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:eek:
Early - 21:20hrs.
Followed by superstar DJ Ben Sims and support from Electric City.
MGX
www.myspace.com/migalinx
sorry can any1 tell me where the hub is ??? i neeeeeed to see ben sims !!! i seen him once when i was in scotland for the wkend and he was mental !!! bit of a struggle 2 make it on the 15th of march tho , im seeing dave clarke and green velvet on march 16th !!!!
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Electronic Ireland's new record label Exhibit B launches in February with its first release coming from Dublin Based "The Parallel" featuring remixes from Mark O'Sullivan of DK7 and Mike McCoy (Bastardo Electrico, Electronic Ireland)
The label will concentrate on detroit and ambient techno, while it's sister labels Skream Science and Kinky Jargon will focus on techhouse and minimal techno respectively.
The labels will not only feature acts from Ireland but from Spain, the UK, America, Germany, Japan, Portugal, Sweden, France and more.. Distribution is worldwide and releases are available online via Beatport, Juno-Download, Itunes, MTV, myCokemusic and another 120 + online stores..
The partnershipped Electronic Ireland / Schmutzig label - Bastardo Electrico Records also launches this year featuring Sunil Sharpe, Paul Mac, Glenn K, Magnetize, Boris Divider, Jamie Behan, Mike McCoy, DJ Bone, Kev Gorman and more...
While the first few months releases have been scheduled, we are still and always will be on the look out for new tracks... Got any demos?? Please send links to mikemccoy (at) electronicireland (dot) com
For more info please visit www.electronicireland.com0 -
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the muscles - sweaty (shazam remix)
i dunno, maybe it's a well known song around here.. but just in case, it's awesome.0 -
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Amalgam Audio launches with a debut original track from Boshell and Cody** . The Irish duo have been busy of late remixing tracks for labels such as Olaris records , Omnis recordings , Emote music , Carica records and Often Gruven with a unique dancefloor sound and 'This feel is...' takes it further underground mish-mashing crispy , techy bits together with jagged beats creating a sinisterly , dope groove !
Remixes come courtesy of Ben Shaw (Sunscape) who takes parts of the original and turns out a stunningly pure , proggy take along with Royal Sapien who steps up the mood with a genre bending, low slung re- take.
Tracks from this release are already being played by Hernan Cattaneo , Greg Benz , Moshic , Matt Rowan , Chloe Harris , Francesco Farfa , James Talk & Matteo Esse
and is available to download from http://www.beatport.com .
Thanks for the support !
Amalgam Audio
This Feel Is ....The video is also online to view here - http://uk.youtube.com/watch?v=OTkn-nHSHEc
**Check out Boshell & Cody's Groovebox radio show @ http://www.danceradio.gr every 3rd Sunday of the month .
or grab their latest mix here - http://www.boshellandcody.com/Boshell&Cody_Groovebox_mix.mp3
http://www.amalgamaudio.com ¦ http://www.myspace.com/amalgamaudio.com ¦ www.boshellandcody.com0 -
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This is a 4xCD box set due for release any day, Amazon etc are taking orders now - booked mine a couple of weeks ago and can't wait! There is also the very limited 2xLP which has already been released... mine in the post too
The 4xCD set basically consists of 4 of his rare albums finally reissued on Kompakt (he is also the man behind the label).
http://www.discogs.com/artist/Gas
http://www.pitchforkmedia.com/article/record_review/51060-nah-und-fern
http://www.boomkat.com/item.cfm?id=95497In 2000, the final album from German producer Wolfgang Voigt's Gas project, Pop, finished in the #12 position in Pitchfork's Top 20 albums of the year. Suffice to say that this website was a much smaller operation then, and there were far fewer writers; collectively, we also only had time for so much experimental electronic music. "IDM" as an idea still had plenty of currency, but many of the records falling under that banner were specialty items, something one would put on in a very specific time and place. And there were lots of them. In this landscape, when experimental electronic music was going in a hundred different directions at once-- considering only Gas' label, the Frankfurt imprint Mille Plateaux, you had the jagged sound of disrupted technology in Oval, the boldly politicized field recordings of Ultra Red, the filmic breakcore of Alec Empire, along with a smattering of post-rock and industrial-- Gas was something we could all agree on.
