hot-list
- BERLIN CALLING – The movie
- CPHKOALA ON A NEW COMPILATION
- DJ PIERRE aka MASTER BLASTER – I’ve Lost Control
- rumsterons.com in collaboration with samurai FM presents
- ZOMBIE NATION – Forza
- Zombie Nation -”Zombielicious”
music player
launch rumsterons.com music playersearch
Dance music is a form of pop music, and most pop music, historically, has been made at least in part to make people dance. But somewhere, somehow, the relationship fell apart.
Ewan Pearson, though he might not put it in as many words, brings the two back together. Not just by squeezing genuine sweat out of some of the most coolly-produced radio confections possible, but also by locating the secret pop song that lurks in the heart of every great club track. No easy trick. But in over a decade behind the boards that fusion has become second nature the English-born, Berlin-residing producer and DJ. That’s doubtless due in part to his tenure behind the decks at some of the greatest nightclubs in the world. And it must somehow be related to his decision, around the turn of the decade, to stop producing his own solo work (which he released as Maas and World of Apples as well as under his own name; he continues to produce alongside his frequent collaborator Al Usher in the duo Partial Arts) and concentrate on the music of others, both as a studio producer and, most famously, a remixer.
Ewan’s name may have remained mostly amidst the small print, but he’s been all the busier for it. His remixes appear on at least 58 different releases by a wildly diverse group of artists – including Seelenluft, the Chemical Brothers featuring the Flaming Lips, Playgroup, Freeform Five, Franz Ferdinand, the Rapture, Pet Shop Boys, Goldfrapp and Depeche Mode, all of whom turn up on Piece Work. Piece Work essentially picks up where the 2001 remixes comp Small Change left off, charting the last six years of Ewan’s beat-burnishing.
Over the course of his career, Ewan has developed one of the most distinctive voices of any remixer working today – not by imposing his own aesthetic, but by teasing out that hidden seam of pop pleasure and dancefloor impulse. Perhaps that’s what makes all of his mixes unique unto themselves. But there’s no recipe for an Ewan Pearson rework. It may be bleepy or roughed up with guitars, sweetly chiming or brutally blunt. The tempo may be fast or slow; the rhythm skippily housey or gargantuan and rocktronic. (Ewan even made one of the greatest contributions to the canon of so-called “schaffel” with his rollicking update of Goldfrapp’s “Train,” one of two Goldfrapp mixes on Piece Work that grab you by the collar and send you spinning like a disco ball.) You get the sense that he’s flying blind every time, feeling out the contours of the original and subtly reshaping with his fingertips as he goes.
Just listen to Ewan’s “Bari Girl Remix” of Silver City’s “Shiver.” It takes almost three and a half minutes – the length of your average pop song – to get to the first hint of the vocal, but from the very start you know that this spinning wheel of bliss-baited hooks is pure pop, stretched taut like an empty balloon. Two minutes of extended climax make it feel like you’ve been singing the melody your entire life, before everything dissipates into a fog of strobing arpeggios grand enough to animate the biggest dancefloor in the world. Or consider Ewan’s “Rave Hell Dub” of the Chemical Brothers featuring the Flaming Lips’ “The Golden Path.” Surely one of Ewan’s greatest creations, it transforms the jittery, motorik folk of the original into a 10-ton truck rolling roughshod over a road paved with heartbreak; propelled by insistent bleeps and bells, the song takes flight with the choral finale, soaring all the way to transcendence.
“The Golden Path” and yet another mix of “Train” are also both included on the Piece Work EP 12-inch single, featuring three tracks never before officially released on vinyl; given that they’re among Ewan’s most iconic reworks, it’s fitting that they’re accompanied by Cortney Tidwell’s “Don’t Let Stars Keep Us Tangled Up (Ewan’s Objects in Space Remix).” One of his most recent productions, this rework of the Nashville singer is a melancholic bit of future balladry whose tough-but-tender swirling suggests that Ewan is on the cusp of yet another breakthrough, one perhaps akin to breakout success he attained five years ago with his Freeform Five, Seelenluft and Chemical Brothers remixes.
Put together, these 21 tracks make sense in a way they never could on their own, playing ideas off each other and creating a jumbled and jubilant narrative. In the end, the story Piece Work tells is a simple tale of a love affair with recorded sound – coupled, perhaps, with the moral that two heads are better than one. (Especially when one of those heads belongs to Ewan.) You can hear Ewan having fun with every drumbeat, every chord, every squelching bassline, and that palpable sense of joy is nothing short of infectious.
