SSMX07 – Reggie Dokes (Psychostasia Recordings)

Psychostasia Recordings boss Reggie Dokes steps up for a journey through vintage US house.

Without question, Reggie Dokes has been one of the most under the radar producers and DJ in the underground house and techno music scene. Originally from Detroit, he was fortunate to have been exposed to a rich and diverse music scene in the 80’s, which inspired him to DJ at the young age of 14. After taking a break from music to pursue an education, Reggie returned back to Detroit and music took hold again.

In 2001 he started his label Psychostasia Recordings. With releases from esteemed acts such as Juju & Jordash, Dubbyman, Gari Romalis and Reggie himself, the label has received much attention for its leftfield but soulful output.

Now based in Atalanta, Reggie continues to push a unique style of electronic music and as follows if his Instagram account will testify, Reggie is far more than a loop sequencer, often contributing live instrumentation and rhythms into his productions.

Reggie has been one of our favourite producers for a long time so we’re delighted that he’s put together a mix that personifies deep house music.

 

 

What’s been your journey from music fan to a highly-rated producer of electronic music?

Since the age of fourteen, I have always been a fan of this music. A lot of my exposure to this great music came from Chicago first, then New York. I was a DJ first. Then in 2001, is when I started my label and producing music. I like to keep it interesting by producing house, techno, hip hop and whatever else I feel. I just love music, period.

What have you been up to recently?

Just released an album, and a collaboration EP with my London friend Moody Waters. I have started to release a lot of my music now across all digital platforms including Bandcamp. I am currently working on a house EP, where I am challenging myself to play the bass and guitar, that will be released in a few months.

You’ve been involved in the upcoming Detroit Techno documentary “God Said Give Em Drum Machines” – can you tell us more about the project and your involvement?

Well this documentary talks about the origin of techno in Detroit, and how this genre influenced the world. Kristen Hill and his partner Ms. Washington are the producers of this project. They allowed me to come in as a composer, and create original music to this film. Lately that has been my new passion. Atlanta has become the new Hollywood, so I have chosen to blaze a new path with my music career in film composing.

If you could collaborate with one artist, who would it be?

It can’t just be one, life is way too short. In the electronic world it would be Carl Craig and Jeff Mills. In the world of Hip Hop, I want to collaborate with Royce Da 5’9, Nas, and Jaden Smith. In the R&B world I would collaborate with the new artist H.E.R.

Where was this mix recorded and what did you use?

Nothing fancy. This was an all vinyl mix, nothing preplanned. I just went on how I felt that day musically and spiritually. The mix was recorded at home on a Numark mixer and two technic 1200s.

Once you’ve finished listening to the mix, take a tour through Reggie Dokes outstanding vinyl discography.

SSMX06 – Trus’Me (Prime Numbers)

The Prime Numbers boss and underground favourite, Trus’Me talks new records, new cities, and new sounds

Since 2008, David Wolstencroft has put out a steady stream of albums and EP’s that’s revealed an artist who pulls his influences from a widely cast net.

From the dusty basement & disco sounds of Working Nights and In The Red, through to the clubbier inclinations of Treat Me Right and Planet 4, Trus’Me seems like an artist who is always searching for something new.

His recent move to the Portuguese capital, Lisbon, and its associated cultural melting pot of African, Brazilian, and European history, seems like an apt place for a producer who’s range has left him with a unique sound that is hard to categorise.

Alison Tara caught up with David to talk about his new record, life in a new city, the origins of his sound, photograph and musical inspirations. He’s also supplied a 60 minute mix of funked-up, cosmic dance floor killers

All right, let’s do this, David! Tell me about your new release.

My new release is an EP for a label and collective in Lisbon (where I am currently trying to live) called Carpet and Snares and they run a label called Groovement. They said they were fans for a while now, and asked me to do a release. I’ve only released with other labels one or two times . I released a special thing for Gilles Peterson on Defected, and the other time was on Fat City. So, this is one of the few times I’m actually doing a release that isn’t on Prime Numbers. The release is two songs that are actually from the “Treat Me Right” right era- two tracks I didn’t release that have now been re-tweaked. So, they definitely have a similar vibe to the “Somebody” track.

One of the new tracks is actually called “I Need Somebody New,” so it really ties back to that. It’s definitely from the same time period or same jam. The other track is also from the same week where I was working in a studio in Australia called “The Analog Cabin.” So, it has the same kind of feeling and essence to the tracks as well. Then we asked Delano Smith to do a remix because he was really feeling “No Harm,” which is the title track. I gave it to him a long time ago and he said he’d been playing it loads. We met years ago at a show and remained in touch ever since. I used to buy his stuff all the time at Emporium50.com and he was one of the first producers I looked up to. So, he was the first person I thought about to give it a remix. I wanted a nice Detroit touch on the other side of the EP and he did a really solid job.

How long has Groovement been around?

They’ve got quite a few releases since 2004. Molly did their last release- that’s how I heard of them as Molly and I are friends. Actually, Molly asked me to do a release for her new label as well, so I just thought it all tied in and I wanted to put my foot in somewhere Lisbon-based because I’m about to be living there.

How long has it been since the last Prime Numbers release and why the break from it?

The last Prime Numbers release was three years ago now and it was my fourth album. That was a concept album – I was really in a Drexciya/early electronics kind of electro stage. I was deep into my techno then – living in Berlin, and all that kind of stuff. In the past three years, I’ve really gone back into my world music disco roots, so I felt like I needed some time for the transition before I came out with something completely new. This EP really is a nod back to that former era, but a lot of the new music that I’m going to be putting out is more disco tinged, more soulful, more like what I was doing with “Working Nights,” really. It’s kind of where my head has gone after 10 years of doing this.

You’ve mentioned to me that you’re going to start releasing music under a new alias. When can we expect this music to start coming out?

The productions are already about 90% finished. Going back to that question before, after 10 years of producing and running around the clubs, I was just searching for a way to fall back in love with music again and not see it as a job or a business anymore. I went back to concentrating on digging for records and collecting world music, which is all different kinds of genres. I started to realize that I want my productions to sound more like this kind of stuff. I’ve always been a sample based producer, so collecting has always influenced my productions.

What direction is your sound moving towards with this new alias? Should we start to expect to see your releases in a new genre section in music shops?

I think after a decade of doing the Trus’me thing, I started to think I might come out with a new alias just so there’s no pre-connotations of what Trus’Me is, or what he did or is trying to do. There’s always references back to early albums, or people referencing the new albums and not understanding the old albums. I would just like to start with a clean slate again – possibly release some music without any information on there at all and just let the music do the talking for me. For me really more than anything, just to see if I can do that again.

Are you going to release under your new alias on other labels or only put them out yourself?

It would definitely be a label that I run. I’ve really gotten back into shooting photography again on analog film. I want to do new a label that will encompass these photos I’ve been taking and the concepts- creating music around those concepts so it would all come under one hood. I will probably run it with some of the people in Lisbon that I’m working with now, and have them work with me on these projects.

And you’re going to keep this all a secret?

