Redial

Everyone knows that Daft Punk have an untouchable quality. It is a widely established fact that their productions are perhaps the hardest in the industry to rework or remix. This isn't because they use odd time signatures or sample to the extent that the original is barely recognisable. Oh no, instead, what it boils down to is that their productions are of such a high quality that it is borderline impossible to expand upon them or do them justice through a reinterpretation. Any time I see any form of Daft Punk remix, whether it is by an unknown or critically acclaimed producer, I go out of my way to get my hands on it and nearly every time I come away disappointed. In some respects, this makes me appreciate their talent even more because it really demonstrates that they're in a league of their own. While some could argue that Soulwax's remix of Robot Rock was an improvement on the original, I only partially agree. Soulwax did so little with the track, adding extra beats here and there that it almost entirely retained the originals feel, which is actually a testament to them because it remained one of the best and only worthwhile Daft Punk remixes out there, that is, until a certain Sydney-born producer exploded onto the scene.

When I was first introduced to Daft Punk - One More Time (Redial Goes To Hell Remix), I honestly didn't know what to think. I was both shocked and excited synchronously. It managed to encapsulate the original whilst bringing it to a level not before seen in dance music. The first question I asked was who the hell is this guy? The answer: A currently virtual unknown getting his name out there by not only doing justice to a Daft Punk track, but in many ways bettering it. A few years ago I would have considered such a prospect inconceivable but here was a guy who hit home with such deliverance that it was difficult not to like his style. From that point onwards, Redial featured in some shape or form in almost every mix we made, such was the impact of his productions.

Apparently we weren't the only one's who took a shine to him. Not only did he manage to play alongside the likes of Danger and D.I.M. within a short period of time, but he was also picked up by the record label Sweat It Out (home to the likes of Edu K, Yolanda Be Cool, DJ Funk, Gameboy/Gamegirl, Act Yo Age, G.L.O.V.E.S, Zombie Disco Squad etc) and has just completed a European tour and signed US touring exclusivity to promotion agency Noise Problem. There is little doubt that he is making serious progress in all the right places, releasing a healthy array of original productions and remixes on a regular basis. Don't get me wrong, he is not pulling a Crookers and releasing half-assed remixes every other week. Rather, he has been keeping it fresh yet consistent, the way it should be done. It is difficult to accurately describe his music. Like most electro artists, he has a flavour that is inextricably his own. If you know what to look for, a lot of the time you can spot his productions without any form of prompting. While his tracks are usually layered around a main synth-laden hook, it isn't always the archetypal electro synth that you would expect. Alternatively, he pays homage to music from the 1980s in a similar way that Kavinsky does. Though this homage is evident in many of his productions, he manages to remain both contemporary and relevant through his hardhitting buildups and conclusive breakdowns and that's what sets him apart.

I honestly don't think I could pick a favourite or standout track by him, as I adore the vast majority of his discocraphy, so I'll let you pick your own favourite.

Daft Punk - One More Time (Redial Goes To Hell Remix)
Blaze Tripp & Redial - Stop The Noise
Clint Mansell - Requiem For A Dream (Redial Remix)
La Roux - Bulletproof (Redial Remix)
The Proxy - Who Are You (Redial Remix)
Tears For Fears - Shout (Redial Remix)
Redial - Starscream
Redial - The Riff
Redial - 45 Overdrive (EP Version)
Redial - 1985 (Feat. Smacktown)
Redial - Valkyrie
Redial - She's The Addiction
Redial - Terror

Metal Monday # 2

Savatage - Sirens 
Classic metal here for the dedicated metal fan. This track comes from Savatage's debut album "Sirens" and is without a doubt one of my top listened to Savatage songs. Sirens is a perfect example of what Criss Oliva was capable of, as like the majority of Savatage's back catalogue, he played all guitars on the track, and did so with the grace that only Criss could, on top of this, Jon Oliva also shows us some early examples of his trademark shrieks within the track. Savatage are a rare example of a band that sounded better live than on the album, this can be heard within their live recordings, or by purchasing a ticket to a Jon Oliva's Pain gig and hoping they play a few Savatage tunes.

