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Topics - club2club
Why Old-school DJs Are Complaining and You Should Too
After a slow and difficult push, the Electronic Dance Music scene is exploding exponentially in the United States. Not long ago DJs were confined to dark rooms hidden from view and were looked down upon by most of the music community. Now they are the new rockstars and headliners; main stage and front and center. EDM is now a billion dollar commodity, but that in itself is not such a bad thing. I remember dreaming of the day I could live off of music, that is more possible now than it has ever been.
There are more opportunities to play our music, to get paid, and to make a name for ourselves doing what we love. How can anyone be mad about that? What’s the problem? Well…
Like any industry, when the money starts flowing in it attracts people that are after it as their priority. Add attention and fame to the mix and you can get a pretty nasty breed of person mucking up the works. At one time art and passion for the music was overwhelmingly the motive of DJs and producers (for promoters it is a little more debatable), but now we see more and more that money, fame, and less than admirable intentions are what drive a lot of people to our EDM world. The balance is shifting and the art of the music and the dance floor are suffering as a result.
Beat matching tech, gimmicks, and reliance on playing popular music have become the common definition of what a DJ does. It is no wonder that this seems like an easy source of money and fame. The truth of the matter is that these qualities are irrelevant to the art of the mix and in what makes a DJ worth seeing and worth the ticket price. To better understand, let’s take a look at some of the bigger complaints coming from the old-school and why the new-school should care.David Guetta and Swedish House Mafia
It doesn’t take much digging to find out how old-school head DJ Sneak feels about these guys. He’s called them out for their showmanship antics, elaborate stage setups, and more importantly, for getting caught playing pre-produced sets and not actually DJing during their shows.
First of all it is important to separate the concept of DJ from producer, they are not the same thing. While I applaud these guys for their production skills and developing an accessible sound that attracts lots of people, this does not mean they have the right to charge massive amounts of money to see them press play while they jump around. This would be like paying ridiculous sums to James Cameron to jump around on stage while watching Avatar (actually maybe I would pay to see that). Seriously though, producers either need to put on a live show like Orbital, Daft Punk, Chuck Love, etc., or develop actual DJ skills before they step on stage. Unless, of course, you like paying a premium for gimmicks instead of music and talent.
**Disclaimer – I have seen Steve Angello of the Swedish House Mafia on his own play a great 8 hour set and actually mix, so I know he is at least capable, again it’s about what you are paying to see, demand more. I also know playing pre-recorded sets is nothing new and has been a necessity now and then for DJ’s playing nightly on tour, but to use this as a default is unacceptable.DJ X Factor
Now, in all fairness the verdict is still out on this one as we don’t really have all the details or what the contestants will be judged on, but based on Simon Cowell’s propensity to monetize talent it’s likely this show will do more damage than good. It will further push and expose people to the idea that DJing is more about the show than it is about the music and the art. At one point DJing was about bringing new sounds to the floor and making them hits, now DJ’s play the popular tracks to make themselves hits. They are glorified jukeboxes in fancy packaging with laser shows, not artists.
Just to be clear, I am not anti-showmanship. It’s all part of the bigger artistic package when done correctly, but there has to be art at the core. I am anti-showmanship to cover up a lack of talent. Hopefully this show won’t support that, but I am skeptical. We’ll have a better idea when the judges are selected.Paris Hilton
I will try to keep the vulgarity to a minimum on this one. Remember not long ago when there was a bit of a scuffle with Paris and a certain house DJ because he wouldn’t play a hip-hop song? Remember all those top-40/hip-hop clubs she was frequenting (even when she wasn’t being paid to be there)? Remember how she has never once mentioned or was seen at any house related event until recent press surrounding her new publicity ploy boyfriend Afrojack? Now all of a sudden house music has always been a passion of hers? What does Paris Hilton and a cow’s colon have in common?
