Frank Mitchell is one of the smoothest Djs out. His cut is way above a lot of other shit you hear out there… and this new mix reminds us that it’s great to have him here.

01. Styloo – Pretty Face
02. Doctors Cat – Watch Out
03. Baby’s Gang – Challenger
04. Solid Strangers – Gimme The Light
05. Denise & Baby’s Gang – Disco Maniac
06. Sharon Redd – Beat The Street
07. Paul Hardcastle – You’re The One For Me
08. Sequal – I’m Over You
09. Royal Cash – Radio Activity
10. Class Action – Weekend
11. Teddy Pendergrass – You Can’t Hide From Yourself (Dimitri From Paris Edit)
12. Fun Fun – Colour My Love
13. Deborah – Danger For Love
14. Human League – The Thing’s That Dreams Are Made Of
15. One Of Them – Jump In
16. Roy – Destiny Time

Frank Mitchell – Disco Neurotica by FrankMitchell

 

One of the things to really grab my ears recently has been the Windy City E.P. from Steve Murphy & Co. Firing out of Italy, as it seems and number of good tracks and labels are at the moment, this four track comes as the first release on Chiwax (though is via German based DBH Music from Frankfurt) on tasty looking turquoise, hand stamped vinyl. The names are an immediate nod to what you’re going to encounter, Chiwax……Windy City…….yeah, these are some honest, Chicago style, stripped back, swinging house grooves.

“Wind” opens with a vocal sample and a low down drone type sound that runs throughout, as rich and full sounding rim shots and open hats shuffle their way through a myriad of percussion mutes, and gentle organ chords, hitting so softly they could barely be called stabs. The effects on the rims accentuate their inherent wooden feel swelling the track in an deeply organic way, as vocals, drones and other percussion patterns seem to drift in and out of your consciousness.

Next track along, “What” still gives it with the shuffle, but we’re into edgier territory here as a more pronounced bass and melancholic string stabs provide a background to more frantic, clicking rims and claps, which are all broken up by an array of snares and cymbal. Once again, a vocal sample you can’t quite make out provides a hypnotic distraction as the patterns shift precisely about making your body twitch in to the beat.

When Chuck Roberts first preached to us about Jack, and how he laid down the groove, I doubt he could have imagined the impact his words would have in years to come. “Jack Is Dead” makes use of tiny samples of the speech to deadly effect in a thundering track that has all the right elements. The adjective “jack” gets a bit overused and often misused when it comes to describing music, although as this track stomps its way through an array of raw cut vocal samples and stuttered snares and claps, I’m really fighting to avoid using it. No its not a classic Chicago jack track, but I don’t think its trying to be. This has more of a developed sound to it, venturing more into the realms of Cajual and Dance Mania. In fact the whole E.P. has a more grown up feel about in terms of time period you may wish to associate it with.

“Skip to the End” offers a solid chunk of bass and simple rhythm with rolled stick work, and an overall cleaner sound to it, that carries you along to thundering tom drums, and synth brass. As the piano plays call and answer with the brass and the toms drop out, we’re once again treated to that chugging bass. It comes back sounding even better as rhythms interlace and drop to create a form of dramatic tension that leaves you wanting more until, ironically you have less as it strips its ways down to a kick drum, bass and a solitary ride cymbal to build you back up.

Maybe its that Mattia Favaretto experience of hammering rhythms and precision as a tin smith comes into play. Beating and precision are two things that normally seem to be mutually exclusive, although what this E.P. shows are basic elements working very precisely together. There is nothing too flashy and overproduced. Mattia and his musical partners Luca Segato, Marco Zanin and Mattia Boldrin (they are the & Co. element of Steve Murphy and Co.) use extremely basic kit but its not just that grit, its their attention to detail, and obvious passion for Chicago house that comes across. They focus on making things sound right and do the job they are meant to, which at the end of the day, is to make your body bump in a dark and sweaty club.