Droid - Together We Die
Coming from DROID's first album "DROID", Together We Die is a prime example of how metal is still progressing for the better. This groove metal/metalcore band sound very reminiscent of much of Devildriver's work with elements of Lamb of God, but their own unique touch. Unusual for a metal band within this genre is how the song's are structured, as unlike many bands, the vocals within their songs are coherent and not lost under bass like growling or distorted guitars. Something I noticed on the songs is the absence of guitar solos, which I personally think is a good thing, they get to the point and don't mess about with finger tapping nonsense, which most bands end up doing. Together We Die has some of the best drum work I've heard in recent years, and is a stand out track on Droids debut album, also look out for Fueled By Hate, which also left me wishing I was drummer.

Scar Symmetry - Slaves to the Subliminal
I just haven't been able to stop listening to this track over the past two months, it came on random on my mp3 player when I was doing a late night shop in Tesco's and I ended up walking around the store nodding my head with a ridiculous grin on my face, needless to say I looked like an idiot, but it was completely worth it. This soul crunching track from Symmetry's memorable second album, will hopefully have you wanting to take up MMA as a full time career. I was first introduced to Scar Symmetry in 2006, not long after their second album came out, the track I heard first was the mesmerizing "The Illusionist" and the rest of the album quickly followed. Slaves to the Subliminal is unnatural proof of how someone can go between deep growling vocals to pitch perfect harmonics within a fraction of a second, which was an rare ability Christian Älvestam, their now ex-vocalist, held.

Children of Bodom - Needled 24/7
Needled 24/7 is the track that first got me interested in Bodom, it stood out on Hate Crew Deathroll as it got straight to work on driving heavy riffs into your ears (it's the first track on the album) with a nice combination of a guitar riff that sets the pace for the song, keyboard mastery that wouldn't sound too put of place in a video game, and then drums that are beyond ludicrous this is where the vocals hit and give us an impression of what the rest of album will sound like. Although I haven't dedicated much of my time to Bodom over the last 2 odd years, 24/7 is a track and Hate Crew Deathroll is an album that will occasionally still flick on out of interest and nostalgia. Be sure to listen to the guitar solo near the end of the track which sounds like it should be in a JRPG.

Jameson - Beat It.
The last track is a bit of fun, a tribute to The King, but also a stand out metal cover. It is obviously a cover of Michael Jackson's perfect track "Beat It". Jameson are band I've only recently come in contact with through their debut album Down For The Count, which includes a few memorable tracks such as "Get to the Choppa" and "Morphium". The beat it cover is an interesting track of what cover songs can do, and is a hint to an upcoming post. Nothing much really needs to be said about this track as you can just listen to the track and form your own opinion.

Easy Like Sunday Morning #1

As JUNKER has discussed in his previous posts, we plan to have many themed days on the blog. This Sunday post will probably end up being a regular thing. It will be composed of tracks that should and can be listened to on a Sunday morning. These will be tracks that are generally a lot more laid back than the usual tracks, or what we perceive laid back to be laid back; that could be anything from Hip-hop to Post Rock. I am also aware that it is no longer Sunday morning. 

David Bowie - Wild is the Wind 

This is without a doubt one of my favorite bowie tracks, off one of my favorite albums by the man. The song is a cover of the Nina Simone song of the same name, which itself is a cover of a song from the late 50's. This contorted soul ballad comes to us from Bowie's estranged "Thin White Duke" period, that presents us with a more vulnerable bowie, which most listeners aren’t used to hearing. Don't think any less of yourself for getting emotional during this track, it's extremely moving and one to listen to one a Sunday morning. Bowie is an artist who time and time again will release albums which are almost instantly deemed classics, so it's surprising that he has not released an album since 2003's Reality, which is disappointing as I personally would kill a man to see Bowie live. 

Daft Punk - Something About Us 

Taken from the unforgettable "Discovery" and naturally "Interstella 5555: The 5tory of the 5ecret 5tar 5ystem", this track is about as laid back as you can get. It's bass seems to hit all the right areas in your ears, coupled with the excellent use of the wah-wah effect, the song comes together perfectly for the mood the duo are trying to achieve. The vocals on this track (performed by punk) remind me of winter nights for some odd reason, but I suppose the things this song will remind us individually of are all subjective. Look out for Daft Punks upcoming 2010/2011 tour, we'll be sure to tell you as soon as we have news of it, also look out for Tron Legacy, which the duo are scoring. 

Jurassic 5 - Gotta Understand. 