This is the epitome of jumping on the decks for the money and the fame bandwagon. Everything she has done to date has been because she saw it as popular and a way to be famous for the sake of being famous. Do we really expect to believe that passion and art will play any part in this catastrophe in the making? At least I have a new term to call people who aren’t DJing for passion and art. Paris Hiltons. Don’t be a Paris Hilton.The Point
For all you music consumers out there, I appreciate you, I really do. I just want you to be an educated consumer. Know what it is your hard earned dollars are supporting. Be patrons of art, not ATMs for the money hungry.You would be DJs, producers and promoters: Create art, don’t just press start. Contribute something to the world and to the people, don’t just look to take their money and attention. Let’s be amazing together.http://notyourjukebox.com/
The New York-based longtime purveyor of house music, Danny Tenaglia, just announced via his Facebook page that he is taking a break from his 20+ years of dazzling us from behind the decks. His legendary “Be Yourself” parties gave a clear message, which he hoped to carry on through this very day, wherein his post he repeatedly begs, “LET me BE.”
ElektroDaily.com was lucky enough to sit down with Danny recently at his home in Long Island City where he told us, “House is a feeling.” In that moment, he was beaming, and happiness was quite literally emanating from his crooked, familiar smile. He is and always has been himself… so, the question remains… what is he looking for? Maybe he’ll tell us at his final gig at Pacha, Aril 28th.
READ FULL POST BELOW:
“Dear Friends, please, just LET me BE, LET me BE! >> The Time Has Come for ME to “finally” BE MYSELF!! I have been telling people for so many years now to JUST BE YOURSELF!! But for me, being myself was living with 1 foot in a closet and 1 outside “trying” to BE the happiest DJ on Earth, which I have been, and give the World the best I had to Give because I know how happy I have made people with the gift of music from GOD and this has been a great blessing …. so I simply Could Not Stop!! Since everything has CHANGED since I first realized I wanted to BE a DJ forever like playing records” and getting a job in nightclubs back in the early 70′s (gag) and now here I am at 51, been around the world many times, put over One Million Miles in the sky, 3 full Passports and my Heart has been YEARNING for something New & Different besides music. BUT, as I have been trying to STOP and make BIG changes like finally calling my home in Miami since 2006 HOME, but was always to busy between NY residencies and travels and it’s been getting the best of me lately. Airplanes, Airports, Hotels, Foreign-isms, and what can I say: I HAVE SEEN THE MOUNTAINTOP as a DJ and I just need to STOP and smell the roses of my life and simply try to “Grow Up and BE who I really am” but “everything” – including the need for finances to afford my Loft of 10 years in NY which I can no longer afford and must let go of by July . . . I know many people think I am wealthy but I assure I am not! I have lived well and have very nice things to show for my earnings, but I cannot stop working!! When I say I have been writing for the past 5 days, it has been DEEP!! I kept starting over and over and it’s turned into a major journal and sooooo much of this I promise I want to share with ALL of you, The Good and The Bad, but thankfully it’s mostly good! ON my way home on Wed from DR & Montreal I was having a bad day as I had a head cold, and there’s no enjoyment in an airplane or in a hotel room out of the country with a headcold …. anyhow, I was traveling back to Miami alone as my co-workers flew back to NY and I was just looking out the window the whole flight and for 3 hours I was just thinking HOW AM I EVER GOING TO PROPERLY RESIGN (not retire) . . . And when I got home I realized I left a small carry on murse bag with many personal things, keys, passport and so on and at first all I could feel was FURY!! I tried everything between Lost & Found and the car service, but as my ID was in there and now 6 days later no return, well all I can say is that THIS has been The Revelation that I needed to say: LADIES & GENTLEMEN: As of this day, I am “resigning” (not retiring) and all future gigs will sadly BE canceled except for My Belated Birthday @ Pacha on Sat April 28th! This will BE my final gig until I feel I am ready to return back to the decks. This is thee hardest decision I have ever had to make in my career, but if not now, then when?? I apologize to all parties involved but I think most people that know me personally know that this has been coming! I have performed at WMC 26 years in a row! I have played every year in Ibiza since 2000! It’s time for ME to Stop and settle down, move out from the loft which will BE a very MAJOR ordeal . . . OMG!! I have soooooooooo much STUFF!!! There is no way I can do all this and travel and have a life . . . Only I can make the decisions of what stays and what goes, including what I will do with over 10,000 records, etc etc etc ……. SO in closing: I LOVE YOU ALL and I just wanna Thank U 4 Lettin me BE MYSELF all these years, and now I beg you to please continue with me in my journey and my quest for something new and wonderful. I will never give up my first love with MUSIC, but there has to BE something else (or someone) out there waiting for me! >> I promise to keep updating here, but I needed to do this today – in order to BE FREE & BE ME!! Please BE kind, this has not been easy and I am a very sensitive person. God BE with US all! See you soon!! ”www.electrodaily.com
Jangan pensiun dulu yahh...Belum kesampaian nih liat tenaglia main 6 jam...