- – - – TRACKLISTINGS – - – -
CD1
1. Seelenluft feat. Mixmaster Michael Smith – Manila (Ewan Pearson Remix)
2. The Chemical Brothers feat. The Flaming Lips – The Golden Path (Ewan Pearson Extended Vocal)
3. Futureshock – Pride’s Paranoia (Ewan’s Sticking Plaster Remix)
4. Silver City – Shiver (Ewan’s Bari Girl Remix)
5. Fields – Song For The Fields (Ewan Pearson Vocal Remix)
6. Playgroup – Make It Happen (Ewan Pearson Remix)
7. Freeform Five – Perspex Sex (Ewan Pearson’s Hi NRG Remix)
8. Slam feat. Dot Allison – Visions (Ewan Pearson Remix)
9. Goldfrapp – Train (Ewan Pearson 6/8 Vocal)
10. Closer Musik – One, Two, Three – No Gravity (Ewan Pearsons 2004 Remix)
11. Franz Ferdinand – Outsiders (Ewan Pearson Remix)
CD2
1. Mocky – Catch A Moment In Time (Ewan Pearsons Memory Blissed Remix)
2. The Rapture – I Need Your Love (Ewan’s Stay In School Mix)
3. Pet Shop Boys – Psychological (Ewan Pearson Mix)
4. Alter Ego – Beat The Bush (Ewan Pearson’s Slow NRG Edit)
5. Ryksopp – 49 Percent (Ewan Pearson Glass Half Empty Remix)
6. Goldfrapp – Ride A White Horse (Ewan Pearson Disco Odyssey Parts 1 & 2)
7. Ladytron – Evil (Ewan Pearson Radio Edit)
8. Moby – Raining Again (Ewan Pearson Instrumental)
9. Cortney Tidwell – Don’t Let Stars Keep Us Tangled Up (Ewans Objects In Space Remix)
10. Depeche Mode – Enjoy The Silence (Ewan Pearson Extended Remix)
Ewan Pearson Piece Work EP
A1. The Chemical Brothers feat. The Flaming Lips – The Golden Path (Ewans Rave Hell Dub)
A2. Goldfrapp – Train (Ewan Pearson Dub)
B. Cortney Tidwell – Dont Let Stars Keep Us Tangled Up (Ewans Objects In Space Remix)
////
What started with a little side note quickly became one of the hottest issues in all kind
of different media: The ducks had disappeared. First, scientists proposed several rather
exotic hypotheses, but finally geneticists came up with a useful explanation: actually, the
DNA of this animal provided a useful hint. It looked as if a collective order had been
ready to be called off from their genetic material. And now, after thousands of years,
something must have triggered it, maybe an electric impulse or an acoustic signal.
Sebastian Riedl aka Basteroid started his music career in 2000 when he founded the
label Areal Records together with his two friends Michael Schwanen (Metope) and
Matthias Klein (Konfekt/Welt Zwei) – a good basis for all his future releases.
Apart from his work released on Sender Records and a number of remixes, he is also
performing live all around the world spreading his unmistakeable sounds among the
people. The distinctive Areal artwork is also all Sebastian’s work.
On his first album ‘Upset Ducks’ he allows free play to all the different music styles that
he is influenced by. The result is a happy mix of trance, funk, rock, gongs and bangs. An
amazing combination of styles cleverly brought together in the spirit of rave! Half of this
record was created in Schaerding /Upper Austria, where the whole duck population
regularly gets upset (that’s where the title comes from), by one track in particular, but
also by the rest of this record. Poor duckies
////
Check it here
Right in time for the start of the summer new tracks by Tomas Andersson.
This time he goes down to business hard style again.
After his last tracks that were rather playful, allmost discolike, he now plays
around in the hard techno corner.
On “Upwardly Mobile” different synth lines bounce like they were in a competition
against each other, partly pick up the melody, partly alter it.
Now and then this great elephant-blows his nosesound is thrown in between.
This is a track Tomas kept in his drawer for almost 2 years.
It originally was a 18 minutes piece that he didn’t feel like working on. But recently
he just got down with it and made this great version out of it.
