys are now living in Barcelona, NYC and Berlin and of course our holiday villages that are London, Manchester and Glasgow. Glasgow is very like us, some shit hot producers and labels but no distinct sound. This mix is just good underground tunes – deep, melodic and funky. Not always easy on the ear or brain but they do shake the ass. 3.    An all Irish mix, released on St. Patrick’s Day. Will you be up for the craic? Will I ever? Bizarrely Paddy’s day has become a week of partying here and based in Dublin you can be sure to be sure we’ll be having the craic starting on Tuesday night with a trip to see Marlena Shaw and then flicking between Pod venues to see Garnier or Derrick Carter. If my liver and age permit it’ll be the weekend before it ends without little respite in between. I’d love it if people from all around downloaded the podcast and played it. I’d love some Paddy’s day feedback to boot as a nurse ye olde Oirish hangover. 4.    What does St. Patrick’s Day mean to most people in Ireland beyond drinking guiness and wearing silly green hats? Does it give you a national identity? The modern version of St Patrick’s day is probably more of an American construct but yes it does give a sense of price and national identity and unlike other nations, everyone celebrates on Paddy’s day. There will be St Patrick’s festivals, Parades and parts in Munich, Ghent, Florida, Nova Scotia, Syndey. It’s a wonderful phenomena, no doubt inspired by the largesse of the stereotypical drinking culture but so what, who gives a f*ck if for one day a year people forget the recession, their woes and enjoy themselves with a few beers and wear lots of green. It is one piece of happiness we share with the world that makes us unique – rarely do non Americans celebrate Thanks Giving; despite the BBC and Eastender’s best efforts St Georges day in England pales in comparison; and without sounding like a politician it brings a serious amount of money into the country and we need it right now. Our history, our culture, our struggle, our troubles, our poetry, our rock and roll and maybe now our techno gives us our identity, this is just a chance to take ourselves a wee bit less serious and have a party and the great thing is, everyone agrees with us and joins in. I like that. Plus you get the day off work, need I say more? 5.    Who in your eyes are the new Irish producers to look out for? The new ones would most definitely be The Parallel, Ed Devane, Psycatron, Om Unit, and maybe Mick Chillage, Diarmaid O’Meara, Tr-One, Lerosa, and Hypertic but I’d still keep an eye on and an ear to the ground for more established acts like Chymera, Sian, Mark O’Sullivan, Donnacha Costello and Phil Kieran. Plus I would never discount or forget the talents of Corrugated Tunnel, Lee Hollman, Produse, Japanese Popstars, Rob Glennon or Decal. Labels to watch out for are Acroplane, All City, Static and Bastardo Electrico and last but not least the old fella of the gang, nice & nasty. I would urge people to check out some of the DJs as I have always believed them to be the best. To this day Glen Molloy, Robbie Nelson and Holmes and McCready rock my world but if in Ireland or a promoter from abroad consider checking out Arveene, Sunil Sharpe, Jamie Behan, Barry Redsetta, Fishgodeep, Timmy Stewart, Billy Scurry, Steve Boyd and of course everyone and anyone from nice & nasty and Dublin Xpress. 6.    Has electronic music helped knock down the old divisions of the last 50 years? (when you say divisions do you mean the cross community, cross border tensions?) Yes it has – simple as that and if anyone says I am wrong they can meet me outside The divisions only really existed in the North, where I am from. Belfast was a divided city for the 70s, 80s and half of the 90s. It has changed but still plenty of work needs done. Music and dance music did play its part. FACE, One World, Sugar Sweet, Faith, Choice all played their part as has Shine today in providing a platform for kids from both communities to dance together and party.   I started clubbing in 89 or thereabouts and it wasn’t too long before that, that the city centre of Belfast had iron railings and iron gates that had turnstiles for Saturday shoppers to pass through and when you did – one at a time – it went clunk, clunk, clunk clunk. This was very militaristic and very industrial looking and sounding and there was plenty of fear. My sister who is 19 doesn’t believe half of these stories as they are alien to her, but because of the tensions people stayed local most of the time, local sports clubs like the local GAA or the Rangers club etc is where people went to discos and you were more likely to hear Mud and Tiger Feet than Inner City’s Good Life or Cubic 22’s Night in Motion. Raves gave something to kids not witnessed since the hey day of punk and some people jumped the band wagon and then the whole thing exploded, pardon the pun. It is of no coincidence that around this time drugs in particular ecstasy was growing in popularity and not only ravers were enjoying their delights. The people running guns ran the drugs. Only a simpleton would believe otherwise. Tabloids today are full of stories of how former paramilitaries are running the drug scene today as the troubles subside gangsters step in like any other city I suppose. Anyway, drugs