Satu lagi film yang berbau narkoba. Dibintangi oleh tokoh-tokoh papan atas seperti Emile Hirsch, John Travolta, Uma Thurman, Salma Hayek and Benicio Del Toro. Film ini dibuat oleh Oliver Stone, orang yang bertanggung jawab di balik kesuksesan Platoon, Natural Born Killers, Wall Street, dan The Doors. Diadaptasi dari buku yang ditulis oleh Don Winslow, Don juga yang membuat screenplay film ini. Jalan cerita sepertinya menarik dari trailer-nya : senjata, ledakan, narko, esek-esek. Oliver Stone doyan yah pake narko di filmnya. Markitbo Mari kita ke bioskop.
Almost two years ago to the date after Tokyo break beat duo HIFANA eschewed their turntables for Nike Free Run+ sneakers as beat makers, TURNTABLE RIDER is pushing the concept further. Produced by engineers at COGOO, a Japanese bike sharing system managed by Relations Inc., TURNTABLE RIDER essentially realigned DJ essentials onto a converted BMX bike – the wheels become jog wheels, brakes are now sound pad, and the gyroscopic motion sensor doubles as the fader pad. Lastly, the music samples are wirelessly feed into the system via Apple iPhone or iPod. As videos of early test runs show below, simple bike rides are now musical performances with rider’s full involvement. All packaged in a Pelican hard case, the TURNTABLE RIDER will debut at KAIKOO POPWAVE FESTIVAL 2012 later this month through live performance by Japanese BMX rider Kotaro and DJ Baku.
so mixmag have started doing this thing whereby a dj/producer of their choice curates ten pages of the mag and mixes the cover cd. the first time they did it was february 2012, with minus boss richie hawtin the man put in charge. he wanted to interview sonny moore aka skrillex as part of it, and i got to moderate. this is a transcript of the conversation.richie: hi, sonny…
sonny: dude, what’s up?not much, how you doing?
good, we’re in the mountains a couple of hours north of denver, colorado in a cabin/lodge thing. the balcony overlooks the slopes so we’re looking at boarders and skiers right now. it’s beautiful; i came out here to do this private party. it was super cool with all the pro skate boarders and athletes out like tony hawk, the jackass guys. i’ve been board shopping, hanging out; it’s been really cool.didn’t you just get off a boat?
yeah it was called holy ship. this guy puts on a hard festival but rented a cruise liner and put on some edm.was it a good or bad thing to be trapped on-board?
it was a blast. it was just enough for three days. it wasn’t a relaxing trip – it was hectic and crazy. we hit a sand trap and got stuck! i actually heard behind the scenes they were going to evacuate – this was only the first trip out, coming into the first island. the start of the second day coming to bahamas from florida. they mentioned evacuating and i was like “oh no’ show’s over”. we had 5 giant tugboats pulling us, scuba divers using chisels to break rocks under the boat. we finally got moving though!i was wondering, how do you do so many dates and stay sane? you seem 200% the whole time.
