SPACEHALL / SPACEHONDA Recordstore in Berlin/Kreuzberg
This four floor record store stocks the latest records that crowds crave and dj’s play. Definitely tailored toward the electronic side of things: dubstep, futurebeats, roots, folk, indie, heavy house, dirty disco, electro, experimental and all that lies around those categories.
1001 thanks to Peter, Sebastian & the whole SH-team for supporting us ... :-)
Sirius is the brightest star in the night sky with a visual apparent magnitude of −1.46, almost twice as bright as Canopus, the next brightest star. Pronounced /ˈsɪriəs/, the name Sirius is derived from the Ancient Greek Σείριος. The star has the Bayer designation α Canis Majoris (α CMa, or Alpha Canis Majoris). What the naked eye perceives as a single star is actually a binary star system, consisting of a white main sequence star of spectral type A1V, termed Sirius A, and a faint white dwarf companion of spectral type DA2, termed Sirius B.
From time to time the close encounters of the bump and grind land their mothersheep here sending all the beeps & bleeps, subs & beats beside wonky soundscapes through the galaxies ... Stay tuned ... :-)
As well as a producer, Mike Slott is a true nomad who has lived in Chicago, Glasgow, Dublin and for a while now, in Harlem, New York. He has already released a couple of maxis on the Mecca of Dublin hip-hop, All City Records, as well as four EPs with Hudson Mohawke, and a collaboration with the intergalactic soul diva Muhsinah. Mike is a talented producer in a lineage of music royalty, with his father being the first major label jazz signing in Ireland. Even his cousin is an ex-member of Irelands most successful golden-era hip hop group. Not victim to expectation he wears his emersion in music very easily, moving this niche new music ever onward. If he's not in the cue of a low-cost airline you can find him in video-conference on ichat, possibley quaffing almond croissants in a slow food coffee shop. Damn that's jazz.
And despite this musical traveller constantly moving off the beatne track, one way or another, he always manages to return home.
Mike on Wild Angels (Planet Mu)
Jamie Vex'd (Planet Mu/Hotflush)
Vex’d were some of the most important early innovators of dubstep. With early 12” releases making a huge impression on the embryonic scene, the 2005 LP Degenerate (Planet Mu) established their credentials as some of the most talented and sonically ambitious producers in electronic music. While the follow up to that album is still in the works, one half of the duo, Jamie has more recently been writing alone and very occasionally setting into the DJ world, where his mixes of some the freshest sounds from the UK with the distorted Vex’d snarl have destroyed dancefloors across the globe.
It's been a good six months since Jamie Vex'd graced us with a riotous remix of Scuba's "Twitch" on Hotflush, by far the most extroverted contribution to what has already become a seminal mix series and a paradigm example of just how jaw-droppingly good "wonky" can be when done properly. Happily, this release sees him ploughing much the same terrain by way of three bold, dazzling cuts that positively burst with wit and vitality.
Opener "In System Travel" sounds like a queasy, spazzed-out afterthought to the aforementioned rework, similarly loose and spiralling, but a good deal calmer too, alluding as much to the jazzy ruminations of trip-hop stalwart Amon Tobin as to labelmate Boxcutter's synapse-melting neo-junglisms. Over on the flip, "Saturn's Reply" comes off like a bastardized, funk-fuelled take on the whole electro/glitch-hop crossover school, pitching fat splodges of '80s analogue bass against a jerky array of spliced breaks and fuzzy, day-glo synths. For a debut solo outing, it's frighteningly confident stuff.
But the real treat here is "Radiant Industry." A colossal piece of bass engineering guaranteed to slaughter even the nastiest of house parties (never mind suitably well-rigged nightclubs), it must surely rank as 2009's fattest (read: phattest) tune so far. Consisting of one lazy-ass drum break, a selection of Soulwax-friendly rave clips and a downright illegal bassline that I won't even attempt to describe, it's Full Body Music of the highest calibre, steroid-fuelled and tweaked to within inches of its life. If it doesn't make you smile—and furiously so—then you've probably got tinnitus. Granted, there's something annoyingly provisional about all three tracks here—none of which extend beyond the four minute mark—but when music sounds this darn alive, it's hard to really give a monkeys. (Resident Advisor)
Blue Daisy (London-Black Acre)
Probably one of London's best kept secrets ...