were so effective at helping people club together and dance and forget where they were from `that Sugar Sweet used to put the slogan ‘No Love Thugs’ on their flyers to try and convince yahoos loved up from coming down. But you went to raves and Sinn Fein where outside side by side with St Johns Ambulance protesting at the gigs whilst around the corner at gay bars you had the Paisleyites doing something similar so if spreadin the love and ecstasy and unity through music wasn’t enough we gave people a different kind of enemy I suppose. Its dark and harsh time to look back on but my god it had its funny, funny moments – big rave in the Ulster Hall. The Mighty Carl Cox on the decks. Bomb scare is called. Place emptied. Bug eyed, jaw dropping people everywhere dancing in the streets. Cox and the promoter get the speaker and decks and turn them into the street and start banging out the tunes. Someone should make a movie about it. I think what I am trying to say is rave gave young people something of their own not protestant, not catholic, just music, dancing and good times and with the spirit of it people loved it. Not forgetting the border raves, the all nighters, the buses Johnny Moy and Davey Hales ran from Dublin to Belfast. The Dublin clubs like temple of sound and sides and asylum giving Ulster djs like sean mccann, dilly and stevie mckenna loads of guest spots. People travelled for gigs from Belfast to Portrush for Kellys on a Saturday night a good 80 miles then after to Banbrdige for circus circus and good 140 miles. Going to dublin for gigs or further was just part of the whole adventure. It was a little romantic and exciting and the fact that the sound track was quality house and techno well then that’s just perfect. 7.    Dublin v Belfast. Who has the best clubs? You’ll get me in trouble. Cork! And Galway have the best Pubs! Belfast has less draconian drinking laws right now, but its pretty even steven. I have lived in both and played in both and love both and refuse to get off this fence. If I did though I may just stick a few bob on Dublin winning as the likes of the Pod has been innovative and inspirational to the whole island and I do find many Norn Iron gigs very nostalgic. 8.    Where is the most surprising place in Ireland that you found a techno scene? There is a Disability service called St John of God Meni Services and they have several community radio slots and a good few people hoping to become Djs. One young lad, loves DJ culture and loves to bang out the tunes and gets away with it and whilst some of his music is too hard and fast for me these days the smile on his face and the joy he brings to his friends makes me remember why I got into djing. Its just odd to call into or pass by a Disability service and hear loud techno during the day. Fair play to all involved. 9.    Talk us through your selection. What made you choose these artist and tracks? Myself and Dave sat down with a list of labels we like, artists we like. We then had to see who was absent from the list and we got in touch with them and asked them to submit a few things for consideration. From the start we were conscious about making a mix that was representative and not just another cul-de-sac of tunes by your mates or from your own label. I hate that when others do it so I refuse to be the same. Our biggest problem was the array of tunes was so vast. Consider the fact that Tr-One, Phil Kieran, David Holmes, Fergie, David Donohoe, Rob Rowland, Scott Logan, Hystereo, Sourceode, Japaense Popstars, Mysoul, Corrugated Tunnel, Gobsmacked records, D1 records, Bassbin, Mantrap, Acroplane, FVF, Mode Music, Indo Phunqe, Soul AD and Julian Eustace didn’t make the cut (this time) you sort of get the gist of our problem. We had to make a mix that flowed as well as represented, showcased. So we got the tunes we liked and we knew that flowed and mixed. We realized that some of the tunes were disparate tempo’s and leftfield genres but we wanted to highlight the rich variety of stuff going on. Irish rock is way more than just U2, Snow Patrol and The Script and the same thing applies to techno, electro and house. After getting a hardcore track list of 40 we started to practice what mixed with what and were able to get it down to 30 and to make sure people could burn an 80 min CD from the download dropped a further two and now you have 28 trax, some edited a little but all of the highest calibre and mixed pretty well. The mix does what I like, what I enjoy by DJs like Garnier, Derrick Carter, Francois K, Masters at Work, Richie Hawtin in that it goes up and down and takes you on a journey so it aint some boring run of the mill mix. When Dave and I DJ we both play tunes you wouldn’t expect. Dave has a fantastic record collection of Northern Soul, 60s and 70s funk and hip hop. He would be a massive aphex twin and planet mu fan where as I am more Disco and House and techno orientated – I am the nice to his nasty most of the time and neither of us like to go to clubs and hear the same mono tone beat over and over again. Its lazy, its boring and there is no need to be so puritanical. Have some fun and after all this is a mix on paddys day if ever a party mix is needed its today. 10. Thierry Henry. Discuss. Wanker! Would be one word, but seriously, c’est la vie.