i have been touring since i was 16, so i’m coming up on 8 years of touring. not many people know that. people think i just stumbled on some bandwagon, but i’ve slept on floors for years, made no money for years with my best friends. i never thought id’ get to this place now, even making electronic music. no one cared what skrillex was doing. dubstep wasn’t popular when i first started to make it; it was still very underground.
you know, we were doing ‘dubstep patios’ once a month with 40 of our friends, with a shitty pa, on the smoking patio of a bar. it was the best time, constantly making music and having people around you… i still have my same crew from when i slept on couches and floors [with the rock band].That’s what i like about edm – the direct connection to the people and promoters. there’s no in between – its pure and really fun like you say. was it different in the band, or in the rock venues? is there a big difference?
the rock scene is a lot more egotistical. it’s a lot more competitive, people want to out-do each other and be the star, whereas in edm i’ve noticed everybody from all genres is really supportive and cool. everyone remixes each other and plays each other’s records. there’s more camaraderie.looking at the us charts, you have a lot of guest vocalists now – tiesto with buster rhymes, diplo with someone else. on one side i think that’s great, but is that why everything is so big – the cross-pollination with other genres? is that good, bad – how do you feel about it?
you have to do something that’s honest. tiesto will always be tiesto and make the record he makes. he’s been doing it a long time – i guess it makes sense for him to work with busta rhymes. for me it wouldn’t make sense. i wouldn’t do it for the sake of doing it. mainstream doesn’t have to be bad. adele is mainstream but i think she is the most incredible singer-songwriter out there.
for me, no matter what i do, my choices revolve around what’s honest for me. aside from ellie goulding on my recent release, all the collabs are underground artists. even in the states she’s indie. i wanna work with the people i have connections with, with people who it makes sense at the time to work with.how do you feel being the poster boy for a new generation of electronic music? do you feel part of heritage or is it a new thing you’re doing in your own direction?
well check this out: before this [interview] i was out with some label people talking about servicing my new ep and doing a radio campaign. i said the only people i ever want to service my records to are the actual djs that are real tastemakers, people who can still decide what gets played on the radio. in the us it’s all politics and programming. i don’t wanna be a part of that. to do certain things – like get played on so many radio stations or whatever – you have to play their events and all these other politics are involved. i’d rather get no radio play than be involved in all that.
for me, like, when people call me the poster boy of this edm crossover to mainstream… ah, man, when i was making “scary monsters and nice sprites” we didn’t spend any money, we did it on a laptop, there were no songwriters, no plans, we just made the song and at the time that was not a pop song. it’s not 3 and half minutes, it’s not verse-chorus, verse-chorus, it’s definitely not easy listening. it’s just an online fruit – there were no plans, no radio campaigns.
i’m not defending myself but that’s the truth – if you look at that positively, music that was underground can now be popular, just not in pop format. it’s successful, and that opens doors for other people to make non-pop music. “scary monsters…” has sold in the us, canada, england, australia and it’s not a pop song.“scary monsters…” has now created a new definition of pop song. does that scare you? are you being pulled to pop? is that ok? is that what you wanted?
i don’t wanna be famous. i don’t wanna be a famous singer in the rock star sense. i’m not trying to do that. i feel strange walking outside my house and in local coffee shops being recognised. it’s scary. i appreciate it, but sometimes it’s scary. but i’d still be making this music even if no one was listening.you’re on the road all the time which brings me to your unseen schooling – 8 years on the road plugging away. this exposure now, which seems to some people like it’s happened quickly, has taken a long time and a lot of hard work and dedication…
absolutely. you know man; there are times when you’re travelling alone. just the other day i had a crazy travel schedule, i was alone, i had midi controllers to carry, a million phone calls to do… it’s hard work, but so rewarding.
i think people get jaded when they make deals for money, then it becomes a job. what we’ve done is so organic, we’ve done what we wanted to do, that’s why it’s so rewarding.you mention your team. how big is your team that help you get through the days and weeks and nights of this?
my manger has been together with me since i was 16. we’ve been through everything and seen highs and lows together. i mean, i’m not trying to toot my own horn, but we walked away from million dollar deals with the band, we didn’t care, it wasn’t the music i wanted to make. these people [around me] are the unsung heroes who look out for me.sure. so i’m gunna take it back a bit. how old were you in 1993?