Not forever, but until it’s proved itself. Until it gets to the point where people really want to know what it is, are asking lots of questions, and want to do interviews and all this kind of stuff. This is more for me really, to prove that I can do it again. And to feel the freedom of just putting out what I want. It’s not to say that I’ll stop doing the Trus’Me stuff. I’ll still make the Trus’Me stuff when I feel like it and I’ll keep working on music like that but I have so many different tastes in so many different genres that sometimes I think it confuses people and it always has. So, this will be a way for me to just do what the hell I want.

And you’ll be releasing vinyl?

Yeah. I mean I’m always vinyl based. It’ll definitely be vinyl.

So is this the end of Prime Numbers?

Nothing is  definitive. Prime Numbers was started as a label for myself as a way to release my music. It just so happened that I had some really great musicians around me at the time so I put that stuff out and then people started to see it as a bona fide label rather than a label that just releases Trus’Me productions. I was making music as fast as I could, and in between that, if I had music to put out, Matt Triggs, who I was running the label with, was happy to put it out. And then we started to do these compilations EPs. It feels like another era now, that label; it did what it was supposed to do and it ran its course. For three years now, there have been no releases, so I feel like there needs to be a new challenge. I mean already, younger people probably don’t know what Prime Numbers is. They don’t understand what it is or what the concept is. So, if we put something new out, I feel like we’d just be in the mix with every other label, with no nod back to feeling the history of Prime Numbers.

Once you start putting out these new records, will you be releasing other people’s tracks as well? Or just your own?

At the moment it’s just going to be my own music, but if I come across some really nice musicians and talent in Lisbon, then I’m definitely going to try to help nurture them. I like the idea of helping other producers get out there and mentoring them, which is what I always did with  the earlier artists that were on Prime Numbers. I was very strict about what got released. People would get a bit unhappy with me because I would reject a lot of their stuff, but it was because I was pushing them, while also trying to keep a sound and a standard that I wanted the label to have. So, this is something I’ll try and definitely do with the new label for sure.

Who are some current artists whose sound inspires you?

Rather than artists, I’m  inspired by a few  collectives at the moment. I’m really feeling The Heat Wave Collective based in Los Angeles. They really search for music and they’re figuring out a different way to put all of these sounds together. They’re appealing to the younger audience and the music is not necessarily all dance oriented. The music is to listen to and dance to. They accept electronic music as well, but they’re quite happy to play some Spanish guitar solo that just has an amazing hook and will keep you going throughout, you know? For me it’s been quite inspiring going to their parties in Silver Lake in LA.

Where do they throw the parties?

They do it at Gold Diggers in Silver Lake. The party is called Heat Wave and it’s every Thursday. They have a radio show as well on NTS. There are a couple of collectives in Australia I’m feeling as well. Like I said, I’ve just really gotten back into digging again so when I meet people who have so much knowledge of so many different genres and they’re putting it all together, it’s really interesting to me. You still want to dance, but you have no idea what genre it is. They’re playing pop music with Brazilian music, with Italian disco, with house tunes, with slow reggae jams. You never know what the next song is that’s coming in and that inspires me – people that love music that much, they’re just searching every genre to find the jam that they want to play in the next set. So, I’m more influenced by this per se than any actual producer out there. I’m not really following any one particular label either because I’m just listening to everyone and everything right now.

I want to talk about photography for a minute because I know that this is a new passion of yours.

Well it’s actually an old passion. It’s something I really was getting deep into as I was getting into music production. It’s just that the music production thing evolved more quickly than the photography did. I could have gone both ways really, when it came to what I was passionate about. I bought all the photography equipment. I had my Nikon FM2 and I was taking tons of photographs, I was actually working on a book called, “Almost 30.” I was touring all over the world with all these famous djs and I was taking photos of them- I still have all of these reels undeveloped. The idea was, I was going to put a book together that was about the troubles of turning 30 and what goes through your mind at that stage of life because that definitely was a significant period in my life. You’re dealing with leaving your twenties and basically going into adulthood and how that affects you. But I also realized at that time how many heavy weights I was surrounding myself with, people like Dj Harvey and the Ben Klocks of the world who were actually only just blowing up at the time, they weren’t as huge as they are now. I photographed it all and I still would like to do something with that project. But obviously, I can’t call it “Almost 30” now. Just recently, my girlfriend found that camera and she wanted to know all about it. We started to take fun photos together- I was showing her how to develop film and I really got back into it again. I realized that that was something I was desperately trying to do when I was younger.

You learned the process of developing film?

Yeah. When I learned the whole production thing- how to produce and record and all that- I was at a stage in my life where I was just learning stuff. So, with the camera, I learned everything about it from taking photos to developing the film, to burning the film. At the same time, I was working on my degree in graphic design, so I knew how to completely manipulate and edit the photos as well. So, it was always in the back of my mind that that was something I wanted to do, But the music kind of went into fifth gear and I left photography aside because I just couldn’t do both things at the same time. If you really want to master something, you have to just concentrate on one thing.

Are you going to be incorporating your photography into the artwork on your new releases?

Yes, I would like to go through my old photography as well as use the images I’m capturing now. I think it’s apparent I’ve always liked photography because of my album covers. I’ve always liked that portrait style, more kind of “photos of the ladies,” should we say. That style has always been something I want to do. That was definitely an influence when I was putting all my album covers together. This is quite obvious when you look for instance, at the covers of “Working Night$” and “Treat Me Right.” So yeah, this is something I definitely want to do and I’m going to try and make the photography influence the music that I make rather than the other way around.

In what way?

By looking at a particular image or a subject matter and then using the skills I have now after so many years of producing music, to try and make a soundscape, or a sonic idea that represents that particular moment of time in that image. You know, how art kind of makes you feel and what kind of sound comes out of that feeling. I think I’m at a stage where I can do that now. Maybe when I was younger I couldn’t, but I feel like my skill set now is at a level where I can create a piece of music that represents the image taken or created in front of me.

What is the art and music scene like in Lisbon right now? Has the city influenced your music?

Absolutely. Lisbon is such a melting pot. It’s not just Europeans- you’ve got Africans from every country going there, you’ve got South Americans, all different types of South Americans- it’s a hub for them. So, it’s full of Brazilians, Venezuelans, Chileans, and Colombians…. They’re all there bringing in their genres and styles and influences. People are going there because Lisbon is as close as you can be outside of Europe but still be in Europe. It has 32-degree weather and the most days of sun per year than any capital in Europe. Plus, you can fly to America and South America in under six hours so you can quickly hop home, but you’re still in Europe, you’re still in a European society.

There is great freedom in Lisbon, you know- everything’s been decriminalized. You can get away with anything. So, for art and culture, it’s a melting pot and a place to cultivate anything you want to do. There are very few restrictions. It’s one of the cheapest cities in Europe to live in. The cost of living is so low.

I know so many people from my years in Berlin who have moved to Lisbon. Is it a cheaper place to live than Berlin?

Incredibly. The average wage in Berlin is between 1200 and 1500 euros. In Lisbon, it’s like 670 euros. People don’t earn a lot of money there so you don’t need a lot of money to live. Food is incredibly cheap, taxis are incredibly cheap. Berlin is not cheap anymore- that’s an illusion. Plus, in Lisbon there is a 10 year tax free benefit for new residents, so that’s attracted a lot of people.

Are there tons of parties going on?