A1 – Wind. Chiwax001

A2 – What. Chiwax001

B1 – Jack Is Dead. Chiwax001

B2 – Cut To The End. Chiwax001

 

It’s been a mere 4 years since D’Marc Cantu dropped his first solo outing in the form of “No Control”, the second release on Creme Organization‘s offshoot Creme Jak, and it still remains one of the labels most experimental cuts. Cantu focused the dark and psychedelic aspects of classic Chicago Acid through his warped looking glass, stripping everything back to the bone to expose nothing but deranged, skeletal drumwork and nightmarish vocals that would leave both dancefloors and brains buckled in the aftermath. Now in 2011, after 6 solo releases and various work with X2 and 2AM/FM, Cantu is set to rain down Jakbeat dread once again with “Fallen”, a Faustian opus that conjures up scenes of diabolic dealings between Man and Demon from a time long past.

In typical Cantu style, “Fallen” floats between the minimal and the maximal, the restained and the unbounded to create a tense atmosphere that gives the impression that the dark energy contained within could break loose in a split second, with proceedings quickly going in a southerly direction. As Cantu‘s circles of mania unfold, blunt jacking rhythms club the mind and lacerating synthlines leave their indelible mark on the wayward souls who make their way down this backward path. Tracks like “Transmogrification”, “Stand Up” and  “Shoot The Fish” show the intent to induce paranioa with their demented, cyclic melodies and reverb-soaked vocals whispered in an unknown tongue, while the relentless hammering of “Oh My”, with it’s decaying bass entering like a rogue element on the brink of breaking away from the rest of the track altogether is about as stark as this album gets. Even a lighter track such as “Say It and It’s Time” still has a fordidding aspect lying underneath it’s polished, driving  arpeggiations. The only hope of salvation during “Fallen” comes right at the end with “Fractal”, a welcome relief of delicate pads and bouyant bass that suggests there could maybe be light at the end of this maleficent tunnel we’ve just spent the best part of an hour or so in.

As an album proper, “Fallen” is fully realised thematically and sonically, but while Cantu gives a hard nod to the template of the classic Chicago sound in terms of rhythmical approach, the album never falls into the habit of rehashing old ideas in the slightest. It solidly represents the new direction Cantu and his peers have moved this particular strain of underground sonics in, and not only shows that he is well capable of transcending the 12″ format and delivering a solid and unified work, but is the perfect choice to represent Creme Jak‘s first long player.

D’Marc Cantu – Transmogrification

D’Marc Cantu – Oh My

D’Marc Cantu – Fractal

 

Tribute, a sick amalgamation of Glasgow club nights, that have come together and formed the Tribute collective. Having only had one night so far in the form of DJ Stingray, they are already making a name for themselves as the new musical ‘force-to-be-reckoned-with’ in Scotland.

I’ll be debuting my Jackee live set there this Friday, and in the run up, the lads have launched their new site. www.tributeglasgow.com features mixes, news and interviews. The very first of which being an intimate sit down with Stingray himself, not only that, but written up by our very own Mother Maxwell. Check it out here.

 

Last month after his appearance at Thunder, John Heckle had his records stolen while heading home to Liverpool on the train from London. Unfortunately, the Police have been little help in apprehending the thieving bell-end who nicked this fine collection (no surprise there), and the records have still yet to surface. There will be a pretty slim chance that the person who has John’s records will know a great deal about them, so if the perpetrator decides to sell them then it’s possible he/she might try and get rid of the whole lot at once on ebay/discogs etc. If you see any of these records being offered on any sites as a collection, or even being sold separately then please contact John. Even in the small chance that someone reading this may have even been on the same train journey as John and possibly witnessed something, then please get in touch!

As anyone who owns a record collection (rare or not) will tell you, having a good wad of them lost or stolen doesn’t even bear thinking about. John’s contact, the info concering his train journey and the complete list of records are posted below. Thanks!

Contact: [email protected]

Train Journey: 27/11/11, London Euston to Liverpool Lime St (stops include Milton Keynes, Northampton, Crewe and Runcorn)

Complete list of missing records:

2 AM/FM – Pt. 1 (Spectral Sound – SPC-34)
3.2.6. – Just Like Heaven (Dance Mania – DM 037)
69 – Sound On Sound (Planet E – PE 69170)
Ace & The Sandman / Jamie Principle – House Of Trax Vol. 3 (Rush Hour Recordings,Trax Records – RH-TX 3)
Africans With Mainframes – Rock The World (Crème Organization – Crème 12-37)
Boo Williams – Home Town Chicago LP (Anotherday Records – 0001AD)
Boo Williams – Midnight Express (Relief Records – RR 721)
Capricorn (3) – I Need Love (Delirium Records – DLM M25970)
Chicago (2) / Anne Clark – Super Disco Breaks Volume 3 (Paul Raymond – PR 137)
Chicago Shags, The – Lost In A Blue Night (Crème Organization – Crème Jak X05)
Da Posse – It’s My Life (Clone Classic Cuts – C#CC18)
DAF* – Absolute Body Control (Dean Records (2) – 601 820)
Fingers Inc* / Robert Owens – I’m Strong (Clone Classic Cuts – C# CC10)
Gene Hunt – Chicago Dance Tracks Part 1 (Rush Hour Recordings – RH 115-LP1)
George & Mike – Make The Music (Trax)
Gherkin Jerks – Don’t Dis The Beat (Alleviated Records – ML-2219)
Giorgio Moroder – Electronic Dancefloor Classics 2 (GMR Entertainment – GMR002)
Hieroglyphic Being – The Acid Test Pt. 1 (Mathematics Recordings – MATHEMATICS-002)
Housefactors, The – Play It Loud (Black Market International – BLMK 3)
Housemaster Boyz And The Rude Boy Of House, The* – House Nation (Trax Records – TXR 6)
I.B.M. – My Life As A Skinny Puppy (Mathematics Recordings – Mathematics -004)
Jackmaster Hater – Your Mind (Passion) (Warehouse Box Tracks Records – WHBTR 01)
Jambo! – Drum Attack (Serious Rope Remixes) (Wonka Beats – WONKA 1012)
Jellybean – EP (Relief Records – RR732)
John Heckle – Extrovert / Introvert E.P. (Tabernacle Records (2) – TABR005)
John Heckle – Hard Sleeper / Ancient Deep (Signals – SIG.MMXI.IV)
John Heckle – The 4th Dimension EP (Mathematics Recordings – Mathematics 047)
John Heckle – The Second Son (Mathematics Recordings – Mathematics 054)
Jungle Wonz – Time Marches On (Trax Records – TX135)
Larry Heard – Dance 2000 (Distance – SUB 4845.1)
Li’l Louis* – Frequency / How I Feel (Dance Mania – DM-008)
M.D.3.* – The Pressure Cooker / Use Me Up (Underground – UN 150)
Marcus Mixx – T.A.P. (Let’s Pet Puppies – LPP 002)
Marcus Mixx – Use Your Mouth 2 Love Me (Unknown To The Unknown – UTTU 003)
Mark Broom – Angie Is A Shoplifter (Pure Plastic – PP008LP)
Mark Du Mosch – Exegesis E.P. (Tabernacle Records (2) – TABR006)
Mike Dearborn – Back To The Future (House Music Records – HMR004)
Missing Channel – Atomic Whirlpool EP (Hardwax – HW 003)
Mutant Beat Dance Feat Eric D. Clark – In A Daze (Discos Capablanca – Disco Dos)
N. Non Stop* – House Nation / Jack My Body (Kstarke Records – KR003)
Noni / D’Pac With Terrance FM* – Be My Friend / I Wouldn’t (Prescription Classic Recordings – PCR003)
Paul Johnson – 11 P.M. Music / 2 A.M. Music (Dance Mania – DM 124)
Robert Görl – Darling Don’t Leave Me (Extended Mix) (Mute – 12 MUTE 31)
Robert Hood – Minimal Nation (M-Plant, M-Plant – M.PM1LP, M.PM1) Disc 1
Saturn V / X2 – Rhythm Relics (Nation – NATION 009)
Sendex – Jams From The Past (Bunker Records – BUNKER 3094)
Steve Poindexter – 190 Octane (Djax-Up-Beats – DJAX-UP-165)
Steve Summers (3) – Lucid Fingers EP (Echovolt Records – EvR002)
Stopp / Magnifique – Automan 8 (Automan – 12 AUTO 88)
Sun God, The – Ancient Echoes EP (Klang Elektronik – KLANG 97)
Traxx (4) – To The Beat Bizarre! (Lumberjacks In Hell – LiH 003)
Two Of China – Los Niños Del Parque (Future Dance, Future Dance – WESTSIDE 22002, 22 002)
Various – Acid: Can You Jack? Vol. 1 (Soul Jazz Records – SJR LP 111 VOL1)
Various – Acid: Can You Jack? Vol. 2 (Soul Jazz Records – SJR LP 111 VOL2)
Various – Forgotten Moments EP (Not On Label – N° #3)
Various – Historical Archives Volume 5 (Members Only)
Various – Jack Trax – The Fourth Album (Jack Trax, Jack Trax – J TRAX 4, JTRAX 4)
Various – Jack Trax – The Third Album (Jack Trax, Jack Trax – J TRAX 3, JTRAX 3)
Various – Paradisco 3000 : Chicago Boogie Sampler 4/4 (Eskimo Recordings – 541416 501169)
Various – Probe Mission 2 (NovaMute – 12 NoMu 10)
Various – Soothing Melodic Masterpieces Vol 1 (Not On Label – LPW-001)
Various – The Deep House Sampler – Volume 1 (Jack Trax – DEPP 1)
Virgo Four – Resurrection (Rush Hour Recordings – RH 113 BOX)
X2 / X* – Photon / Solara (M>O>S Recordings – mos0007)
 