“Ofullständige Rättigheter” is hard Techno indeed and perfect for all the upcoming
outdoor raves and afterhours. Especially now, where Berlin’s famous club “Tresor”
reopened again!
The track title is a Swedish word-joke. In Sweden, really low-class restaurants for
drunks often advertise in very BIG letters in the window that they have
Fullständiga Rättigheter (Full Rights) which means that they are allowed to sell Beer,
wine AND Liquor! Woohoo!
“Ofullständig” means the opposite and is an allusion to the new Swedish right wing
covernment that wants to tighten notonly those restrictions.
////
M-nus
From its Minimalist aesthetic, increasing output and steady impact on electronic music since 1998, a blueprint has been developing at Minus. ‘Nothing Much’ (insert tongue-in-cheek) takes a snapshot of rock solid Minus memories that are more nouveau than retro, challenging any notion that the sound has remained the same.
While not representing the complete history here on disc, the compilation addresses a deeper note with a bonus disc showcasing Berlin’s Troy Pierce as he weaves a web of stolen moments from the catalog. Connecting the storytelling pop behind Heartthrob’s Baby Kate and Mathew Jonson’s Decompression to the funk flex of Gaiser’s Egress or Marc Houle’s composed anthem Bay of Figs, its time to take a bow. The collection also contains recent hits from Heartthrob, Troy Pierce, Ambivalent and JPLS. The method behind ‘Nothing Much’ is pure Minus- music for your head and your feet.
After several records on Safari Electronique, Glückskind Schallplatten, IronboxMusic, Kickboxer and Zyx Music it’s now time for his first release on BPitch Control.
Arwid’s style evolves to a mixture of experimental and modern sounds, whereby succeeds surprisingly in combining harder sounds with melodies, so that the result fascinates a various kind of people, especially those with more sensitive ears.
////
Release date: 20.August.2007
After Piemont´s big success with their debut 12″ “Carbonat” on MBF, F. Möring-Sack delivers a big time follow up. The driving baseline and massive Moroder sequences make the title track “Sympathetic” an electro house peak time tune. The break down features the melodic stabs that collect the energy before the heavy beat of Piemont returns to rock. “Sick Certificate“ shows the flipside of their musical talent, similar to their debut on MBF
////
check it here
Bpitch
Ricardo Villalobos and Ellen Alien remix Beck’s hit, “Cell Phone’s Dead”, on this cheeky Bpitch Control release. A few copies of the Villalobos mix have been floating around on white label recently, but this pressing holds superior sound quality to any of it’s predecessors. This package is the season’s ‘must have’ record for cool and trendy minimalists. Limited edition too, so don’t sleep on it.
////
“Suspended” is the first extract from chloé !s album. We know, you’ve been awaiting her album for long time. It!s almost ready now and we will release it in oct. not just a string of maxis, it will be a real album guided by chloé’s dreams, obsessions and her hown unique universe. just to keep you waiting, here come the first sampler. The track is called « suspended ». a perfect defininition of chloé’s music. a summer hit in the making ?
b.side is a “broke” remix . Mattias aguayo and rockness” new project. They put the track into a trippy ambiant mood and yes we love it. it’s getting hot in here.
We hope this released will keep you warm this summer !
////
After his telling contribution to the recent JPLS long player Twilite, the magnificently named Skoozbot get his very own release on Plus8.
The original version of Next To Monchhichi is an exercise in raw, stripped down tech-funk. Penned in by a raucous kick / snare pattern reminiscent of Phuture’s ‘We are Phuture’. The reverberating bassline is all over you in seconds, with subtle variations that lock straight into the groove. The main percussive lead then gate-crashes the proceedings and heads straight for the bar, serving up a potent cocktail together with the distorted, shuffling hihat pattern that gives the track some real bite. Sure enough, the electric interplay between these carefully nurtured sounds will have you dancing over hot coals as Skoozbot takes the party on to the next level.
Which is where Adam Beyer comes in. The bassline is deeper, the beats are set to warp speed and the percussive bleeps this time occupy the outfield. Nevertheless Beyer stays refreshingly true to the art of the remix, twisting the original sounds ever so slightly and embellishing the arrangement with a little extra studio trickery to increase the pressure, but still retains the basic structure and never loses sight of the intent of the original. Paco Osuna is also on hand, ruffing up the original with an edgy two note sliding bassline and filtered variations of the main riff. The hihats and snare rolls rain down relentlessly on the dancefloor before the track opens out into a cavernous breakdown and the main percussive motif is tweaked to oblivion.