There are parties all over the place and they’re not just electronic parties. This is what I’m trying to say. All genres of music are represented there. You can quite easily go to a Cuban jazz night, to a Brazilian live punk funk night, to a disco night, to a house night. And then there’s also Lux Club (John Malkovich is part owner)and all of these various other clubs doing all the house and techno stuff. But there’s hip hop nights, salsa nights, and then these other parties where I don’t even know the genre of the music and there are 2000 people in there.

trus'me 2

I’ve always been a sample based producer, so collecting has always influenced my productions.

Do they have the kind of club scene Berlin does, where you can stay at a club for days?

Well, the beauty of Lisbon is that as you get older, the mentality over there is 12 till 12. It’s amazing because it has beautiful weather and it’s always sunny. People go out at noon. When you throw a day party in Berlin, no one really goes out unless it’s like a kick on from the night before. But in Lisbon, a party will go from 12:00 PM until 12:00 AM and people are there from 1:00 PM at least.

And then people go home at midnight?

Yeah. People go home at a reasonable time. They go to bed and get up in the morning and enjoy the day. Sunday is just as fun as Saturday because you can do what you want and go to bed. You don’t have to stay up until 7:00 AM in the morning, you know?

So, is there not much drug use in Lisbon?

Oh, there definitely is because it’s all decriminalized- everybody can do whatever they want to do there. But the fact of the matter is that the weather is so nice there, the culture is so lovely, and the city is so beautiful to look at. You’re right by the sea and there are beaches everywhere. In Berlin it seemed like all I did, was go clubbing. Lisbon has the clubbing, but it has the beauty as well. You don’t need to spend a penny – you can just walk around the city, take in the fresh air, walk to the sea and go for a swim, walk up a hill. You can just have fun sitting outside with your friends. Everybody that makes the move there loves it. At the same time, we don’t want to tell too many people, we don’t want it to be overcrowded.

When I met you in 2007, it was because of your first release that astounded me. I was pushing it like crazy at Turntable Lab and selling the shit out of it. The music sounded straight out of Detroit. Little did I know it was made by a lad in Manchester! What was going on for you back then? Whose productions were you listening to?

When I fell into that, I was actually doing my master’s in business. At the time, I was obsessed with Slum Village, Jay Dee, Madlib – hip hop based music. I was collecting this kind of stuff from a record shop in Manchester called Fat City Records – predominantly a hip hop shop. Then one day they pushed some Moodymann and Theo Parrish records on me. “If you like this, you might like this sound as well,” they said, because they knew what I liked. I was getting more into collecting samples in hip hop, so I started to learn a lot about disco, jazz and boogie as well.

I got hooked on this whole sound because I felt like the Detroit house sound was a way to put all of your flavors and tastes together in one. During that time, I started dabbling in music production and realized that this was the kind of sound that I want – where I can have African rhythms and hip-hop rhythms. A hip hop mentality, but with a disco sound and house elements in there too. Put it all in one big pot and shake it all together. I think there were a lot of people in Manchester at the time who were deeply influenced by the whole Detroit sound because clubs like Eyes Down, Electric Chair, Mr. Scruff’s monthlies were playing a lot of Detroit music. Anything from the hip hop stuff to Carl Craig and Juan Atkins,  Moodymann, Theo Parrish, and then all the boogie kind of stuff. So, Amp Fiddler, Dwele- all that kind of stuff was all in one big bubble. They joke in Manchester that a lot of us were “Detroit Childs.”

When we all produced music that sound came out of us because that’s what had been pushed at us for so long. It was just in us when we came out. When I made that stuff, I wasn’t predominantly thinking, “oh, I’m making Detroit music.” I was just making music, but from the outside everyone was like, “oh, this is very Detroit sounding.” I hadn’t traveled as much back then, so I didn’t realize that there were all these other genres of house and techno that were going on at the time. We were just heavily into the Chicago and Detroit sound to be honest.

What was the first piece of equipment you used?

I was so obsessed with Jay Dee that I was like, “right, I need this MPC 3000 limited edition,” blahdy blah blah. But in the end, I settled for and MPC 60 Mark 1, for the 12 bit sounds. That’s what you hear in a lot of the first two albums- me, painstakingly sampling beats of half BPM’S, then speeding them back up to get that grungy kind of sound. I used a Juno 106, I had a Sequential Circuits Pro One and a couple of other little bits like that. A Nord Lead 2X as well. When I was at university in Leeds, I was checking out a lot of people like Amp Fiddler (who I ended up working with), and Dwele, and the Soulquarians collective who started the whole neo-soul movement. All these kinds of people were coming in through the city and I was always checking what synthesizers they were using. Then I would go out and try and buy the same ones so I could emulate the same sound. So, my studio was very much this kind of thing.

And then the main piece of the jigsaw was when I bought a Fender Rhodes. The one I bought belonged to a friend of my brother’s, and he ended up being the keyboard player for Massive Attack. So, the Fender Rhodes that was used on the first two Massive Attack albums is actually what I used on my first two albums as well. I then sold it to a friend of mine who then sold it on to Max Graef. He has that same Rhodes now but I don’t think he knows the history of it. That was the backbone of most Detroit sounds, really. The Rhodes, the Pro One, the Nord Lead 2X, the Nord Electro, the Juno 60 or the 106, and a good MPC… then you had the basis of any kind of Detroit production for sure.

When you put that first 12 inch out, did you have any idea that you would get such a great response?

I mean, I listened to it and I remember thinking, “I really like this stuff.” When I was making that music, I was playing mostly in bars and I wanted a way to bridge songs. That first track, the Nard’s track- the whole point of that was to be able to go from hip hop to soul to disco and house without having to just immediately change the tempo like he did it in the record. So, every track on there has some kind of essence where it changes the bpm but also changes the style effortlessly. And then, as I put it all together it ended up feeling and sounding like an album. But when I was first making the tracks, the idea was just to make interesting twelves that had three different types of tracks that you could take to a bar gig for three different occasions.

When I pushed that record to a Chicago label, they instantly hit me back and the next minute it was the number one bestselling record at Piccadilly Records in 2007 in Manchester, which back then was like the Juno of record shops. From that Chicago release,  Manchester label Fat City Records  – who I’d been learning everything from – asked to do an album with me. Fat City Records is where I was shopping for my records nearly every day. They were everything to me. It was like I was nobody and then next minute I was asked to do an album and was like, what the fuck, how did this happen?

It was interesting – I had to take my music to Chicago first and then be recognized in Manchester as who they thought was another Moodymann. Then they realized I wasn’t Moodymann, I was just a guy from Salford, Manchester. People always ask me, how did it all happen for you? It was completely by chance. If I had of tried it the other way around – delivering my music first in Manchester – it probably wouldn’t have worked. It all happened very quickly, really. The next minute, Fat City asked me to do my own label with them and then Prime Numbers started.

When you’re not listening to electronic music, what kind of music inspires you?

I’m listening to a lot of Brazilian music and a lot of Italo disco stuff.

Any Brazilian artists in particular?

Here are some YouTube links:

Ti Claude – Mété Gaçon Sou Ou

Tatiana – Karaib

Hypnotic Samba – “Stop – Watch”

Tell me a little about Bali as you’ve been spending winters there.