Tracklist: 01 – Lerosa – Calliope – MVSICA (Fine Art) 02 – Om Unit – Lavender (All City) 03 – Jet Project – Message from Chi-Town (Beef Records) 04 – Timmy Stewart – Maya – (Elevation) 05 – Mark O’Sullivan – Come Over (Psycatron Remix) – (Nice & Nasty) 06 – Orlando Voorn – Angles (Itokim Praise Mix) -(Nice & Nasty) 07 – Orlando Voorn – Angles (Dave Ellesmere Heavenly Funk Mix) – (Nice & Nasty) 08 – Psycatron – Deeper Shades of Black (Mark O’Sullivan Mix) – (Planet E) 09 – Rob Glennon – Bass Shifter (Paul Mac Lo Fi Dub Mix) – (Nice & Nasty) 10 – Donnacha Costello – Black Bag Job (737) 11 – Heretics of Disco – Feeling Electrified (Manuel Perez Mix) – (Nice & Nasty) 12 – Decal – Can’t Stop (decal-artifacts) 13 – Rob Glennon – Gorilla Milk (Epsion Remix) – (Static) 14 – Rennie Foster – Searchin’ (Mauel Perez Remix) – (Nice & Nasty) 15 – Gary Beck – Stolen from the Jake (Lee Holman Remix) – Fine Art 16 – Boxcutter – Skuff’d (Planet Mu) 17 – T-Polar – The Baseball Fury’s – (Nice & Nasty) 18 – thatboytim – Past the end (Digital Distortion) 19 – thatboytim – Past the end (Ed Devane Remix) – (Digital Distortion) 20 – ikeaboy – blindfold (invisible agent infiltrate mix) – (Invisible AGent) 21 – Rob Glennon – Ark Machine – (Bastardo Electrico) 22 – Hypertic – Jack in the Box – (Resopal Schallware) 23 – El Prevost-Do You Remember- [Tony Blunt 'Dark Mood' Remix] -(Elevation) 24 – Mike Doc – Sidewinder – (Dublin Xpress) 25 – Fish Go Deep- Dubweapon 1 – (Bastardo Electrico) 26 – Chymera – The Rumours Of My Demise – (Coocoon) 27 – Jet Project – We March At Dawn – Sian’s Heart Bound For Hell Rmx – Intimacy 28 – thatboytim – Down In The Hole [Sunil Sharpe Remix] – (Takeover)