The vinyl also includes A Fistful Of Duckets – it’s a cool, electro flavoured workout with an earthy bassline and skipping beats but don’t be fooled – there’s a deadly sting in its tail. The two additional digital download tracks that make up the release are also very much worth their weight in zeros and ones. Lemma3 and Lost both represent trademark mid west techno with deep, dark suspended basslines and powerful low slung grooves that are topped off by twisted reverse vox fx and more infectious, skipping percussion sequences.
////
Just when you thought it was safe to venture back on to the dancefloor, that strange guy with the sunken eyes and scary voice is up to his old tricks again!
Cleverly combining black humour with reduced micro-grooves, the title track from Ambivalent’s R U OK EP has become one of the most memorable tunes of the year to date, with the bonus accapella version coming in particularly handy during the messier parts of an evening. It’s only right then, that it reappears remixed and revamped for a fresh onslaught over the summer season.
Marco Carola offers up two versions of stripped down metronomic tech-funk. The 2beats remix is full of metallic, sliding efx and a pulsing subsonic bassline that keeps the track rolling forward while the 4beat remix takes everything up a level with a stronger kick, busy percussion parts and an altogether more urgent, peak time vibe.
Contrastingly, the Like It Or Not mix from Troy Pierce is a typically murky ride, with a scuttling 6/8 acid bassline that’s ripe for the after-afterhour. Dark as f**k, it plays with the cut-up vocal elements drenching them in a heavy reverb during this descent into the inferno. The Kasper is Okay mix keeps the tension at a maximum as the hypnotic percussive groove falls victim to the needle sharp hookline that slowly envelops the proceedings before drilling straight into your cerebral cortex.
The trademark JPLS elastic bass is in full effect on the 12mg Remix. The vocals are rinsed out beyond recognition and a tight hihat/snare pattern keeps the warped, original synth line in check as it drifts across the sparse, alien landscape. The Paco Osuna’s WMC Remix is the kind of hi octane affair we’ve come to expect – full of twisted bleeps and machine gun snare rolls, everything works towards the almighty breakdown that sends shock waves across the dancefloor.
…and if that’s not enough, check out the deep, bass heavy version from Tim Xavier and Camea. With cool, subliminal fx and jarring claps that resonate into the darkness as the kick drum motors onward, it’s raw techno at it’s best.
////
Essentially a special one off live set, the new continuous play False LP ‘2007′ defines Dear’s relationship with Minus. Together with the accompanying vinyl release of Fed On Youth / Face The Rain he has concocted a work of such stunning intricacy, verve and substance that it will surely be in amongst the favourites when this year’s highlights are assessed.
The opening sequence unfurls gradually but even as the ominous Indy 3000 drifts into the metronomic comfort of Meat Me In The Markt you can already feel the gravitational pull sucking you in. The electro shock therapy of Warm Co. and the pensive minimalism of Timing and Alright Liar continue turning the screw and before you know it you’re lost in a void of slow chugging sub-beats, filtered vox fx and dense, disorienting reverbs. Distant melodies somehow make it through, like the soft, meditative tones on Plus Plus and the melancholy motif of Face the Rain, which leaves you temporarily frozen and suspended before the energetic Dollar Down ushers in the pivotal, subsonic avalanche of Disease/George Washington.
The album starts to gather momentum on the home stretch. The tension and suspense of Act Like Children/Excalibur roll into In The Heather which in turn breaks under the weight of Fed On Youth as Dear finally unleashes a sequence of laser guided synth stabs that recall the hi-octane drive-by of the intro. Stomachs/Ankle Biter extends the climactic conclusion amid a wash of analogue white noise before Forgetting finally releases the pressure valve, slowly drifting back to the initial point of origin.
What is so memorable about this collection of tracks is the way it strikes the perfect balance between abstract experimentation and full on techno nirvana without ever breaking stride or losing focus. Dear is an artist you can trust to deliver. There’s nothing brash or over blown here, all the real action is nestled between the beats – enticing yet unreachable – while the grooves he concocts are all so earthy and raw that the kick drum functions as an alternative rather than a necessity.