In the winter time, I always go towards Southeast Asia, China and Australia, and have been using Bali as a base because it’s really starting to become what feels like the early days of Ibiza. There are different clubs opening there all the time. People are starting to open studios, the food is great, and there are all different types of artists there. It’s is a nice home away from home musically and culturally, as well as being a beautiful place. It’s one of the most popular destinations in the world now. When I want to go to my gigs, I can fly direct. It’s like living in London or even being in Ibiza in the summer because you can just fly there direct. It really saves me a lot of time and energy. The down side is, Bali’s become so popular now, it’s heavily polluted. When you go in the sea, you are literally swimming in plastic. It’s really sad, but everybody seems to be trying to make a change. People are doing cleanups so it’s moving in the right direction.

If you really want to master something, you have to just concentrate on one thing.

What is your all-time favorite record label – any genre?

God, that is a tough one… It’s hard, isn’t it? I mean Peacefrog and Prescription are big influences for sure. But of the stuff that I collect now, it’s definitely the Elektra label. The range of music that label has put out is just insane.

If you were stuck on a deserted island and had one album to listen to over and over and over again, what would it be?

It would definitely be something like Bob Dylan’s “Blowing in The Wind.” The album is incredible – the lyrics and everything. You can sample the hell out of it. I have sampled most of it. It’s in a lot of my tracks.

Favorite club in which city?

I think the best experience I ever had in my life was at Eyes Down at the Road House in Manchester. The variety of music, the people – the vibe was insane. I was going there  around 2005 to 2009.

They were playing every genre. I didn’t know you could do that. Like they would start with jazz and get to Carl Craig by the end of the night. It was a place were I realized, “Wow – you don’t have to just listen to one thing – all music is good.” You just have to listen to good music, you know? That’s always stuck with me for sure.

What do you think you’d be doing with your life if it wasn’t for music?

I think I would’ve fallen deeply into photography. And if it wasn’t photography, I’d be working with food. I just love food.

You messaged me recently about not wanting this new release to be in the “Deep House” sections of record shops.

Yes, I don’t understand why a couple of shops did that. They throw it in deep house and I’m like, “this is not deep house – have they listened to it?” It’s either Detroit house or it’s minimal or it’s techno-ey, but it’s definitely not “deep.”  I guess that’s a problem with my stuff – it never really fit into any one genre, did it? They don’t know where to put me. Like where would you put ‘Working Nights’?

Moving forward, do you want to keep it that way or are you leaning towards a certain genre?

I want the music I make to be disco-oriented, not heavily house-y.  The way I see it is: people that can make music, can make good disco. You can’t fake disco. You can fake house music, but you can’t fake disco. It’s not possible. You’ve either got soul and funk or you haven’t. Anyone can make house – put a 4/4 beat on, throw some parts and some keys in, and punch the hell out of it, you know? But to make disco – to make someone groove and swing at a lower tempo is really difficult if you don’t have any kind of essence of sound and a sense of how it all goes together.

SSMX05 – Nebraska (Rush Hour / Delusions of Grandeur / Mister Saturday Night)

A genre-bending mix from one of the most underrated producers in the game

You may not know the name, but you know the tracks. Since 1995, Ali Gibbs has been diligently releasing funk-infused electronic music on some of the best imprints around. His work as Nebraska has received plaudits from tastemakers across the genres and has seen him release on titans of the underground scene such as Delusions of Grandeur, Rush Hour, and Mister Saturday Night – the latter including his track ‘Green Marimba’ on the commercially released Weekends and Beginnings mix.

We’ve been huge fans of his music ever since we first heard his sophomore album Displacement so it’s with great pleasure that we present an 80 minute insight into the record collection of Nebraska.

 

 

What’s been your journey from music fan to a highly-rated producer of electronic music?

Firstly, that’s very flattering – thank you. I got interested in making some kind of cut’n’paste music after hearing Double Dee & Steinski and Coldcut in the 80s. Luckily, at school we had a few pieces of relevant kit (a 606, a 202, etc) and an encouraging music teacher. One of my best mates – James Mason – also had some kit at home and around 1993, we finally put out a self-funded, home recorded white label, which sold 1000 copies – we got the bug. I carried on solo when I moved to London in 1996.

 

What have you been up to recently?

A. I work from home, mostly. My studio is set up to work on visual projects (work for brands like Burberry is largely how I earn my living) as well music. So on an average day, I spend time thinking about and making visual things and dip in and out of audio and music.

 

You’ve been running your label Friends & Relations since 2016, how has the transition been from recording for other people to recording for your own label?

A. I guess the only real difference is making that final A&R decision about which tracks to release. Having worked with quite a few great labels, I know that my favourite tracks are often not the same as other people’s, and sometimes things I think are great no-one else does. So I spend quite a bit of time making sure I really believe in what I’m putting out… the question is really “as a punter, would I pay for this on a Saturday afternoon in a record shop?”

 

If you could collaborate with one artist, who would it be?

A. I did some studio time with my good friends Session Victim in the past year, which was great – we did a track called ‘Dawn’, which was released on Delusions Of Grandeur. If it were a complete fantasy situation, it’d be amazing to even spend time in the studio with someone like Herbie Hancock or Quincy Jones. Or if we broaden that ‘artist’ definition, someone like Christian Marclay would be high on the list.

 

Where was this mix recorded and what did you use?

The mix was recorded in my home studio, pulling records off the shelves to play on the same Technics 1200s I’ve had since the early 90s and my Vestax PMC 05 mixer, with an old Boss half-rack delay and a dub siren kindly made for me by my old mate James. All really simple kit, and mostly records I’ve loved for years.

 

Tracklist

DJ Nature – Billy C
Stomu Yamashta/Steve Winwood – Surf Spin/Time Is Here
Steve Miller Band – Macho City
Traffic – Gimme Some Loving (Live)
Les McCann & Eddie Harris – Compared To What
Allen Toussaint – Night People
Dennis Brown – The Exit
Shinehead – Billy Jean
Playa – Don’t Stop The Music
Hidden Agenda – Channel
Firefox – Who Is It
Underground Resistance – Hard Life (Aaron Carl Mix)
Tony Lionni – Found A Place
Skylevel – Dreaming
Nebraska – Stand Your Ground
Sly & The Family Stone – Thank You For Talkin’ To Me, Africa

Once you’ve finished listening to the mix, take a tour through Nebraska’s outstanding vinyl discography

Robert Hood to repress iconic 1994 album Minimal Nation

25 years after its release, the minimal pioneer will release a vinyl repress of the minimal masterpiece

Revered as one of electronic music’s most influential artists, Detroit techno hero Robert Hood will repress the 1994 masterpiece, Minimal Nation in March 2019. The iconic release is lauded by many as the first ever minimal techno album, stripping back techno to its barest elements while retaning a loose rhythmical nature that many other minimal releases lack.

The initial release not only sounded like no other record but it also played like no other, each track finished on a locked-groove that forced the listening to move the needle to the next track on the record – further emphasising the hypnotic sound that Hood focused on. As journalist Rob Nash noted in 2008 “minimal’s roots go further back, it was invented in 1994, not 2004, and in Detroit, not Berlin. Its inventor was Robert Hood. His 1994 album, Minimal Nation marked the birth of minimal techno.”