I’m sat here freshly invited to contribute to the site knowing the records I want to review are a postal service away, what do I do? I spend all my time making music and have just completed something I’m really pleased with yet am nervous about, but I feel should be released. I think its a good track, good enough that if I sort myself out again I feel would be worth releasing myself and this in turn may make a good thing to write about.

We buy music, we listen to music, we play music to others, we make music and as great as mp3’s are for rapid dissemination of feelings and ideas its generally records that are of interest. I’m not going to debate the pros and cons of the different mediums as its been done time and time again and is right there with the computers versus hardware, analogue versus digital debate. Different things perform in different ways and have different functions. Putting out records however, requires money and therefore a belief that the music being invested in will be received well enough that at the worst a little bit of money may have to be written off as the equivalent of a good night out. I can’t speak for everyone but for me having tracks cut to vinyl is what its about, the holy grail. Maybe its because I grew up buying records and so its partly a generational thing. When people invest in you by releasing the music on that format, they show belief in you and are willing to take quite a hefty cash wager on their beliefs and that makes me feel very honoured when people want to release my music. Not everyone shares the same vision though and sometimes its best to just show balls and do it yourself, but in today’s economic climate with current consumer trends regarding vinyl there are many things to consider. I can’t really write a definitive “how to” guide as my experience in this field is rather limited but I have researched and experienced a few things that are worth sharing, so based on that here is how I currently see the whole music to vinyl process in terms of putting your own record out. If you choose to do it, its going to cost you. A lower limit is squeezable, there is no upper limit.

Initially you have a track. You’ve spent ages on it, or maybe you haven’t but just know its right, know its raw energy is what you would buy and you want it out there. Its not about making money, its not about getting glory, its not about getting gigs, but is simply the desire to convey that feeling to others of a like mind. Where to from there? How do you get that music from your DAT, tape or computer to vinyl.

Mastering is a good first step. Supplying your music without all the multi-band computer compression plugins favoured by so many people, clean to someone who knows what they are doing is a good move. You’ve made the music and have a certain emotional attachment to it and the way it sounds, but mastering is a more objective process. Its about getting the maximum out of what you have made without overly reducing the dynamics of the music, therefore it should be provided to the engineer in its raw form. Getting it louder isn’t always the best bet, but some compression of the rogue frequency spikes will allow an increase of volume and something that will sit comfortably on vinyl. The thing to remember is, that as vinyl plays and the needle gets closer to the centre of the record, space will become important and getting it wrong will mess up the whole thing. Mastering for vinyl is a different ball game to overall mastering for CD or Digital, though in all fairness it is very debatable. How many people will notice? In the end its all about feeling. With mastering you can get a fuller sound but without it you have the raw artistic feel, a representation of what has just come straight out of the machines whether they are digital boxes (including computers) or analogue boxes. I’m not decided either way. Sometimes its a question of artistry, sometimes it can be a question of economics. If you’re reading this on This Is Our House, the chances are you’ll have some of both in your record box and maybe won’t even know it. To give you an idea of costs, mastering can be around £60 a track plus vat. Bear this in mind as a three track E.P. will therefore add £180 to your costs before anything has even made it to the cut.