'Space Ex' - featuring treated vocals from LaNote - is the soul-stunning A-side that sounds like the work of a hugely experienced producer, but if this really is a debut release then we'd recommend keeping a very close eye.
The track breathes heavily with a beautifully subtle inhale/exhale compression technique lending a hazy balance of pressure undulating between spacious atmospheres and overcast tempestuousness until the fronts meet to precipitates a piquant Kraftwerkian melody.
'The Fall' on the flip is a purely instrumental cut, shorn of vocals to reveal the full majesty of Blue Daisy's production, sounding here like a garage/house hybrid rhythm that's been left in the midday sun to wither and wilt and then played from a carnival soundsystem three streets away.
One of the singles of the year? Most likely. (Boomkat)
French synth-hero Debruit is a musical idiot savant. Xavier Thomas mixes Congolese drums with dirty grooves and Souk from Tunesian back alleys into eclectic electronic music. Passing through Paris, you might want to hide your sound-files from him. Be they flamenco guitars, your latest rhymes or just plain old field recordings, once they enter his Macbook they will emerge as something unrecognizable. Whether as part of his hip house project Kéèclac or a hard stepping electro hip hop act called débruit., with an EP on Musique Large. What remains will sound something like electro sounds mixed with old school hip hop ready to take on the world.
Ikonika, a.k.a. Sara Abdel-Hamid, started her musical career as a drummer in hardcore bands at 11 but was also a big fan of hip hop producer Jay Dilla on the side, a strange fusion you can hear in her idiosyncratic, off-beat productions.
‘I’d be listening to Choice [fm] and saying, "Yeah this tune is heavy’ and people just couldn’t understand as I’d also be listening to Dillinger Escape Plan, but you know what it’s all just music to me. I’ve always known that I wanted to do something in music, whether it was by myself or with other artists," she says of her twin tastes at that time.
She started producing hip hop originally but then started making dubstep in 2006, after a dubstep epiphany hearing Skream’s "Midnight Request Line" and sent her early music to Hyperdub label boss Kode 9, who liked what he heard and released her first ep, two tracks of offbeat bleepy off-kilter dubstep "Please/Simulacrum," to exclamations of "wow!" This was followed by an ode to her cat called Millie again on Hyperdub, backed by a track called "direct," then recently Warp records asked her to remix the global underground hit ; DJ Mujava’s "Township Funk" for them.
In between a busy schedule as an in-demand DJ, she’s working on her debut album for Hyperdub, released later this year.
Fantastic Mr. Fox & Rich Reason (Hemlock/Black Acre)
Hemlock Recordings pulled up some debut release business from Manchester's Rich Reason in collaboration with Fantastic Mr. Fox. It's hard to tell who's doing what here, but the IDM traits of Mr. Fox's previous releases are easy to pick out, while it's also clearly apparent what's on their recent playlists with strong elements of Zomby, TRG and Boxcutter fused into the sum of its parts. The trancing synthline on 'Bleep Show' pick up fans of Ninja Tune's electrostep and breaks types like Shuttle or those who crave for a fusion of proggy electronica with steppers pattern taken from the latest style. Promising stuff from the pair and worth a check if you like Sukh Knight, Sinden or Rob Sparx. (BOOMKAT)
Slugabed (Ramp/Stuff Records)
Meet Slugabed, the 19 year old Bath beat machine. Sluga tracks have already found their way into the boxes of Mary Anne Hobbes, Mark Pritchard, Benji B, Various Production and the Patchwerk Pirates. Keep your ears open for two upcoming twelves later this year and get ready for Sluga's particular brand of midrange hip-hop trickery. (www.stuffrecords.co.uk)
Quickly slipping into the slipstream of excellent upcoming Skweee package on Ramp is the obliquely 8-Bit styles of Slugabed with the followup to his wild edits 12" on Stuff. It's quite easy to consider the likes of Slugabed, Taz Buckfaster or even Mark Pritchard as the overseas synthfunk cousins of the Skweee scene, with nuff evidence on his well screwed and ultra compressed 12"s of wrong-funk. Big with fans of Zomby, THE MF Gaslamp Killer, Mike Slott and Rustie. (BOOMKAT)
Robot Koch (Robots Don't Sleep/Jahcoozi)
Berlin bass fans rejoice: Robot Koch, mastermind behind Jahcoozi and post-rock hip-hoppers The Tape vs. RQM, is launching a new label called Robots Don't Sleep. For the label's first release Robot Koch has teamed up with San Francisco's Cerebral Vortex, who has contributed the razor sharp rhymes to the debut 'Aftershocks EP'. Remixing duties are taken over by London's hip-hop producer Flako and Welsh dub-stepper Stagga. (www.zero-inch.com)
Stagga (Rag & Bone/Rudeez/Robox Neotech)
Welsh producer Stagga bursts onto the dubstep scene with a refreshingly new take on things. With a legacy in hip-hop and fresh from a debut release currently on Rossi B & Luca’s Rudeez imprint of ‘Jacqueline/ Policeman Get Hype’, Stagga now serves up 3 undisputable slabs of wonkiness for Rag & Bone.