To this day Minimal Nation remains the benchmark of minimal techno, the first record to take the principle of less is more, straight to the dancefloor. As Hood himself describes, “Minimal Nation is not just a collection of rhythm tracks, but a supernatural work of art realized. I felt a strong sense of urgency to create a body of work that identified with what was placed on my heart, as opposed to what was on my mind. Regardless, of it’s diminutive nature, one should never underestimate the neural potency of minimalism.”

Check out more Detroit Techno records on Sound Shelter

Tracklist

A1 Robert Hood – One Touch
A2 Robert Hood – Museum
B1 Robert Hood – SH-101
B2 Robert Hood – Rhythm Of Vision

C1 Robert Hood – Unix
C2 Robert Hood – Ride
D1 Robert Hood – Station Rider E
D2 Robert Hood – Self Powered

E Robert Hood – Sleep Cycle
F Robert Hood – Rhythm Of Vision (Original)

Minimal Nation will be released on vinyl on 15th March 2019

Quit Quittin – 5 highlights of Move D’s epic discography

“I am old enough to even remember a time before techno and electronic music – the word DJ didn’t mean that much…” —  David Moufang aka Move D

A man of many disguises and a serial collaborator, David Moufang aka Move D continues to amaze his audience today by releasing consistently brilliant EP’s and LP’s, year in, year out. A true veteran of the craft, Moufang has been commercially producing music for 25 years and has appeared on labels as varied as Running Back, Warp, Workshop, Uzuri and Underground Quality.

Moufang is undoubtedly among the artists that people passionate about electronic music should learn about and observing how he develops with time is especially interesting, considering how youthful and curious his sound became over time. Although not essential, it is best to take the time to listen to Moufang’s work in chronological progression as making this investment will help the listener appreciate how Moufang has unfurled over his 25 year-long career.

His sound isn’t by any means settled in a distinct style and his discography is a testament to his artistic versatility. The beginning of his discography sounds like a sci-fi soundtrack, whereas twenty years later, he produces drum-heavy funk-oriented material that rips dance floors apart. Even today, Moufang’s sound continues to be youthful and inquisitive.

 

 


Move D Kunststoff vinyl

Move D // Kunststoff

 

Kunststoff was big when it was released, and there’s no secret why — it’s a masterful blend of very rhythmic, almost IDM-ish Techno and an airy and atmospheric character. There were three represses of the LP in 1995 alone.

Move D speaks a lot about how much robotics, technology, and space have influenced him as an artist. These motives can be traced in his earlier work, and Kunststoff is an excellent example of that.

The most memorable feature of this LP is its mood. After giving the album a first listen, you’ll notice how eery and introspective it is. There are many gems on Move D’s debut album that will awaken even a modern crowd, but this minor-scale and self-questioning mood of the record makes it an armchair Techno classic.

Not only does Kunststoff pass the test of time, but it also stays relevant in the current House/Techno ecosystem. Furthermore, for the producers out there, this is one of the valuable examples of a piece of art from the times when plugins didn’t even exist.

Listen to more of Kunststoff

 

Studio Pankow // Linienbusse

 

Linienbusse is a collective effort made by Jamie Hodge, Kai Kroker, and David Moufang. And although this isn’t a solo Move D project, it’s safe to say that this album is among Moufang’s most significant investments towards mastering the craft of electronic music.

The LP is an Electronica/Techno organic masterpiece packed with soul – it progresses, it moves, it breathes. There is a ghost in the machine.

The tracklist reads more like a bus itinerary that moves through a list of locations in Berlin. Musically speaking, Linienbusse does sound like a trip. The name of the album roughly translates from German as “Regular Busses” which suggests that the tracks are dedicated to the artists’ beloved sites in Berlin; after all, we’re influenced by what we see everyday.

This breathtaking LP attempts to take its listener to the places where electronic music originated, by showing them its more emotive and meditative side.

Listen to more of Linienbusse

 

Magic Mountain High XX vinyl record covers

Magic Mountain High // Workshop xx

 

Another impressive collaborative project that sees Move D join forces with Juju and Jordash. First seeing life on wax on Workshop in 2012, Magic Mountain High is an improvisational act that was born at the Freerotation Festival and has since been performing all over the world.

The untitled A-side in pretty much a ten-minute analogue excursion, with a profound and bold bass line, abundant percussion, and sound FX that takes you back to the time of “Kunststoff.” The B-side is much more playful. It has the same dense and rubbery drum section, but with joyful and even naïve melodies.

Also check out the follow up – Live At Freerotation

Listen to more of Workshop xx

 

 CONJOINT Berger Hodge Moufang Ruit

Conjoint // Berger Hodge Moufang Ruit

The fusion of genres happens typically in very subtle ways. It looks for common denominators. “Berger Hodge Moufang Ruit” doesn’t do that. It pairs very straightforward analogue drums programmed by Moufang and Hodge, while Ruit Kraus plays the guitar, and Karl Berger gloriously plays the vibraphone.

This album wasn’t intended to be a smooth combination of electronic and live instruments, but rather as a clash of the two worlds.
With two people programming drums and bass, you can imagine that the LP is strongly percussive and full of life. Rhythmically, this project has very tribal character and often has a slowed-down and housey drum section. The Wire magazine said that this album is easily comparable to Miles Davis’ ‘In A Silent Way.’ This serves as a testament to the importance of this LP both in Moufang’s roster and electronic music in general.

Also check out Earprints

 

Move D // Workshop 13

 

Move D’s EP on Workshop is among the most exciting projects of his later career. Moufang has developed an affinity for heavily sampled and more classic House tropes, and Workshop 13 is an excellent showcase of his interest in this strain of electronic music.

Considering Moufang’s interest for improvisation and his long-term collaboration with Juju and Jordash in Magic Mountain High, Workshop 13 appears to be a live recording that has been trimmed and polished, rather than a carefully thought out project.

Either way, it’s rich and slightly agitated, but deep and meditative at the same time. Workshop 13 follows an aesthetic not too disimilar to Theo Parrish. It’s not necessarily easy-going, it can’t be listened to mindlessly, and the sound is quirky and immediately recognizable – we think this a pretty good summary of Move D’s sound over the last 25 years.

Listen to more of Workshop 13

 


What is Sound Shelter?

Think of Sound Shelter as your own personalised record store.

As DJs and vinyl collectors ourselves, we know the time and effort that not only goes into finding new records, but also actually finding a store that sells the record you want.

So we’ve taken the best parts of an online record store, like curation and quality listening samples and combined it with machine learning and a real-time marketplace that connects you with an independent record store selling the record you want.

Start Digging

 

The Best! 5 highlights of FXHE

“Only a momma’s boy cares about artwork!” — Omar S / FXHE

If you thought that FXHE Records was just another House or Techno label, think again.

The label’s sound is pretty much synonymous with the music of its honcho — Omar S, an eccentric Deep House veteran from Detroit, well-known for the straightforward way he markets the imprint.