The cutting stage is where audio modulation is mechanically cut to a disc. Usually this is done to an aluminium disc coated with lacquer, but there is another option and that is DMM (Direct Metal Mastering) where the audio is cut straight into a copper plate. The equipment for DMM is very specialised, and after being developed by two German companies (Telefunken-Deca (TelDec) and Georg Neumann Gmb) it was Neumann who manufactured the cutting equipment. As of 2009 there were only six or seven cutting facilities offering DMM and one was bought by the Church of Scientology. So with this in mind, in all likelihood, it will be a traditional lacquer disc you go for. If you go down the mastering route, and can’t hear the audio before it gets to the cut there will be additional costs before you get to the point where you can hear errors have been made and you’ll have to try and wrangle with professionals over the issue. If you can’t be there in person, have the masters sent to you and okay them first as it saves a lot of hassle all round. Even well known and respected professionals in the industry can get it hideously wrong, and with the costs involved they are unlikely to back down without a fight. The quality of the cut also varies from place to place and has a bearing on the overall sound, but this can only really be gauged once its completed. Now is the point where you can have etched (if there is space) any catalogue numbers, words of wisdom or dedications you have in mind. It seems to me like a waste of runout groove not to have something like this, and once the lacquer/acetate leaves the cutting room there are no more modifications. Its worth remembering additional costs such as transport, it has been known for people to leave their acetates on the train, literally money down the tube, so using a courier may be advisable if the cut doesn’t take place at the site where the next process is to be carried out.

From here the discs are galvanised. The galvanic stage is where the lacquers get turned into a metal stamp that can later be used to press the vinyl. The disc is spun and coated with a fine and even mist of silver and through a process known as electrolysis, is then plated with nickel, using electromagnetism in a similar way to how cutlery, tankards and such like are plated. Each side of your release has to undergo this process which costs on average £80 per side. Once the galvanic process is complete, the new stamp now bears a negative image of the grooves and the acetate/lacquer can be discarded (recycled – aluminium still has a value).


Now processing is complete we finally we come to the pressing stage where the metalwork is clamped to a pneumatic stamp. A blob of hot vinyl comes through a tube, then BANG down goes the stamp, out comes you first test press. Its ALWAYS worth getting test pressings done and listening to them. If something has gone wrong somewhere along the line this is the last chance to try and correct the mistake and potentially start over, before your consignment gets manufactured. The rest from here is obvious. You give the go ahead, records get made and then you (if you’re hand crafting the labels) or your distributer get a delivery of records. The actual cost of the records is very low when compared to the costs of the whole process of mastering, cutting and galvanizing, but they all go hand in hand. In fact, the quantities are interesting. There is very little difference between the price of 150 units and 200 units. 300 is a slightly larger jump and speculation of sales must come into play. Gone are the days of first timers getting 5000 or even 1000 units pressed and being able to make all their money back. It just doesn’t happen now, which is why so much is sold as limited. Its not really about exclusivity as it is simple economics. Once the records are pressed the plant (the one I use at least) archives the metalwork so repress can be called upon at a later point. If you want, for an extra charge these can be sent to you and you can look after them. Any vinyl pressed from this time costs less to manufacture as the costly processing has already taken place and you’ll only need to pay set up charges and material costs plus postage.

The economics of the game are quite variable as are time scales, as far as I’ve been able to tell. For example, there is only one, maybe two companies in the UK that can carry out the entire process on site. All others perform some of the processes then send off to Europe for the final manufacturing stages, where it has been known for some of the larger plants to buy presses that come up for sale, simply to keep them out of the market place and limit competition. This additional transport means you need to factor in potential additional costs to your release, and probably additional time. My last experience of pressing had a total turnaround time of 10 days, and when I called to thank the guy in charge, he told me that some places can easily take up to 8 weeks. And bear in mind, this is if it all goes right and is time that money is potentially out of your pocket without any finished product to sell on.
I currently favour pressing single sided vinyl as it reduces the costs of two of the stages (cut and galvanisation) by 50%. Costs and therefore risks are kept to a minimum and the result is that the finished product can go out cheaper and less units need selling to cover costs. The difficulty here is that single sided vinyl isn’t always a favorite so shops aren’t always keen to take it and sometimes people simply aren’t interested in a cheap record. Perversely the uniqueness can add a value which then inflates the price due to perceived collectibility resulting in raised prices to the end customer, therefore putting the record buying public off and further reinforcing the opinion that people don’t like single sided vinyl. There are further ways to beat cost down, and maintain a unique product. I spent money getting a stamp made, and then press it into molten wax instead of paying money out for multicoloured, printed labels. I have a friend who makes silk screens and prints his own labels once the vinyl comes from the manufacturer. Even stencils and spray paint can be effectively employed, just look at the Ugly Edits series. Things like this add a personal touch which I think is desirable on a number of levels. As well as adding to artistry it adds to the personal sense of fun and achievement in completion of your vision.