i was born in ‘88 so just a couple years old, man.that was the first big surge of interest in electronic music – moby, prodigy, these big parties in san francisco and la. do you remember that?
i did know it was happening at the time but i know about it from people talking about it now.it was an exciting time for a lot of us back then because we thought this music was really going to break in america. and it did for maybe moby and prodigy and a couple of other people, but for a lot of bands, promoters and fans it exploded then suddenly imploded and was wiped away by typical rock ‘n’ roll and nirvana. is this another disco moment, another rave in ‘93 or do the kids get it enough that they’re going to sustain it? is this their sound track now?
even electronic music, like, i mean, i was sneaking into nightclubs at 16 years old during my band days. i was listening to edm and idm but i think that scene wasn’t as artist driven before. the songs you were dancing to – those artists never came out, or would tour europe – the scene was happening somewhere else.
it’s not just about partying any more, it’s about artists, touring, records. i think it’s the first time you’re seeing loads of artists putting on incredible live shows. it’s not just a guy playing records. it’s a show now. but who knows – i always say to my team “if it ends tomorrow, i’d have a smile on my face”. we worked hard. we had the best time. we did what we wanted to do. i do believe in this thing though – we all do.you make a good point about showmanship. when i started to hear about you and saw your shows – 20 years ago if we’d have seen one person on stage with a laptop (not just at a rave but a concert) we would have been like ‘what the FCUK?’ it took 20 years to get that. the production, lighting – all that has finally figured out a way to work with these shows for the people. it’s not just about the music, it’s about the scene growing up in a way more people can understand.
sure – you’re putting your heart into more things than just the studio now. shit, we’ve been behind tables for years and now this thing is getting bigger so, FCUK, let’s put some money back into something we enjoy. we’re doing this motion capture thing – it was like the first apollo mission to the moon. it took us years of trial and error to perfect but it’s so fun.for me i have plastikman, so when it’s all working it’s great, but it takes a lot of energy to get going. sometimes it’s good to just turn up and dj. is that the same for you? do you have different levels of live show?
absolutely, i totally agree. the skrillex show is not the biggest but with the motion capture and image mapping it takes a lot of effort but, when it works, those shows are so FCUKing good. the smaller ones are less stressful – the super underground parties you roll up with laptop, no tour manager, no crew, you can just jump on an aeroplane. i still like clubs for the intimacy; you get a different kick and high off the different levels of shows.is there room for electronic musicians and djs to becomes stars without all this content behind them – flashing lights, videos?
absolutely, man. at the end of the day a good song will speak louder than anything. think about burial, no one even knows what he looks like, he doesn’t play shows, but people still love him. he doesn’t want to be a rock star. even aphex twin – he doesn’t put out many releases or do marketing but he can still turn up and rock it. if people can connect with the music – that will always speak louder than anything. i’ve tried to put my songs first not the marketing.
[line goes bad]so from my generation, what do the cities new york, chicago and detroit mean to you? anything?
[line goes bad]
new york house meant most to me. robyn s i know from childhood – i grew up with that. what it really means to me, is [the fact that] it’s crazy that back then detroit guys had to go to new york to hear what new york djs were playing, you had to find the records and bring them back to detroit to play them.
there was no internet; you had to travel these scenes. it was hustle and bustle, man, you guys were travelling, not blogging on hype machine, but traveling for inspiration.[laughs] yeah, that was the only way to do it back then.
yeah it wasn’t like “here’s a usb with a FCUKing catalogue of my last 3 years’ work on it” – you had to travel. that’s what that means to me i think.so where do we go from here? electronic music has steered clear of being too big and mainstream so it can always innovate and change. will success hold it back?