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Sometimes its good to do what comes naturally and that’s exactly what TIEFSCHWARZ aka Ali & Basti Schwarz have been diligently doing for the past few months. They’ve recorded an incredibly multifaceted new album and will now be presenting their music as a Live-Act for the very first time. 

“Chocolate” is the third artist-album by TIEFSCHWARZ, and will be out on their own label (Souvenir) on 28th May. The new tracks mirror their musical development and experiences of the past few years, and offer a fantastic insight into the musical souls of these two brothers. Philipp Maier (aka Santé) was involved in the recording process throughout. The resulting combination of skills and expertise is not only perceptible in the live dynamics of the production process but will also make for some incredible live performances in the clubs. With this album, TIEFSCHWARZ cover both techno and house ground, topping all their previous endeavours with an innovative new sound aesthetic and an unparalleled degree of diversity. The tracks work perfectly on the dance floor, yet at the same time, the album as a whole is great to listen to outside of the club setting, due to the fantastic depth, vocal tracks and subtle production methods. Guest features include Cassy, Seth Troxler, Dave Aju and new talent Daniel Wilde. For more information: http://souvenir-music.com/newsletter/index_englisch.html

Tiefschwarz feat. Cassy “Find me“ – the new Single is available end of March 2010. New album ‘Chocolate’ is released 28 May. Tiefschwarz bring their new live show to Fabric, London on 12 June. Full tour details will follow shortly. To request promo copies of the new artist album please contact: jonas@epm-music.com

EPM PODCAST 06 – ROBERT HOOD (M-PLANT) For many Robert Hood is justly revered as one of the most important and defining techno artists of our generation and EPM is proud to launch their completely redesigned website alongside one of electronic music’s most visionary composers. Robert is the guest DJ for EPM’s latest podcast, featuring tracks compiled from Hood’s label M-Plant (which is exclusively digitally distributed by EPM) featuring past, present and future releases highlighting some of Robert’s unreleased material from this summer’s ‘Omega’ conceptual artist album on M-Plant. The EPM Podcast series reaches new heights with Robert Hood’s unique vision. To download/stream the mix click here ( http://www.epm-music.com/podcasts/item/51-epm-podcast-#6.html ). Hood’s forthcoming album is based on the 1971 classic science fiction film, ‘The Omega Man’ starring Charlton Heston and derived from Richard Matheson’s 1954 novel ‘I Am Legend’ (which was recently re-adapted to the big screen). This album concept is a long-held vision of Hood’s and the film’s stimulus has presented itself both musically and even spiritually for him, since he watched it as a child.  Its themes appear even more relevant today and continue to haunt: “it’s definitely metaphoric” says Hood “and if we don’t heed the signs, this is where we’ll end up. We live in a society where we just consume.  We just take.  We don’t operate on the concept of giving”. As a taster of what is to come you can see Hood dropping preceding single ‘Alpha’ here ( ) when playing at Belgium’s legendary Fuse club recently. Robert’s new release “Alpha / Omega (End Times)” on M-Plant is released 15 March. View press release here ( http://www.epm-music.com/pr-a-promotion/music-pr/details/16/1063.html ). You can now download and subscribe to the EPM Podcast series directly from itunes. To do this please check here ( http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=356373614 ): This wednesday will see a special all Irish showcase podcast to celebrate St. Patrick’s Day on 17th March, provided by Nice N Nasty’s Desy Balmer and Dave Ingham (aka Dagham & Remlab). Forthcoming EPM podcasts are confirmed from K Alexi Shelby (Detelefunk), Space DJz (Potential), Alex Pi (FarrisWheel), DJ Rush (Kne’ Deep), Paul Mac (Stimulus), Echospace, Terence Dixon (Reduction), The Neon Judgement (Dancedelic D), Kone-R (Uncharted Audio) and many more. More info on the album on these links below: RESIDENT ADVISOR: http://www.residentadvisor.net/news.aspx?id=11551 ( http://www.residentadvisor.net/news.aspx?id=11551 ) FACT: http://www.factmag.com/2010/01/15/robert-hood-to-release-new-soundtrack-for-the-omega-man/ ( http://www.factmag.com/2010/01/15/robert-hood-to-release-new-soundtrack-for-the-omega-man/ ) ROBERT HOOD M-PLANT MIX TRACKLIST 1/ Strativarius (The Puppeteer) 2/ Dark Room 3/ The Pace 4/ Superman 5/ i 6/ Metronome (B side) 7/ Hard To Kill 8/ Teflon 9/ Obey 10/ Stereotype (track 1) 11/ Externus Oblique 12/ The Protein Valve (A side, track 3) 13/ untitled 14/ Untitled 5 (A side, track 2) 15/ Grey Matter 16/ Realm (Monobox) 17/ Population 18/ untitled 1 19/ Alpha 20/ Range 21/ Museum 22/ SH-101 23/ The Greatest Dancer 24/ Omega (End Times) All tracks used in the mix are digitally distributed by EPM Music www.epm-music.com ( http://www.epm-music.com/ )