Getting that product to the people who want it……well, thats a different kettle of fish.

How a record is pressed

 

Long before the inception of This Is Our House, Meschi ran a night with Rick Hopkins, Jonny5 and Auton Love called Dream Machine. They had guests like Neville Watson and Albion. It was hot. They also had a blog with loads of mixes from Meschi and Jonny5. That was hot too. One day Meschi asked me to contribute something for Dream Machine, and after an extremely long wait, this is what he recieved:

Download

01. The Rocket (Intro)
02. Steve Moore – Introduction
03. Coil – Red Birds Will Fly Out Of The East and Destroy Paris in a Night
04. Belbury Poly – The Hidden Door
05. Cluster – Plas
06. David Lynch – The Air Is On Fire
07. Reinhard Lakomy & Rainer Oleak – Raumzeit
08. Michael Bundt – The Brain Of Oskar Panizza
09. Zombi – DMC-12
10. Delia Gonzalez & Gavin Russom – 13 Moons
11. Coil – Tiny Golden Books

 

I’ve always been massively into horror films and for me, what makes a great horror film, is a great soundtrack. From Goblin to Badalamenti, Morricone to Carpenter, composers who know how to bring out suspense, depression, anxiety and murderous intent have always and will always remain firm favourites of mine. I did this mix more than three years ago now, and I still come back to it time and time again… especially good for these cold, dark winter nights.

Download

01. Fabio Frizzi – Apoteosi Del Mistero – City of the Living Dead
02. Angelo Badalamenti – Night Life in Twin Peaks (Instrumental) – Twin Peaks
03. Goblin – Phenomena (Film Version 1) – Phenomena
04. Francesco De Masi – Fay – Lo Squartatore Di New York
05. Giovanni Cristani – The Nun Crypt – Demonia
06. Ennio Morricone – Canto For Alexis – The Stendhal Syndrome
07. Trevor Jones – Dark City – Dark City
08. Fred Myrow and Malcolm Seagrave – Hearse Inferno – Phantasm
09. Fred Myrow and Malcolm Seagrave – Spacegate to Infinity, Jody at Morningside, on the Move – Phantasm
10. Krzysztof Komeda – Moment Musical – Rosemary’s Baby
11. Riz Ortolani – Massacre of the Troupes – Cannibal Holocaust
12. Les Baxter – Cult Party – The Dunwich Horror
13. Danny Elfam – Masbath’s Terrible Death – Sleepy Hollow
14. Claudio Simonetti – Opening the Urn – La Terza Madra
15. Claudio Simonetti – Memories of Sarah – La Terza Madra
16. Fabio Frizzi – Verso L’alba – City of the Living Dead
17. Goblin – Sleepwalking (Alternative Version) – Phenomena
18. Jerry Goldsmith – The Forbidden Zone – Planet of the Apes
19. Riz Ortolani – Savage Rite – Cannibal Holocaust
20. Alessandro Blonksteiner – Blonk Suspense – Quella Villa Accanto Al Cimitero
21. Walter Rizzati – Voci Dal Terrore – Quella Villa Accanto Al Cimitero
22. National Philharmonic Orchestra – Iraq – The Exorcist
23. Franco Piana – Magician – Door to Silence
23. Krzysztof Komeda – Main Title – Rosemary’s Baby
 

Ron Morelli has a box crammed with so many blazing discs, it’s hot to touch. And he’s coming to a town near you with it….

L.I.E.S European Tour:

Dec. 2nd-Rotterdam @wORM w/Trackman LaFonte & Xosar

Dec. 3rd-Glasgow @LaCheetah w/Perseus Traxx

Dec. 8th-Bucharest,Romania @some club w/ Bogdan

Dec. 9th-London @the Drop w/Roots Unit & DMX Krew

Dec. 10th-Manchester @soup Kitchen w/Paul Bennett & Juniper

Dec. 16th-Berlin @ SOJU Bar w/DJ Sottofett and Hugo Capablanca

Dec. 17th-Ulm,Germany @some club w/Bleep Geeks

Check out L.I.E.S on Soundcloud here to see what you have, or haven’t been missing.