all i know is i’m gunna continue to do what i do. do what’s right for me. i don’t do a lot of press and i don’t wanna be a poster boy. if some guy comes along with even heavier dubstep and 20 producers and singers and eye liner and dancers on stage, if he takes my thunder, i’m always gunna do what i do best, hang out with friends and make songs that i love. i’ll never do anything outside my honest zone. i’m transparent, what you see is what you get. i’ve been in a situation before with the band where we did things for money not everyone was happy with. it’s not right; you have to do you own thing.it’s been a great chat, so thanks for doing this.www.teshno.com
dari sisi orang yang tidak nyambung dengan musik yang diusung skrillex, gw jadi lumayan tahu lah bagaimana skrillex menyikapi anggapan sinis orang-orang kepada dia. dan hebatnya richie, dia bisa nanyain hal tersebut tanpa "menyinggung/menyerang" sisi personalnya si sonny....
Delta Heavy Tour 2002
7 Tahun Kemudian...
pesan saya : "hati-hati kalau di kantong lo ada isinya"
It has been reported that DJ Mehdi has died following a fatal accident in which he fell from a roof at his home in France. The incident happened last night and has shocked the dance community. Two other people have also been hospitalised.
DJ Mehdi was a key part of the Paris based Ed Banger crew. He was greatly loved by fans and contemporaries alike.
News of his death came via a series of French news websites and Twitter today.
Scores of high profile DJs including Skream, Mr Ozio, A Trak, Chromeo and Felix Da Housecat have been paying respects via social media.
The Paris Social Club, a popular Ed Banger hang out, will close tonight out of respect to DJ Mehdi. The club posted on its Facebook: “We have made the exceptional decision to close the club tonight. An evening of silence in honor of the artist.”
DJ Mehdi was 34-years-old.
Our thoughts and wishes go out to Mehdi’s friends, family and the Ed Banger crew.
Hilang sudah kesempatan kita menyaksikan Carte Blanche
Terima kasih kepada 360 dan Soundshine yang sudah pernah membawa dia ke Jakarta
artist: Rimer Veeman
title: Rimer London
year: April 01/11
1. Rimer London
2. Squaring the Triangle
3. Love Dagger (met Cata.Pirata)
5. Put Your Gun Away
7. Mr. Froggy Diamonds
8. Go Away
9. Chako Paul City
10. Aim at My Body
11. Fat Read
Release Note :
Influenced by Sly Stone, Yellow Magic Orchestra, Acid House, Giorgio Moroder and Kraftwerk, producer Rimer London from Amsterdam, bought his first synthesizer when he turned 16 and started making tracks with 2 tapedecks, a drum machine and his new synth.
After playing several instruments in as many different bands, Rimer hooked-up with Bas Bron, a.k.a. Bastian, Seymour Bits, Gifted and many other guises, and the two formed electro-techno cooperation Comtron. Their first album, Follow The Money was released in 2007 through the Rush Hour imprint in Amsterdam and received rave-reviews. The album got noticed by Kraftwerk who invited them to play as their support act.
In the same year Rimer got signed to Magnetron Music and released his first solo E.P. Sugar Booger under the Rimeroni Vumani alias.
In 2008 Rimer (now under the name of Rimer London) formed Electro-pop group Le Le together with graphic designer/producer Parra and rapper/singer Faberyayo from the popular Dutch band “De Jeugd van Tegenwoordig”. They first released the single “La Bouche” with a quick follow up double A-sided single called “Skinny Jeans” and “Hard” it was an instant hit, both songs found themselves in high rotation on Dutch and Belgium television and radio and the formation took off. The third single called “Breakfast” gave them international fame and dj’s all over the World picked it up. Their debut album Flage on Magnetron was a huge success and got a worldwide re-release in 2010 by German label Gomma.