Wide appeal-- even amongst upstart music critics-- isn't something one would expect from this project. When working as Gas in the second half of the 1990s, Voigt's tracks usually featured an unflinching kick-drum pulsing at a mid-tempo BPM-- sometimes ping-ponging across the soundfield or encrusted with burrs of syncopation-- and they typically featured samples of stern and ominous Western classical music. The string and horn drones were sourced from vinyl and proud of it, with the corresponding pops and crackles figuring prominently in the mix. The Gas sound, so distinctive as to be instantly recognizable, seemed somewhat monochrome and tightly focused at the time. It was easy to come away with the idea that the project was an exercise in Fall-like consistency-- "Always different, always the same," as John Peel said about the latter. But it's clear now that each record was its own discrete chamber in Voigt's overall construction. The evidence is here, on this 4xCD box set, which collects the albums proper-- 1996's self-titled record, 1997's Zauberberg, 1999's Königsforst, and 2000's Pop (missing is the 1995 Modern EP as well as a couple of stray tracks)-- into a single set. These records have been out of print for years-- I saw a copy of Zauberberg going for $270 on Amazon not long ago-- but those refusing to pay outlandish prices have been handsomely rewarded. Gas in many ways sounds even more wondrous now, and certainly more wide-ranging.
The self-titled debut, originally released in 1996, is perhaps the most beautiful entry in the catalog. The rich, shimmery drones seem less earth-bound and heavy relative to what would come later; rather than evoking a dense, mossy arboreal feel-- Voigt has frequently acknowledged the sights and sounds of Germany's Black Forest as an inspiration-- Gas brings to mind images of a clear night sky, as pin-pricks of twinkling guitar samples, trails of distortion that swirl like a starry cloud dispersing into the void, and the bassy string tones all meet in a vast open space designed for contemplation. Though Gas is in some ways the most conventional of the project's records, with moments easily relatable to trends in post-acid house ambient, it also marks Voigt as a producer with a rare ear for texture.
The following year's Zauberberg was the solidification of quintessential Gas aesthetic. While overall the darkest and bleakest of these offerings, Zauberberg opens and closes with the deeply spiritual and uplifting organ drones one can imagine leaking from the cracked stained glass windows of a massive cathedral somewhere in the Bavarian Alps. Sandwiched between these drifting moments of blissful surrender are grim meditations on the physicality of tension. The bass drum throbs between the speakers, less a heartbeat than the icy, unremitting march of time, while Voigt's most dissonant string samples tug everything down into the black soil. It's a shopworn observation among Gas observers to say that the music on the individual albums closely mirrors the images record covers, but Zauberberg is as dark and menacing as the noir picture of red branches in darkness featured on its front.
Beginning precisely where Zauberberg leaves off, with rumbling strings and an unblinking kick, Königsforst eventually takes things to a far more complicated place. Where Gas had previously been defined by the sense of endlessness-- insistent repetition, lengthy tracks that could conceivably go on forever, a consistent mood-- Königsforst experiments with development, moving through timbres and emotional sensations with a definable dramatic arc. The album looks back and forward simultaneously as Voigt seems to be probing the limits of what the project could be. The same starry backward guitar bit that first appeared on the third track of the debut returns on the fourth track here, now yoked to a subtle double-time kick-drum that gives a sense of blood-rushing excitement. Then the album culminates in the 15-minute fifth track, an Escher-like climb through samples of orchestral horns that change almost imperceptibly with each passing bar, moving from a firm, almost militaristic growl to welcoming, optimistic swoon by the track's end. The beatless drone that closes is another masterpiece, one that hints at massive left-turn to come on 2000's Pop; Königsforst on its own is essentially perfect.