(Rag & Bone)
very special guest:
Pursuit Grooves (N.Y.-WhAT RuLES)
Raum18 has panoramic views over Neukölln/Kreuzberg and is situated in the middle of a working industrial estate. There will be 2 rooms in operation with a special appearance by Jamie Vex'd (London/Berlin), live performances from ONRA (Paris/FRA), Timeblind (N.Y./Berlin) & spec. guest performance from N.Y.'s Pursuit Grooves next to DJ-Sets by ONRA and fine acts from Robox Neotech and DUBWD - welcoming the freshest dance stylings into socal experience all of Electro, DubStep, Future Funk & Wonk ...
Vex’d were some of the most important early innovators of dubstep. With early 12” releases making a huge impression on the embryonic scene, the 2005 LP Degenerate (Planet Mu) established their credentials as some of the most talented and sonically ambitious producers in electronic music. While the follow up to that album is still in the works, one half of the duo, Jamie has more recently been writing alone and very occasionally setting into the DJ world, where his mixes of some the freshest sounds from the UK with the distorted Vex’d snarl have destroyed dancefloors across the globe.
It's been a good six months since Jamie Vex'd graced us with a riotous remix of Scuba's "Twitch" on Hotflush, by far the most extroverted contribution to what has already become a seminal mix series and a paradigm example of just how jaw-droppingly good "wonky" can be when done properly. Happily, this release sees him ploughing much the same terrain by way of three bold, dazzling cuts that positively burst with wit and vitality.
Opener "In System Travel" sounds like a queasy, spazzed-out afterthought to the aforementioned rework, similarly loose and spiralling, but a good deal calmer too, alluding as much to the jazzy ruminations of trip-hop stalwart Amon Tobin as to labelmate Boxcutter's synapse-melting neo-junglisms. Over on the flip, "Saturn's Reply" comes off like a bastardized, funk-fuelled take on the whole electro/glitch-hop crossover school, pitching fat splodges of '80s analogue bass against a jerky array of spliced breaks and fuzzy, day-glo synths. For a debut solo outing, it's frighteningly confident stuff.
But the real treat here is "Radiant Industry." A colossal piece of bass engineering guaranteed to slaughter even the nastiest of house parties (never mind suitably well-rigged nightclubs), it must surely rank as 2009's fattest (read: phattest) tune so far. Consisting of one lazy-ass drum break, a selection of Soulwax-friendly rave clips and a downright illegal bassline that I won't even attempt to describe, it's Full Body Music of the highest calibre, steroid-fuelled and tweaked to within inches of its life. If it doesn't make you smile—and furiously so—then you've probably got tinnitus. Granted, there's something annoyingly provisional about all three tracks here—none of which extend beyond the four minute mark—but when music sounds this darn alive, it's hard to really give a monkeys. (Resident Advisor)
ONRA (BoBun/Favorite/Circulations/AllCity)
It all started with a trip back to his father's birthplace.
Vietnam.
That's where Arnaud "Onra" Bernard found the inspiration for his signature sound. After spending time with children at an orphanage in the Vietnamese city of Hue, the Parisian producer was so moved by the experience that he rushed to a local city market to arm himself with a new cache of vintage Chinese pop records. Aiming to construct a new sound based on a fusion of Asian melodies and soulful hip-hop, Onra began to build a foundation for his underground symphonies by adding a dose of J Dilla, the legendary hip-hop producer who lost his battle with lupus in 2006. The end result was Chinoiseries, a groundbreaking album released in 2007 that garnered reputable buzz in exclusive music circles and made him a legend on the Internet's most selective blogs. Using the history of his father's homeland and soaking in the spirit of his mother's French roots, Onra has established himself as a harmonious maestro who can adapt to any type of music as he travels around the globe searching for crates of rare vinyl to pick apart for his distinctive samples.