The label’s catalogue pretty much consists of Omar’s releases, occasionally spiced up with a few “guest” EP’s from people like Marcellus Pittman, Roy Davis Jr., Big Strick, Kyle Hall, Norm Talley, OB Ignitt, Luke Hess, and other sharks of the Detroit Techno & House scenes. Each FXHE record is a nod to the people who started it all in the middle of the eighties.

In order to understand FXHE, you need to observe the label in a certain context. While Omar’s early work appears to be ahead of its time, his latest projects are retrospective and nostalgic, while being listened to today, in 2018, despite the booming popularity of “Outsider” House and Techno.

FXHE has always embraced the style of what producers today call “outsider.” This is a testament to the fact that the idea there is a solid idea behind what the label puts out. The artists on it never wanted to be part of the musical zeitgeist. They were never interested in the fads and trends of the industry. They have worked in expressing their own artistic visions. Nothing more, nothing less.

Here are 5 records to get into FXHE.


omar s 002

Omar-S // 002

If you were looking for a release that put the label on the map, it was definitely “002,” an incredibly smooth EP, released back in 2003. This seemingly minimalistic record allowed Omar to showcase his talent in crafting captivating and entrancing nine-minute tracks, with almost no progression, tracks like “Miss You” and “U.” In “002,”

Omar was inclined towards a more organic sound, different from the rawer and rougher style that he developed an interest for later on in his career.

And there’s no secret behind why “002” was popular back in the day — it was innovative and versatile. While the first two tracks “Miss You” and “U” sound like Deep House anthems of the late 00’s and early 10’s, the last track, “Set It Out” is a frenetic Deep House banger but with a heavy Ghettotech spin to it, brought to you by a load of syncopated toms. It almost sounds like a track off Dance Mania.

Not only that, the record remains very relevant today. There have been 7 represses of this EP since 2013, which just pretty much confirms how important this record is fifteen years after its release.

Listen to more of 002

 

omar s the best

Omar S // The Best!

 

One of the latest LP’s Omar has put out, sounds like a compilation, rather than a thought out album. But let’s be honest, the name of the album pretty much implies it, right?

“The Best” was released on four twelve-inch records that host 11 uncanny tracks, some are even slightly unsettling. Here Omar doesn’t just deliver just a couple of white-label bangers, he explores the murkier and weirder corners of House music. Drum programming has become much more complex, but it didn’t lose any of that “dance floor charisma.” On the contrary, this is an album that needs to be listened as if Omar has nothing to prove to his audience or to his critics. The production is snappy at times, but it remains very funk-driven. To a person that is about to dive into the man’s/label’s catalog, it’s great to listen to “002” and “The Best!” in contrast. The latter is much more “in-your-face” and audacious. In this LP, you’ll also find a few collaborations with long-term friends of Omar’s like Kyle Hall and Big Strick.

Listen to more of The Best!

 

m pittman ep

Marcellus Pittman // M. Pittman EP

 

Two years after the label released its first record, Marcellus Pittman released an eponymous EP, which still receives heavy rotation today. “M. Pittman” features three head-nodding tracks, which go hand in hand with the aesthetics of the label.

At first glance this is just a stripped down Detroit Techno release, with a “Housier” drum programming. But after having listened to the release a few times, it becomes apparent that the tracks have no basslines. Instead, Pittman just cranked the sustain on the kick drums. The decision to strip the songs of bass transformed them into really tribal and sultry compositions.

Pittman released a follow-up EP a year later called “M.Pittman #2,” which is a more laid-back project with much lighter percussion and less obtrusive kick drums. Both “M. Pittman” and “M. Pittman #2” are significant milestones on the FXHE roadmap, since they remain relevant today. Pittman’s early work is now receiving a lot of attention especially from the Russian House and Techno scene, and can often be heard in the DJ sets of popular artists like Nina Kraviz and OL.

Listen to more of M. Pittman EP

 

big strick 7 days

Big Strick // 7 Days

 

Big Strick is a name you’ll see a lot on Omar’s label and “7 Days” is among his most noteworthy projects. The EP flirts with Afrocentric motives, especially “Black Talk,” which touches on the social injustices that the African-American communities are facing in modern-day America.

“7 Days” sounds more like a compilation of artistic statements that aren’t destined to be played in clubs, but rather given maximum attention while listened to at home. Especially since only one track is longer than four minutes.

The entire record is moody and introspective, a style very specific to Big Strick, an aficionado of percussive, minor, but self-assertive House music.

Listen to more of 7 Days

 

omar s 006

Omar-S // Detroit! (006)

 

Another eclectic compilation from the label head himself released back in 2006. Yet again, this record can’t be called “thought out,” and neither can Omar be called an “Album artist,” but that doesn’t in any way diminish the artistic value of this release.

The highlight of “006” is “Churchill,” a track that can surely be called among Omar’s most memorable tracks. It’s a nasty and murky banger with a very heavy, almost gabba-esque kick drum and a really catchy bassline. This isn’t the main mood of the record. Omar very skillfully plays with IDM-ish themes in “Polynesia” and “Micronesia,” while two other two tracks feature almost naïve melodies, which nevertheless contain lots of raw energy that is highly appreciated on the dance floor.

Listen to more of Detroit! (006)

 

Other notable mentions:

Omar S // Psychotic Photosynthesis

Norm Talley // Norm A Lize

Ob Ignitt // Oh Jabba

Omar S + L Renee // SEX

 


What is Sound Shelter?

Think of Sound Shelter as your own personalised record store.

As DJs and vinyl collectors ourselves, we know the time and effort that not only goes into finding new records, but also actually finding a store that sells the record you want.

So we’ve taken the best parts of an online record store, like curation and quality listening samples and combined it with machine learning and a real-time marketplace that connects you with an independent record store selling the record you want.

Start Digging

The 16 Best Chez Damier Songs

“Vinyl is like a book. Because it was never about making money in the first place, I can now have fun again doing the vinyl bit and leave the digital to those who wanna take it and make it into an empire. I have no intentions of making music into an empire.”  – Chez Damier

Born in a suburb of Chicago, Anthony Pearson, better known as Chez Damier, has been one of the true pioneers of electronic music. From running seminary music establishment, The Music Institute in Detroit alongside Alton Miller and Derrick May, to his involvement in running Kevin Saunderson’s legendary KMS label, through to working with leading producers such as MK, Ron Trent, Stacey Pullen and Saunderson himself, Chez has done it all.

Together with Ron Trent, Chez owned the prolific Prescription label, widely regarded as one of the finest house imprints ever and the duo nurtured; a sound what would eventually become known as deep house.

After his split from Prescription in 1997, there was a lengthy period of inactivity. Eventually, Damier releases started appearing again sporadically until 2009 when he joined the roster of Germany classic house and techno label, Mojuba. Damier now releases exclusively through the label, but past productions have seen the light of day from other essential labels such as his own label Balance, Eddie Leader’s Hudd Traxx, Popcorn Records and Track Mode .

Quite a list of achievements.

To pay our homage to one of the pioneers of house music, we’ve compiled a list of his most notable tunes, true gems and future classics that shall never be forgotten.

 


 

A Work In Progress – Moment Of Truth (Yore)

A collaboration between Priceless One and Chez, this is deep house perfection combining jazzy and organic elements.