Meanwhile, Rimer was slowly cooking his solo-project, Rimer London. The very well received Intercity E.P. was released in 2009 and two tracks from it have made it to the self titled album that’s about to see the light. Go Away and Intercity showcased Rimer’s deeply rooted love for Italo and Techno and he continues on that path. But there’s so much more to the Rimer London album, Pop, Dub, Wave and House as can be heard on the 2010 single release of Squaring The Triangle. Very well constructed but never turning into producers-music. Leaving you with a melancholic feel, the type of melancholy that leaves you both happy and sad.
artist: Étienne Bernard Marie de Crécy
album title: Beats and Cubes Volume 1
release: April 04/11
01. Welcome (Studio Version) 4:30
02. Hope (Studio Version) 5:40
03. Binary (Original Mix) 3:33
04. No Brain 4:32
05. No Brain (Alex Gopher & Pierrick Devin Remix) 6:04
06. No Brain (Paul Chambers Remix) 5:51
07. No Brain (Autoerotique Remix) 5:17
08. Welcome (feat. The Bloody Beetroots) 3:56
09. Welcome (Pablo Decoder Remix) 6:28
10. Welcome (Global Warning Remix) 6:45
11. Welcome (Live Version) 5:35
12. Hope (D.I.M. Remix) 5:54
13. Hope (Djedjotronic Remix) 4:58
14. Hope (Live @ Bogota) 6:53
15. Hope (Alternate Studio Version) 4:52
16. Binary (Disco of Doom Remix) 6:04
17. Binary (Dirty Disco Youth Remix) 4:55
18. Binary (Supabeatz & Jay Robinson Remix) 4:27
19. Binary (Clap Rules Remix) 7:20
20. Binary (Etienne de Crécy & Mr Jo Remix) 6:20
21. No Brain (Serge Santiago Remix) 7:21
22. No Brain (Nobody Beats The Drum Remix) 5:09
23. No Brain (Munk Remix) 6:42
24. No Brain (Disco Villains Remix) 7:43
25. No Brain (Tai Remix) 6:46http://www.filesonic.com/file/1078332244/Etienne
year: June 01/11
01 - Basexpressen (05:10)
02 - Distance (04:20)
03 - Body jar (03:42)
04 - Ghost dance (04:34)
05 - Black light (04:19)
06 - Slottet (04:36)
07 - Love track (03:54)
08 - Oratory (05:20)
09 - All yours (04:13)
10 - Hammerville heights (04:15)http://www.wupload.com/file/6238050/Emmon-Nomme.rar
Title: Nervous Nitelife Presents: Lutzenkirchen
Country : Timor Leste
Label: Nervous Records
Various–Live Set By Luetzenkirchen
01. Luetzenkirchen – Let The Music
02. Luetzenkirchen – Phuture Disco Vibes
03. Luetzenkirchen – Shake Shake
04. Luetzenkirchen – Lonely Phone Wants To Speak
05. Luetzenkirchen – Body Nation
06. Luetzenkirchen – Loopholes In Marseille
07. Luetzenkirchen – Brickwall
08. Luetzenkirchen – Mother Flock ‘Em
09. Luetzenkirchen – Black Walls In My Room
10. Luetzenkirchen – Trapped Into Darkness
11. Luetzenkirchen – Don’t Fear To Rock
12. Luetzenkirchen – Decathlon
13. Luetzenkirchen – Rollercoaster
14. Luetzenkirchen – Kevlar – Feelings Are Weapons (That Can Kill)(feat. Lisa Jane)
15. Luetzenkirchen – H2O
16. Luetzenkirchen – GPS On My Ass
17. Luetzenkirchen – Hout Jazz
Various–Bonus Mix By Great Stuff
01. Martin Eyerer & Benno Blome – Pianoroll (Audiofly Remix)
02. Tonka – Orca (Ian Pooley’s Orca Mallorca Remix)
03. Rainer Weichold – Tango For Noemi (Chase Buch & Nick Olivetti Remix)