Onra is hard at work touring in Asia and promoting his new album, 1.0.8, which was released in February, while the hip-hop world awaits a greatly-coveted Chinoiseries Part II. As his sound continues to evolve into an international staple, this renaissance man is focused on paying homage to his musical past, while creating amazing sounds for the bright future that awaits him. But if he ever runs out of inspiration, he can always return to that orphanage in the city of Hue.
ONRA @ Kanazawa manier
Timeblind (Version/Soot/Orthlorng)
Timeblind, AKA New Yorker Chris Sattinger. Sattinger makes immaculately poised dubstep and bass-oriented confections which draw on techno, dancehall, jungle and hip-hop. Everyone who listens to his stuff tends to be blown away, and he counts the likes of Geiom and Appleblim among his fans.
So why isn't he better known? Well, he's not the most prolific artist, at least not in recent years. He has a new 12" out right now, but it's his first since 2006 - a whoppping three year hiatus. In that time he's relocated to Berlin, a city whose predilection and support network for dubstep/techno hybrids (T++, Shed, Sleeparchive and the whole Hardwax community) has doubtless given him a new lease of life. That's not to say that Timeblind was all shy and retiring back in New York. Perhaps his biggest and most lasting impact on the city was a promoter, founding first The Polar Bear Club (in 2004 with Mike Wolf) and later The Bunker (with DJ Spinoza), a Brooklyn techno stronghold which continues to thrive and play host to artists as diverse as Suburban Knight, Alva-Noto and Dan 'DBX' Bell. Timeblind's DJ sets there were characterized by their disregard for genre boundaries:
"Things like Coltrane, Mego, Timbaland and Roll Deep got squished together on the turntables," he explains. "UK garage, disco, funk, arabic dance music, psychedelia to full-on breakcore."
Timeblind's latest release is 'Time Dilated By Matter', the first ever 12" on his newly-minted Version label. Mastered by Rashad at D+M, the several discrete layers of bass on these productions are in themselves quite something to behold. The title track is roots futurism devoid of all the usual bland reggae signifiers, while 'Backwardation' is broken techno in the vein of SBTRKT and A Made Up Sound but spiced with Shackleton-style ethno-percussion. The beatless, metallic synth-workout 'Space Cadet' reflects Sattinger's background in ambient sound-art and classical composition. (FACT-Magazine 2009)
This Thursday 12th November: _________________________________
This one should have been Choke´s welcome-back-party. Unfortunately he can´t come.(yet). Jahrlatan will play instead of him. Special guest this night will be Doombass from Russia. In addition the infamous Jademonkey will play alongside the Standards residents. __________________________________ DOOMBASS(russia) www.myspace.com/djdoombass JADE MONKEY(big mean robot) www.myspace.com/bigmeanrobot JAHRLATAN(berlin) www.myspace.com/jahrlatan
__________________________________ residents: KINI.MODE OMIT SLEEPWAKER ________________________________ Bless, Your StandardsKru. _______________________________
easy, heres my latest mix recorded for the pipedown blog;
1. flying lotus - auntie's harp (rebekah raff remix)
2. appleblim - within
3. bloc party - where is home? (burial remix)
4. blue daisy - the fall
5. pearson sound - gambetta
6. lee scratch perry feat. samia farah vs. kode 9 - yellow tongue
7. hyetal - pixel rainbow sequence (peverelist remix)
8. untold - bones
9. unknown - spiders
10. pinch - attack of the giant killer robot spiders!
11. shortstuff - stuff
12. joy orbison - wet look
13. ld - traumatic times
14. joker - digidesign
15. skream - head banger
16. cyrus - space cadet
17. sp mc feat. joker d - bad dreams
18. pinch & moving ninja - false flag
19. kryptic minds - six degrees
20. distance & skream - wiseman
21. johnny clark vs. mala - sinners
22. silkie vs. mizz beats - purple love
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