 

Chez Damier & MK – The Feeling (Mojuba)

Chez & MK were fairly prolific as a partnership and “The Feeling” is a fine example of the quality of their work.

 

Chez N Trent – All About You

Previously unreleased until 2009, Chez and his long-term production partner Ron Trent drops killer tribal rhythms.

 

Alton M – I Like Havin’ You (Cyren America)

Damier on production duties for another member of deep house royalty, the severely underrated Alton Miller.

 

 

Noni – Teach/Keep Me

Chez and Ron Trent take snippets from Midway – Set It Out and create near perfection. Backed with a quality Kai Alce remix on the flip.

 

Chez Damier featuring Antonie – Close (Balance Recordings)

One of his many tracks that were heavily influenced by jazzy elements – packed full of brass and piano riffs.

 

Chez Damier – Can You Feel It (Club Vocal) (KMS)

The vocal version of Chez Damier’s most notable song. MK’s Dub edit was the reason that took this record all over the world.

 

Chez Damier & Stacey Pullen – Forever Monna (Prescription)

Chez and Detroit OG Stacy Pullen combine for one of the most prizes tracks in his discography.

 

Chez Damier – Close (Distance)

“Close” drops a big vocal showing the more emotional side of Damier’s output.

 

Chez N Trent – Morning Factory (Prescription)

This one should need no introduction. Damier and Trent combine on what is easily one of the best deep house tracks of all time.

 

Chez Damier – Take Me Away (Not On Label)

Released in 2015 via less-than-legal means, this is actually Damier’s edit of David Morales’ remix of none other than Mariah Carey.

 

Chez Damier ft. Leroy Burgess – Your Love (Balance)

“Your Love” with Leroy Burgess on vocal duties was one of first track released after Chez Damier’s comeback in 2004 after a 7 year break.

 

Chez Damier – Help Myself (Mojuba)

Damier’s second release on Mojuba, widely regarded as one of the best deep house records around.

 

Chez Damier & Ron Trent – Foot Therapy (Prescription)

One of Ron & Chez’s finest – thumping, soulful and jazzy.

 

Chez Damier – Untitled B1 (KMS)

Probably Chez’s finest solo moment – the quintessential deep house record with those disco strings.

 


What is Sound Shelter?

Think of Sound Shelter as your own personalised record store.

As DJs and vinyl collectors ourselves, we know the time and effort that not only goes into finding new records, but also actually finding a store that sells the record you want.

So we’ve taken the best parts of an online record store, like curation and quality listening samples and combined it with machine learning and a real-time marketplace that connects you with an independent record store selling the record you want.

Start Digging

 

The 10 Best Ambient/Electronic Releases of 2018 (So Far)

Introducing Josh Reid, one half of Space Afrika, a dubbed out ambient duo hailing from the north of England.

With releases on Sferic, a recent mix for Fact Mag and a show on NTS, Josh alongside partner, Josh Inyang have developed a unique sound that borrows from the the menace of Berlin dub techno and merges it with beatless ambience to produce a unique, smokey soundscape.

As well as a producer, Josh is a killer selector so for his inaugural post for Sound Shelter, he puts together his favorite recent ambient and electronic releases.

‘It’s never easy selecting my favourite music for the moment but after listening to countless amazing sounds I’ve narrowed it down. I’ve been digging these 10 tracks mostly over the past month or so and chose them based on feelings and moods, That have been consistent with the year so far. Optimistic !’


Pontiac Streator & Ulla Straus – Chat

‘Chat 1’

‘Chat 1’ comes as the third release via the west mineral imprint. More beat focused that its predecessors, ‘Chat 1’ is like a meeting with a Shaman. Tribal elements with murky bass and pads feel as though one is walking through a swamp of sound. Image the idea of an ayahuasca trip taking you through primitive lands. Amazing.

Listen/Buy Pontiac Streator / Ulla Straus – Chat

 

 Rian Treanor – RAVEDIT

‘Untitled 2’

Nothing but feels on this one. Reminiscing about late night raves, this one is sure to make floors move. Quick step vibes and emotive vocal samples create nothing but euphoric moments. Another forward thinking release from Rian Treanor.

Listen/Buy Rian Treanor – RAVEDIT

Topdown Dialectic – S/T

192562599303

‘B4’

[bandcamp width=100% height=120 album=2548782941 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]

Anonymous producer ‘ Topdown Dialect’ brings filtered dread and lost soundscapes with consistency. The addition is the dynamic range in which each sound is defined .’B4′ is slow stepping and Dubby. Kick back with your headphones and enjoy the sound design for a personal listening experience.

 

 Samuel Kerridge – The I is Nothing

Lino78 dist preview

‘Fascination Sustain’

Downwards on form again. Dystopian Techno with unparalleled patterns. Had this one on repeat for some time now. BUY ON SIGHT.

Listen/Buy Samuel Kerridge – The I Is Nothing

 

Madteo – Unrescuable Dense Musik Of The Blah Blahs

MADTEO - Unrescuable Dense Musik Of The Blah Blahs

‘Untitled’

This takes you through the mind of Madteo. one of the most interesting artists out there. The cassette channels so many different genres with NY distortion and dirt. Imagine hanging out with a boombox on the corner. Proper

Kareem Lotfy – QTT10

‘Equilibrium’

Delicately laid out pads and soft notes have been the theme to my UK Summer so far. Coming via the great Quiet Time Tapes, this has been the perfect follow up from his release on PAN ‘fr3sh’. Highly recommended this to ambient lovers.

Abul Mogard – Above All Dreams

Abul Mogard Above All Dreams vinyl record covers

‘Upon The Smallish Circulation’

‘Upon the smallish circulation’ is an ambient / modern classic dream. Serious depth and attention paid to each sound leaves the listener transfigured after the track has ended. The automation throughout creates a hypnotic feel leading to afternoon daydreaming.

Listen/Buy Abul Mogard – Above All Dreams

Bovel – Check 4 U

Bovel Check 4 U vinyl record covers

‘Check 4 U’

A Manchester classic makes it way back into the fold. Killer record. Massive insight into the ‘street soul’ sounds from the mid 90’s. Sweet vocals and cascading bass makes this perfectly enjoyable as a home listen and club environment.

Listen/Buy Bovel – Check 4 U

 

Miss Red – K.O

Miss Red KO vinyl record covers

‘War’

Experimental Dancehall comes via Miss Red. This is a ecstatic listen into modern club music with production by The Bug. Miss red’s vocals are refreshing throughout and capture Jamaica’s hedonistic genre. Distorted bass and fizzled percussion make this a serious stepper.

Listen/Buy Miss Red – K.O

 

Kutiman – Don’t Hold Onto The Clouds

Kutiman Dont Hold Onto The Clouds vinyl record covers

‘Behind The Noise’

The Multi talented Kutiman channels new age ambient on this one. A meditative listen with focus on folk and roots. Beautiful percussion with reverb overlays droning pads and falling notes. Perfect evening listen !

Listen/Buy Kutiman – Don’t Hold The Clouds


Want to find more records like this? Check out more ambient and electronic vinyl releases on Sound Shelter and get an ever-changing list of vinyl records personally picked for you, and buy them from some of the best stores in the world.