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FEEDING WERK (presented by Feeding Time & Werk Discs)

A Guy Called Gerald Actress (Werk) Lone (Werk) Lukid (Werk) Gyratory System (Angular) (live) Dave I.D. (live) Pariah Deadly Rhythm Soundsystem Fact DJs   Saturday April 10, 9pm-4am   Plan B, Brixton – 418 Stockwell Road, SW9 7AY 020 7733 0926 / plan-brixton.co.uk   £8adv / £12door. Booking strongly recommended.

London music collective Feeding Time and cult electronic label Werk Discs join forces for a special one-off clusterfuck of some of today’s most exciting contemporary music and influential legends.

A Guy Called Gerald needs no introduction – a bona fide acid house and techno legend who never lost his edge, Gerald is over from Berlin for an exclusive appearance on Plan B’s Funktion One sound system to guarantee the night goes off in style, showcasing material from his soon to be released new album ‘Tronic Jazz The Berlin Sessions’.   Hosts of some of the best underground parties of the last decade, Werk Discs are south London’s most impenetrable rave cult, and will be showcasing three of the label’s key talents. Lone and Lukid bring synthily bittersweet beats and intricately crafted instrumental hip hop, while label boss Actress is currently producing some seriously next-level electronic meaty goodness, and will be previewing material from his upcoming second album ‘Splazsh’, as well as hopefully modelling an interesting new hairstyle.   Gyratory System (Angular Records) will bring their astounding three-piece live electronica/brass ensemble to the Brixton stage. Simply unlike anything else you’ve ever heard, producer Andrew Blick conjures up a mindbending marching band straight from one of Walt Disney’s most fevered technicolour nightmares, which will have the crowd simultaneously dancing and gibbering in confused delight. Also taking to the stage is south-east London’s massively exciting Dave ID, whose clattering transmissions of fizzing electronics, distorted vocals and meaty industrial / hip hop backbone announces the arrival of a powerfully original new talent. Completing the line-up is Pariah, a young man who has grabbed attention with remixes for the likes of The XX, twisting the darker side of UK garage into seductively futuristic sounds.   Feeding Time x Werk Discs = Feeding Werk.   myspace.com/feedingtimespace / werkdiscs.com

Contact Jake McGowan at mcgowan.feedingtime@googlemail.com

For more information on A Guy Called Gerald contact jonas@epm-music.com

‘Tronic Jazz The Berlin Sessions’ is released 10 May on Laboratory Instinct.

FEEDING WERK release FINAL.doc

ARTIST: A GUY CALLED GERALD TITLE: TRONIC JAZZ THE BERLIN SESSIONS LABEL: LABORATORY INSTINCT CAT NO: LI017CD RELEASE DATE: 10 MAY 2010

A Guy Called Gerald has spent the last couple of years flitting through shadows, turning up on labels like Perlon, Beatstreet and Sender like a peripatetic prophet of the Berlin underground, seeding the scene with cryptic singles that return to the past to suggest alternate futures.