////
Troy Pierce continues his mission up river into the heart of darkness, with arguably his most accomplished collection of tracks to date. Made up of music composed almost exclusively on the road, the ‘Gone Astray EP’ is driven by choices and ideas that would not normally have surfaced in a typical studio environment. It’s an innovative, ambitious project, not least because it tackles so many abstract themes in one sitting, often taking more than one mix to fully explore the hidden pathways that disappear off into this dense catacomb of sound.
‘Even If It’s Alone (Black Acid)’ is a good case in point. The original version is abstract, freeform techno full of disorientating bleeps, metallic snare rolls and messed up vocal overdubs that offer the listener little in the way of a safety net. The Louderbach remix however is an altogether different trip. Sparser and pinned down by a mechanical hihat/snare pattern, it utilizes spaced out delays and reverbs to create an equally intense atmosphere. Further highlights include the classic arpeggiated hookline at the heart of ‘Lost On The Way To DC10’ (prepared moments before a gig at the self same club) and the urgent tribal stomps of ‘Klitkut’ – another track with Ibiza after hour origins.
Dramatic changes of pressure abound throughout the whole project, with Pierce making full use of the audio spectrum as he painstakingly deconstructs and reconstructs frequencies. Each sound is teased and twisted in all manner of directions, (check out the morphing acid line on ‘Golden’) with particular attention paid to the drum machine patterns that are refreshingly free from the linear constraints of standard techno. As a result the sound seems to move forward like a wall, constantly changing room size and shape, which is why you’ll be forgiven for sometimes finding a door where the window should be.
Going astray can be a good thing, especially when you end up fin! ding a b etter way.
‘Gone Astray EP’ is available on double vinyl, with the CD and digital download releases including two additional tracks ‘Word’ and ‘Go Without Me (Stay Away)’.
Track Listing:
2×12”
1. even if it’s alone (black acid)
2. even if it’s alone (black acid) louderbach remix
3. lost on the way to dc10 (berlin version)
4. konrad gets lost on the way to dc10 (konrad black remix)
5. golden
6. go without me (come back)
7. klitkut
8. finished
Digital Bonus Tracks:
go without me (stay away)
word
CD:
1. lost on the way to dc10 (berlin version)
2. klitkut
3. word
4. go without me (stay away)
5. even if it’s alone (black acid)
6. golden
7. go without me (come back)
8. konrad gets lost on the way to dc 10 (konrad black remix)
9. finnished
10. even if it’s alone (black acid) (louderbach remix)
////
check it here
The decision to make a live-album from his last booking in Munich’s Harry Klein Club came to Richard Bartz immediately after his performance: “A live-gig like that doesn’t come around every day. The people were crazy. They always wanted more. So I just played wilder and wilder. At the end it was obvious to me: that was so unusual, it has to be released.” And now it’s finally arrived, five years after Richard Bartz very successful first live-album on Cocoon Recordings (“live at amnesia”), in the form of a collaboration between Kurbel and Harry Klein Records – the new label that will be releasing a series of 12″s – entitled “Richard Bartz Live at Harry Klein – Visuals by BettyMü”. The unique selling point: it’s a DVDplus. One side of the disc can be played in a normal CD player; flip it over, and you’ve got a DVD video of the full session, including BettyMü’s visuals and exciting bonus material.
The bonus material is in large part taken from the new tracks from the techno and house producer Richard Bartz. 12 of the 15 songs are previously unreleased. Bartz has remained true to his roots – still providing his fans with the same style that they love him for; he is the master of analogue techno. Bartz doesn’t use any digital sounds – he considers himself to be the “analogue bastion against the army of digital music” – in other words, all those people who make dance music on a laptop without any care or love. Bartz has a whole factory of old and new synthesisers which produce sounds in a modular system. Through his unique production style, he creates his signature roughness, deep but at the same time warm. “I like it, when you can here the electricity flowing through the machines”. That’s a great way to sum up Bartz’s aesthetic. Bartz uses these same effects in his live performances, but lets them run over a computer purely as a matter of simplicity. The sound that Bartz produces is through-and-through old-school, jacking house music. “Naturally I’m primarily influenced by the dirty Chicago sound. That, for me, is perfect dance music. If I produce a song, I’ve always got the right dance moves in my head”. On the DVDplus one appreciates the impressive way in which Bartz builds his sets – by the end of the set there’s a crazy acid-mashup pumping out of the speakers.