 

 

The 21 Best Carl Craig Remixes

Just the glimpse of the words Carl Craig remix on the tracklist of an otherwise unremarkable looking EP will send DJs scrambling for their headphones, ready to have their ears and minds scrambled by the latest interpretation from the man who’s been likened to the Miles Davis of Techno.

Since his first remix in 1988, Carl Craig has an extraordinary 605 remixes credited to his name on Discogs. While not all of these have shown his true skill, the vast majority would make any producer envious of his ability to turn even the blandest pop track into a techno masterpiece capable of sending even the most critical dancefloor into raptures.

To celebrate the Detroit legends numerous gifts to sound systems across the globe, we’ve compiled the best ever Carl Craig remixes.

 


Cesaria Evora – Angola (Carl Craig remix) [2002]

Organic percussion, psychedelic synth and 909s collide in this killer building remix of Cape Verdean songstress Cesaria Evora.

 

Hugh Masekela – The Boy’s Doin’ It (Carl Craig remix) [2005]

Two historically politically-charged cities join forces as Detroit meets Johannesburg as C2 tackles South African flugelhorn player Hugh Masekela.

 

Maurizio – Domina (Carl Craig’s mind remix) [1993]

A true house masterpiece as Craig energises Mark Ernestus and Mauritz Von Oswald’s dub techno with swinging 909s, sub bass and mind-melting pad swirls.

 

Telex – Moskow Diskow (Carl Craig remix) [1998]

Odd-ball Italo gem from 1979 gets thumped up by C2 in one of his best remixes.

 

Theo Parrish – Falling Up (Carl Craig remix) [2005]

For many, the quintessential Carl Craig remix. Techno meets Jazz with stunning effect.

 

Faze Action – In The Trees (Carl Craig mix #1) [2007]

Opening with paranoid synths bursts, the track goes to the next level as those strings come into play.

 

Throbbing Gristle – Hot On The Heels Of Love (Carl Craig Re-Version) [2004]

Thumping, psychedelic, big room techno

 

Tony Allen – Kilode (Carl Craig’s straight remix) [2007]

Fela Kuti’s drummer, Tony Allen gets dragged into the future as a breaky intro full of street-vocals leads into a ridiculously funky bassline, and quite possibly the best kick drum in house history.

 

Junior Boys – Like A Child (Carl Craig remix) [2006]

C2 turns the playful original into a sinister uptempo soundscape of arpeggio leads, hushed vocals and metallic pads.

 

Rhythm & Sound – Poor People Must Work (Carl Craig remix) [2006]

Craig, Ernestus and Von Oswald join forces again, this time on the Berlin duos Rhythm & Sound project as Craig takes Bobbo Shanti’s vocals out from under the smokey dub haze into the dancefloor stratosphere. Check out our guide to the best Rhythm & Sound records here

 

GusGus – Polyesterday (Carl Craig’s Shot In The Leg Dub) [1998]

A severely underplayed remix that easily stands the test of time despite being nearly 20 years old. All acid-riffs, floaty vocals and rolling claps. The vocal remix is equally as good.

 

Alexander Robotnick – Problèmes D’Amour (Carl Craig Remix) [2007]

The oddball Italo-tinged original gets looped up into a disco-house roller with jazzy drums edits breaking things up.

 

Delia Gonzalez & Gavin Russom – Relevee (Carl Craig remix) [2006]

An opening burst of kaleidoscopic synths slowly morphs into a full jazz workout over the space of 11 glorious minutes.

 

Hot Lizard – The Theme (Carl Craig Mix) [1995]

Nearly 23 years old and still sounding like the future.

 

Beanfield – Tides (C’s Movement #1) [2004]

At the time this was possibly a career-high for Craig, as he turns the soul-drenched original into a brooding-and-then-euphoric club masterpiece.

 

Factory Floor – Turn It Up (C2 remix) [2013]

A stripped down 808-driven DJ tool of the highest calibre

 

Ultramarine – Hooter (Carl Craig / Ver. 1.1) [1994]

808s, tribal rumbles and quitessential Detroit synths collide

 

Incognito – Out Of The Storm (C’s Planet E Special Mix) [1996]

Jazzy, mellow brilliance

 

Directions – Busted Trees (C’s Spacestrumental) [2004]

C2 takes the coffee-table jazz original and turns it into a string-driven wonder that builds over the space of 8 and a half glorious minutes. (Tip from Peter Benedetto)

 

Dave Angel – Airborne (Carl Craigs Drums Sucks remix) [1995]

12 minutes of beatless Detroit techno (Tip from Tom Sin-r Vde)

 

Carl Craig Vs. Johnny Blas – Picadillo 7 (A Lo Blas) [1999]

Another beatless excursion, this time on a remix of Latin conguero Johnny Blas (Tip from João Pedro)

 


What is Sound Shelter?

Think of Sound Shelter as your own personalised record store.

As DJs and vinyl collectors ourselves, we know the time and effort that not only goes into finding new records, but also actually finding a store that sells the record you want.

So we’ve taken the best parts of an online record store, like curation and quality listening samples and combined it with machine learning and a real-time marketplace that connects you with an independent record store selling the record you want.

Start Digging

The 14 Best Theo Parrish Tracks

“Music moves in such a way you can’t really talk about an artist using one set of adjectives, because that would mean you’ve listened to all of their works; that would mean you’d come to a consensus about what that artist’s work does.” — Theo Parrish

He’s right.

We’ve listened to a lot of Theo Parrish records. If we had to describe his sound it would be that “it sounds like Theo Parrish”. Maybe it’s something in the equipment he uses, the records he’s sampling or something otherworldly. You often hear people refer to his sound as “raw”, but as this interview covers, he also does “nice”.

The Motor City producer has released on some of the best underground labels in the world such as Third Ear and Peacefrog Records, and worked with producers both big and small including Carl Craig, Amp Fiddler and Duminie Deporres, as well as his fellow 3 Chairs members: Rick Wilhite, Moodymann and Marcellus Pittman. To add to this he’s produced several killer albums including ‘Parallel Dimensions’ and ‘American Intelligence’. There is a lot to dig through.

One things for sure, he has produced some magical records over the last 20 years and here’s what we consider to be some of his more dancefloor-friendly highlights.

 


 

The Rink (Sound Signature)

 

 

Billy Love— Can’t Keep Running Away (produced by Theo Parrish) (Sound Signature)

 

 

When The Morning Comes (Filth Records)

 

 

Blueskies Surprise (Trilogy Tapes x Palace)

 

 

Dan Ryan (Sound Signature)

 

 

LoSoul — Behind Closed Doors (Theo Parrish remix) (Elevate)

 

 

Soul Control (Sound Signature)

 

 

Sky Walking (Peacefrog Records)

 

 

LCD Soundsystem — 45:33 (Theo Parrish’s Space Cadet remix)

 

 

Theo Parrish — Synthetic Flemm (Sound Signature)

 

 

What U Cry 4 (Sound Signature)

 

 

Ebonics (Sound Signature)

 

 

Theo Parrish & Marcellus Pittman — Night Of The Sagittarius (Sound Signature)

 

 

Solitary Flight (Sound Signature)

 

 

Did we miss any? Comment below and let us know your favorites.

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Music musings from soundshelter.net