04. Jean Claude Ades & Vincent Thomas feat. Sam O -Shingaling (Static Revenger Jazz’d Up Dub)
05. Ramon Tapia – Colorz (Super Flu Gr ne Schl pfer Remix)
06. Jean Claude Ades – Valle de Larmes (Pleasurekraft Remix)
07. Tube & Berger – Prohibition
08. Tomcraft – Room 414 (Can’t Get Away) (Tube & Berger Remix)
09. Rainer Weichold – One Willi For The Road
10. Jean Claude Ades – Latin Fever
11. Umek – Novi Sad
12. Tomcraft – A Place Called Soul (Manuel De la Mare Remix) http://www.fileserve.com/file/EQGurtS/Nitelife-Presents-Luetzenkirchen-2CD-2011-OMA_thierry0wnz.rar
released: february 22, 2011
01 - Triangle Waves
02 - Dark Passenger
03 - Corduroy Swell
04 - Ojai Valley
05 - Sweet Camaro
06 - Galilean Moons
07 - Black Diamonds
08 - Masterplan
09 - Amulethttp://www.mediafire.com/?q3890cxirzipv3g
Album Title : Catalog
Label : Hymen Records
Release Date : May 2011
01 Slew52 – Frosd 05:19
02 Slew52 – Bedintruder (Wonky Touch By Slew52) 07:35
03 Slew52 – Klomofz 04:51
04 Slew52 – Leecher 06:00
05 Slew52 – Gheestyfive 06:46
06 Slew52 – New Glands 04:32
07 Slew52 – Lolest 05:13
08 Slew52 – Fake French Rap (With Goodiepal) 05:16
09 Slew52 – Fuzkysolo 07:12
10 Donna Summer – Rockrockrock (Slew52 Edit) 03:45
11 Dustdive – Kratzen (Cklub Ckaos Rethink By Slew52) 06:16
01 Slew52 – Intro 07:30
02 Slew52 – Odiv 04:29
03 Slew52 – Eyesofear 12:21
04 Slew52 – Genu 03:13
05 Slew52 – Varum 06:10
06 Slew52 – Gogetaticket 05:48
07 Slew52 – Grandfathers 06:24
08 Slew52 – Caramel 13:25
09 Slew52 – Kloma 05:21
10 Slew52 – Outro Or Don’t You Dare To Remember 06:18 http://www.filesonic.com/file/959029864
Artist : Moby
Title : Destroyed
Label : Little Idiot
Release Date : 16 May 2011
01 – The Broken Places
02 – Be The One
03 – Sevastopol
04 – The Low Hum
05 – Rockets
06 – The Day
07 – Lie Down In Darkness
08 – Victoria Lucas
09 – After
10 – Blue Moon
11 – The Right Thing
12 – Stella Maris
13 – The Violent Bear It Away
14 – Lacrimae
15 – When You Are Oldhttp://www.mediafire.com/?b15mfw2a87cyzer
Artist : Friendly Fires
Album Title : Pala
Release Date : 16 May 2011
Country : UK
Label : XL Recordings
01 Live Those Days Tonight
02 Blue Cassette
03 Running Away
04 Hawaiian Air
07 Show Me Lights
08 True Love
09 Pull Me Back to Earth
Artist : The Beloved
Album Title : Sweet Harmony: The Very Best Of
Release Date : 03-21-2011
Country : UK
Label : Nagaswara
01 – Sweet Harmony
02 – The Sun Rising
03 – Hello
04 – Your Love Takes Me Higher
05 – Time After Time
06 – Its Alright Now
07 – Youve Got Me Thinking
08 – Outerspace Girl
09 – Dont You Worry
10 – I Love You More
11 – Wake Up Soon LP Version
12 – Spirit
13 – Lose Yourself In Me
14 – Rock To The Rhythm Of Love
15 – Dream On
16 – Deliver Me
17 – Up Up And Away (Beautiful Balloon Mix)
01 – Loving Feeling
02 – Satellite
03 – Ease The Pressure
04 – Scarlet Beautiful
05 – Up Up And Away
06 – Dream Within A Dream
07 – Pablo
08 – Paradise Found
09 – Let The Music Take You
10 – Crystal Wave
11 – For Your Love
12 – Spaceman
13 – Missing You
14 – Celebrate Your Lifehttp://www.easy-share.com/1914608385/The Beloved - Sweet Harmony The Very Best Of.rar