Now he returns to Berlin’s Laboratory Instinct label with the follow-up to 2006’s Proto Acid: The Berlin Sessions, the album that re-established Gerald as an acid hero and techno auteur. Tronic Jazz: The Berlin Sessions builds upon the foundation established by its predecessor to create an even more powerful statement of intent, one that communicates more persuasively than ever Gerald’s vision for techno in its third decade of existence. One immediate difference stands out, this time around. Where Proto Acid offered a seamless mix of 24 cuts, recorded in one epic session, Tronic Jazz collects 13 standalone tracks. That’s welcome news to DJs. But there’s something else: freed from the flow of the mix, the tracks go deeper into themselves, even while contributing to the overall shape of the album as a single, coherent form. They’re more varied in tone and mood, and even tempo. While Proto Acid was, by definition, a tracky affair, a kind of puzzle comprised of interlocking pieces, Tronic Jazz stretches out to explore its ideas in greater detail and greater depth.

Nothing overstays its welcome: Gerald is a master of concision, and he manages to express everything he needs in five-minute chunks—inside which time stops still, arrested by the interplay of deftly programmed machine rhythms, carefully arranged chord progressions, and a masterfully intuitive sense of sound design.

The main thing relating Proto Acid and Tronic Jazz, of course, is their resolutely analog underpinnings. Like Proto Acid, Tronic Jazz is an extension of a life spent listening closely to machines, knowing exactly what knob to tweak at exactly the right instant. It represents a feedback loop through the artist and his circuitry—a spontaneous journey though the miles of silicon in his vintage boxes. And every track’s arrangement, likewise, is an extension of a life spent listening to his audience. Following on Gerald’s unique performance style—two laptops left unsynched, an on-the-fly fusion of molecular selection, DJing and improvised production that he calls “Responsive DJing”—Tronic Jazz’s 13 tracks all know exactly where their listeners want to gom and they drive forward with uncommon focus, though not without satisfying the occasional devious urge.

You could call Tronic Jazz’ sound classic: its Spartan drum machines, analog synthesizers and carefully sculpted funk are all modeled after a blueprint laid down decades ago in Chicago and Detroit. In great contrast to so much electronic dance music of the past decade, it’s not generally concerned with the digital realm. It avoids the “feature creep” afflicting too much house and techno, where the possibility to do just about anything with sound leaves the music at an impasse, piling on effect after effect, techniques suffocating musical ideas. It’s more concerned with the expressive potential of a restricted kit: finding the loophole in familiar rhythms to turn them inside out with a single, carefully placed accent. Cutting a glissando lead through a field of drum shrapnel, like some kind of pixie earthmover, or rubbing two basslines up against each other til they throw off sparks. After so many years of digital anything-goes, you might have forgotten the kind of sounds that are possible with “old” machines: the way a lead stacked against tuned percussion and shrouded in pads can evoke still other sounds, hidden in the mix, or maybe not really there at all. It’s a ghostly, suggestive presence, a kind of evocation of infinite possibility within the context of a limited set of inputs. In that sense, Tronic Jazz follows a certain minimalist impulse, but it’s far too lush ever to be mistaken for the dread “mnml” of recent years.

This stuff is wide-eyed and full of life. When it funks, it funks hard, and when it smoothes out, it can be as intimate as a hand-written note left on a lover’s pillow. As “classic” as Tronic Jazz may be, the album refutes any notion that “classic” equals “retro,” that the ideas have all been expressed before. Tronic Jazz takes the foundations of house and techno as though they were a kind of language, and speaks volumes with them.

01. People Moover 02. Nuvo Alfa 03. Flutter 04. Iland 05. Just Soul 06. The Dip 07. Round Eco 08. Dirty Trix 09. Wow Yheah 10. Indi Vibe 11. Pacific Samba 12. Conclusion F min Blue 13. Merfed

www.laboratoryinstinct.com

A GUY CALLED GERALD PR.doc AGCG Biography 2010 02.pdf AGCG DISCOGRAPHY.pdf