 

The Guild of Calamitous Intent was concieved after Aleks Jurczyk and Richard Thomason decided to work together once again in bringing the finest underground music the world has to offer to the city of Glasgow. This Saturday under the hood of night, in the dead of Winter, we will witness the first meeting of The Guild, and joining them for this inaugural rite will be two very special, and carefully selected guests.

Ron Morelli will be no stranger to dedicated followers of high-caliber underground House & Techno, as his own imprint L.I.E.S (Long Island Electrical Systems) has been hitting us with some of the most solid releases the past year has had to offer, bringing us killer sides from Zombi’s Steve Moore, Legowelt, Willie Burns and Steve Summers to name but a few. Ron also uses the L.I.E.S name as one of his production and D.J psuedonym’s, releasing notable tracks for Echovolt and Future Times this year. To get a flavour of what Ron has to offer in the D.J stakes, check out these two sick mixes for Tim Sweeney’s ultimate Beats In Space radio show and Australian underground transmitters Noise In My Head:

Ron Morelli – Beats In Space Mix
Ron Morelli – Noise In My Head Mix

I won’t bother retreading old ground when it comes to information on Nigel Rogers aka Perseus Traxx, York’s Grand Magus of analogue twiddling and the newest member of this very website. What I will say though is that  Nigel’s recent cuts for Boe and Bunker have been melting faces nation to nation. And that ain’t no biased opinion. Nigel will bringing a formidable armoury of machines to The Guild for what should be a most memorable performance. So if you like your live sets actually live, and with the added bonus of being brought to you in full 9.8 stereo-dynamic Traxxsound, then this has to be the surefire moneyshot you’ve been eagerly waiting for. Nigel has given us an exclusive unreleased track for you download in honour of his first appearance in Glasgow. “Electryon” sees Perseus Traxx in full cosmic House mode, so don’t be sleepin and make sure to get on this quick before it melts into the Universe, never to be heard by human ears again.

Perseus Traxx – Electryon

Last, but by no means least, Richard Thomason of The Guild has given us this stellar mix of cold crushin’ classics backed with future freshness that gives us more than a taste of the lads will be serving this Friday coming. Here’s what The Guild’s other half, Aleks has to say about Richard’s solid style of selecting:

“Richard Thomason has been collecting records since 1991 and has always bought the good, deep shit. Without doubt the first guy to play acid-house on Fetlar (it’s one of the Shetland isles, look it up), he’s been hitting parties and clubs in Glasgow since he moved down over 10 years ago. He’s one of my favourite DJs and his knowledge of music is crazy, which is why I asked him to help me start run parties again. This mix was recorded, as always, in one shot, on a pair of Technics, with no digital shit and no edits or effects. Just the way we like it.”

And it’s just the way we like it too.

Richard Thomason – Somethings

01. Blackjoy – Untitled (Project Recordings)
02. Vince Halliburton – Something I Feel (Rush Hour Recordings)
03. Dj Sprinkles – Grand Central, Pt. I (Deep Into The Bowel Of House) (MCDE Raw Mix) (Mule Musiq)
04. FCL – Let’s Go (We Play House Recordings)
05. Paul Johnson – My Free Feelings (Peacefrog Records)
06. Dajae – Day By Day (Green Velvet Remix) (Cajual Records)
07. DJ Qu – Party People Clap (Levon Vincent Remix) (Deconstruct Music)
08. Basic Soul Unit – Jak´d Freq (A Made Up Sound – Puur Natuur Mix) (Crème Organization)
09. Cajmere – Nasty (Live)
10. Omar S – Here’s Your Trance, Now Dance!! (FXHE Records)
11. E-Dancer – World Of Deep (KMS)
12. Agent X – Driftin’ (Planet E)
13. H&M – Perception (Axis)
14. Davina – Don’t You Want It? (Extended Mix) (Soul City)
15. Parris Mitchell – Follow Me Ghetto (Acid) (Deep Moves)
Make sure to check out more of Richard’s fine mixes here