Larry Levan – live at the Paradise Garage, 1979 by kazes

May 2012 – Episode 198 – Following last year’s triumphant debut on Untold’s imprint Hemlock, Brighton based producer Guy Andrews is back with his first 12″ for Hotflush Recordings. A superb followup to his 2011 auditory missive, The Wait / Hands in Mine merges percussive elements with heavy basslines resulting in two dark dancefloor cuts.

Shuffling and persistent, Side A is bass-driven track filled with arpeggiated goodness, while on the flip, Andrews shows off his ability to manipulate genres by using a bass kick and frenzied rhythmic percussion to dial up an atmospheric tune.

With recent acclaim from XLR8R, Resident Advisor and Truants along with DJ and radio support from the likes of Benji B, L-Vis 1990, Brackles, Sound Pellegrino, Shortstuff, Benjamin Damage and Throwing Snow, Guy Andrews is on the rise. Lookout for another 12″ via Hotflush this Fall.

http://guyandrews.co.uk/

Kraftwerk – Trans Europa Express by +dB

Rob Hall – Return to Leisure System @ The Berghain. LS15 – 20 04 2012. by robdashhalldotcodotuk

Production combo The Bomb Squad – best known as the Public Enemy engine room – have unleashed a volley of free material.

Squad leader Hank Shocklee has just assembled a new 1GB sample collection, titledBomb Quad: Tactical Beats and Sample Artillery. In honour of the release, Music Radar have been gifted a glut of Bomb Squad samples to give away gratis. The samples are all available as 24-bit WAV files, and are all reliably royalty free, so you can fire up the MPC without a second thought.

The Bomb Squad have a new album due in the autumn.

Chicago house music is the sound of global pop today. In the 90s, though, it was on life support—until a new wave of producers, including Cajmere and DJ Sneak, got the city doing the Percolator.

By Michaelangelo Matos for www.chicagoreader.com

“You’re as relevant as your last mix.”

That’s a line for a DJ to live by if ever there were one. And if there were ever a DJ to proclaim it, Carlos Sosa is that DJ. Sosa is better known as DJ Sneak, though he also calls himself “the house gangster”—not as a declaration of criminality, but as a ride-or-die pledge of roots. His roots are deep. Born in Puerto Rico, Sneak moved to Chicago in 1983 at age 13, started practicing on his bedroom decks three years later, and went on to become a global ambassador of the Chicago house sound.

Sneak’s success in carving out a career has a lot to do with his visibility on the American rave scene of the 90s—and his ability to evolve his style to suit the much-altered electronic-music landscape of today. “I did the rounds, man,” he says. “I didn’t cut any corners.” By the time he dropped 1997′s “You Can’t Hide From Your Bud”—a disco-powered house ode to the DJ’s favorite herbal snack—rave was in full bloom, and Chicago house was a big draw all over the circuit.

But what drew glow-stick-wielding kids in oversize “phat pants” wasn’t the DJs who reigned during Chicago house music’s first, mid-80s epoch—DJs who conquered the world while remaining relatively unknown in their own back yard. By the time rave culture reached the midwest in the early 90s, Chicago house legends such as Farley “Jackmaster” Funk, Frankie Knuckles, and Steve “Silk” Hurley were busy headlining overseas and producing and remixing pop records. They were already too big for a scene that was scrappy by design. A few years younger, Sneak fit right in with the new breed.

House music has belonged to the world as a whole for most of its history. But like everything else in club life, Chicago-purist house has its vogues of popularity and wider cultural relevance. The mid-to-late 90s was such a time—just as right now is. The original sound of Chicago house music labels Trax and DJ International has been reintegrated into clubland’s matrix with increasing frequency. A number of producers have made back-to-’87-style tracks. Vintage-Chicago-house 12-inches pop up on mixes by under-25 DJs such as Benjamin Damage & Doc Daneeka (their XLR8R Mix, from March, pivots halfway through on Armando’s “Downfall,” first released on Trax in 1988).

Continues on www.chicagoreader.com

Podcast 245: Lapalux
Words: Shawn Reynaldo
It wasn’t that long ago that Lapalux (a.k.a. Stuart Howard) was just another young UK producer perking up people’s ears with a hard-to-define mix of low-end-heavy, but undeniably experimental, sounds. Even when we tabbed him as a Bubblin’ Up artist last summer, largely on the strength on his then-fresh Many Faces Out of Focus EP, the full extent of his potential was only beginning to reveal itself. Then came this year’s When You’re Gone EP, released on Flying Lotus’ Brainfeeder imprint, which displayed a whole new level of sophistication and a real penchant for sonic whimsy. With this kind of skill at his disposal, we were curious to see exactly what Lapalux could do if tasked with putting together an exclusive mix for the XLR8R podcast series. Although he doesn’t actually DJ that often—he prefers to perform live—Lapalux quickly proves that’s he’s more than capable of assembling a compelling mix. His selections come from both sides of the Atlantic and could individually be tagged with an assortment of inadequate genre names—bass music, beat music, witch house, screw, experimental—but ultimately, it’s clear that they all bear some relationship to hip-hop while only rarely sounding anything like traditional rap music. He’s clearly taking notes from a rich palette of influences, and though this podcast still doesn’t allow us to put Lapalux in a neat little box, it does provide an interesting window into the sounds that make him tick.

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http://www.xlr8r.com/podcast/2012/04/lapalux

Podcast Mix 119 for Little White Earbuds. click here 4 tracklist and D/L link. by ~Roof Light~

grab here – http://www.littlewhiteearbuds.com/