Pop is the best known and most admired of these discs, and it provides an obvious entry point. Which is somewhat ironic, since it's also the most divergent by a huge margin. Had it come out under another name, it would have been difficult to know that this was a Gas record at all. The first three tracks offer three subtly different views of the same sound-field, a warm, wet place populated with bubbles, fizz, and hisses, along with keyboard drones and the sort of basslines Angelo Badalamenti used in "Twin Peaks" to suggest a rural idyll whose dark secrets were yet to be revealed. Had the record continued to explore this one direction, it might have been understood as a contemporary variation on the new age meditation record, something listeners would return to in order to chill out and "center" and so on. But Voigt had something else in mind. By the fourth track he's returned the steady kick to the mix, and braided the percussion with a clanging repetitive bell that one imagines the Field's Axel Willner found inspiring. As the beats disappear for two tracks the album inflates with anxiety and dread until, with the return for the 15-minute closer, we're immersed in one of the most nervous-- bordering on malicious-- Gas tracks of all.
By this point, it seems, Voigt had said what he wanted to say with Gas and was ready to move onto something else, like helping to turn the Kompakt label he runs with Michael Mayer and Jürgen Paape into one of electronic music's premier imprints. Four Gas albums in five years turned out to be quite a lot to chew on; this phase of his career is comparable to Brian Eno's instrumental music between, say, his 1973 collaboration with Robert Fripp, No Pussyfooting, and 1978's Music for Airports. More than anyone since Eno with the exception of Aphex Twin, Wolfgang Voigt was able to reimagine how ambient music could transform space. But he did so in a grounded, accessible manner. There's something primal and intuitive about this stuff; as heady electronic music goes, it's like a loaf of hearty dark bread, an easy-to-grasp but deceptively intricate musical world with a strong sense of-- to stretch the metaphor-- nourishment. Wolfgang Voigt's musical interests have led him to create stark dancefloor minimalism, playful house, and trance-inducing dub-techno; but Gas was the name he gave to music that was foremost about immersive space. This is music you can lose yourself in; see you in four or five hours.
http://www.pitchforkmedia.com/article/record_review/51060-nah-und-fern
-Mark Richardson, June 05, 20080 -
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Download the album from iTunes http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=281139139&s=143449
Get your FREE Download of Zemaria - Lazer Eyes remix http://www.sonictrip.net/store/media/Zemaria%20-%20Lazer%20Eyes%20remix.mp3
FOR FURTHER INFO & UPDATES LOG ON TO
http://www.myspace.com/zemariamusic
http://www.myspace.com/plugartists
About Zemaria
Hailing from sunny Sao Paolo, Brazil, Zemaria is a four piece electro rock band. They have blown up many of the headline stages at festivals and events across Europe since their debut release in 2002.
They are a combination of styles that have influenced Zemaria from post-punk grooves to electro, breaks and house.
Think Daft Punk meets Orbital with a favella edge and drifting female vocals and that about hits the nail on the head.
All their music is played live, along with samplers, synthesizers as well as laptop computers manipulating tracks in real time, together with acoustic drums, bass and guitars all united by the sweet voice of Sanny Lys.
The band’s resume includes playing all the best clubs and festivals in Brazil (D-Edge, Fosfobox, Dama de Ferro, Atari, Funhouse, Tim Festival, Skol Beats 2003/2005, and Vivo Open Air). They have also toured Europe twice, extensity playing concerts for both large and small audiences.
The band returns to Europe this summer and their first stop will be London in early June. Ireland, Paris, Berlin, Lisbon and Amsterdam to name but a few.
Their Latest album entitled ’11 TRAX’ is out now on Plug Artists. It’s their 3rd album since their debut in 2002.
They play Pogo at the Pod, Dublin this Saturday 14th June.
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Available today on junodownload
Direct Link
www.myspace.com/theparallelonline
www.myspace.com/staticrecordsdublin
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OK Corral was born in Bucharest in the year 2259.
We present you Planetarium, some of their early work from 2261. Craft Music is
giving you a glimpse of the future with this three-track release. The IDMD
(International Dance Music Department) rated these tracks as VGT (Very Groovy
Tracks). For proper listening experiences and successfully training your ears we
recommend using only state of the art ear updates approved at the Accoustics
Convention of 2274
beatport link here
OK Corral on myspace here0 -
just uploaded my latest remix to my myspace
its a remix for canadian artist Mikas.
his original is out on progressive groove records and my remi will be released on there sister label goldseries records
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=263062524:D:D 0 -
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https://www.youtube.com/watch?v=cthwJXKFEoU
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