“The album is an identical reproduction of the evening. On one side you see the public going crazy, on the other I have worked with BettyMü (who did the visuals on the evening) to push the tempo.” Actually Bartz’s music is only one part of this unique release. Just as important is the visual set from the Munich media-artist BettyMü. Here you see a wide slice of the new art-form of club-visuals: concrete images (a white mouse falling through space is the “leitmotiv” of the performance) mix with abstract animations. The effect is the same as the music: nervous, jaggy, animated and rhythmic. But Bartz considers BettyMü to be much more than just an illustrator for his music: “On this night we communicated our media. I played my music, Betty reacted with the appropriate visuals, and I then played music that repsonded to her visuals”, he explains. On the DVD, BettyMü’s video material is combined with Bartz’s performance: you see Bartz at his decks, Betty at her computers, and of course the public in full flow.
Just like you would expect on a DVD production, “Richard Bartz live at Harry Klein” is packed with bonus material. A one-to-one interview with Bayerischer-Rundfunk reporter Roderich Fabian takes a look back at the high points of his career. But perhaps more exciting for fans of Bartz is his “synth-workshop” – a trip inside his studio with Bartz himself, where he explains the inner workings of his favourite synthesizers, many of which are historic pieces. Richard explains how he turns electricity into music with a hands-on demonstration and a journey into the world of modular sounds. If you weren’t sure about the difference between sine and saw-wave sound forms, now’s your chance to find out – and to discover just how much work is put into each production.
////
check it here
Fire can be extinguished, water however always find its way. The element characterizes the attitude of the Electronic-Label Meerestief from Stuttgart. It must flow. The launch of the label, once still like a youthful, wildly cavorting rill, Meerestief has become today a wide, straight river with huge power. Nice critics in music magazines and contributions on compilations like the current Time Warp mix-cd by Loko Dice evoke international respect. The first label compilation is now to be applied with ”Wassermusik”. The high output of late-breaking and partly still unreleased Meerestief releases with further up to date favourites of the label owner Walter Ercolino and Daniela Stickroth are integrated on it. Inhouse-Tracks like ”Ronan’s BBQ” by Five Green Circle ( in the XHIN Remix ), Kabale & Liebe ( in the Pheek Rmx ), James What and of course also by Stickroth & Ercolino, are skillfully linked with tracks and rmxs by Steve Bug, Extrawelt, Ripperton, Minilouge, Martin Landsky or Miss Yeti. Also interesting the formation of ”Wassermusik”: The tracks were mixed classical and analogical, and later individually processed into pro tools and provided with effects and samples. In between, sound extracts of further Meerestief tracks were interlaced. ”Wassermusik” reflects very well the sound philosophy. Because also music itself needs room and time to unfold powerfully. Minimal on the surface, wide in depth.
////
check it here
Matthew Dears Asa Breed finds the Detroit-based electronic artist achieving new artistic heights � it�s more robust, more accessible, and yet still undeniably Matthew Dear. Incorporating his uniquely crafted textures alongside international rhythmic influences, plus a lyrical storytelling element from his Texas upbringing, Asa Breed is a completely unique musical experience.
Since his debut at the decade’s beginning, Matthew Dear has been championed as North America’s brightest new electronic talent. His 2003 debut, Leave Luck To Heaven, garnered unequivocal praise from the likes of Rolling Stone, Spin and Entertainment Weekly, and in the period since, Dear has conquered the international techno scene under the alias of Audion. But when it came time to return to his roots, there was only one path to take. With each track on this album, Dear tells a unique story about life and human relationships with his rich baritone voice and fusion of live and electronic instruments. In sum, Asa Breed represents a new feeling and a more expansive look into the psyche of an artist coming into his own.
////
check it here
Fresh off the back of their recent Japanese tour Scottish duo Optimo have signed up with one of Tokyo’s most upfront labels, Mule Musiq. The Mule office have sprouted a new sub label called Endless Flight and managed to persuade Optimo to get behind the decks for its debut release. The result is “Walkabout”, a journey of deep, twisted sounds stirred together with a sprinkling of leftfield looniness. You should remember hearing from JG Wilkes and JD Twitch in 2004 when they released the massive 2 CD mix “How To Kill The DJ” for Parisian imprint Kill The DJ Records. And if you are a resident of Glasgow then you may have had the pleasure of enjoying their Sunday night club-night called Optimo which in the past has featured lineups involving Michael Mayer, Isolee, Luciano, Chicks On Speed and Franz Ferdinand.
////