In 1995, at the Red October Chemical Storage Facility, a collaboration was recorded between the Rebels of Rhythm and the Unity Committee. This collaboration started in 1993 at a cafe in LA known as "The Good Life". 11 years, 3 albums and 2 collections later and their final album "Feedback" is released in summer of 2006. Personally I feel that Feedback was a return to form after what I think was a disappointment with "Power In Numbers". The track "Gotta Understand" was a testament to what the contemporary Jurassic 5 were capable of. The track contains elements of Curtis Mayfield's "Mr. Welfare Man" (vocals from Gladys Knight & the Pips) and has a lot of Jurassic 5's legendary harmonizing and timing contained within, definitely a nice upbeat song for Sunday mornings.

RJD2 - Ghostwriter 

This standout track comes from RJD2's debut album,"Deadringer". This track is probably in my top 5 RJD2 songs. The many samples used within this song have been constructed together in a unique harmonious way that rjd2 has become famous for, such as the looping guitar sample which compliments some of the catchiest brass melody's I've ever heard, second only to Bond's, whistle it once and you'll have it stuck in your head all week.

RJD2 Upcoming Dates:
14th October 2009 @ Vessel  in  San Fransisco, US
30th October 2009 @ The Warehouse  in  Bozeman, MT, US
31st October 2009 @ Filmore Auditorium  in  Denver, US

65daysofstatic - Radio Protector 

People believe that they derived their name from psychological experiments from the 60's, an unmade Carpenter movie starring Kurt, proposed techniques by the C.I.A to overthrow a country in the 50's and even Hitler's last words. I decided to end with this song, mainly because it's not as laid back as the rest of the songs and because it's one of my favorite songs in the post-rock genre. The video delivers an interesting message about global warming by using stats, facts and figures of the bands travels and how much carbon emissions were made during their Radio Protector tour in 2006. The song starts and ends with a piano keying a melody that will no doubt call back nostalgia of bittersweet moments that you have experienced in your life, and is riffled with emotion the whole way through. 65dos haven't played Belfast in a while now but when they do we'll no doubt be at the front giving it reps, as they always give an energy driven show, unlike many bands I have seen. 

65daysofstatic Upcoming Dates: 
17th November 2009 @ 20:00 @ Academy 2 in Manchester, UK 
18th November 2009 @ 20:00 @ Heaven in London, UK

Mauro Picotto

I know what you're thinking, isn't that the guy who is responsible for such cheesy trance anthems as Komodo and Lizard? You'd be right, as he is indeed responsible for those tracks. Why dedicate a post to him then? Well, it is a little known fact that since the late 1990s Picotto has actually abandoned the trance genre altogether and these days he blasts out hardhitting techno.

Gone are the days of collaborative efforts with the likes of Tiesto and Mario Pui. Instead, he now concentrates on producing under his record label, Bakerloo, and running his own techno club night, entitled Meganite, in the world's largest nightclub, Privilege Ibiza, which has been running since 2005.

Although I am a fan of his newer material, the real reason for making this post is because he is playing at Belfast's premier monthly club night Shine tonight. Having consistently been one of the best clubs in the UK for over a decade, it was understandable that a lot of its regulars were a little daunted and perturbed by the fact that a DJ with a history of making trance anthems was playing. In this sense, it is likely that a lot of people are going to turn up expecting one thing and being hit with something completely surprising. Though I personally won't be in attendance, I think those who are going tonight are going to come out thinking very differently of him.

Enjoy the tracks:

Mauro Picotto - Baguette
Mauro Picotto - Iguana (Yoji Biomehanika's Hellohouse Remix)
Marco Zaffarano - Playback (Picotto Mix)
Mauro Picotto - Living For The Time (Technasia Hard Mix)

The Essential Selection #1

Like Metal Monday and whatever other incarnations we intend to make regular things, The Essential Selection is going to be a recurring, fundamental part of this blog. Unlike the weekly posts, however, this will be a monthly thing. The goal is to provide ten tracks that we consider essential in every sense of the word. These can be old or new, underground or classic, underappreciated or overplayed. You are likely to see a lot of tracks that have become staple to the dance community over the past couple of years; songs that could be considered anthems within the mainstream or in other more lesser known circles. These are tracks you MUST hear if you haven't already. Expect this on the last Friday of every month and as always, enjoy the tracks.

Don Rimini - Hools
En Masse - Lime
Busy P.E - Get Yo! Rainbow Man (Streetlife DJs Cut 'n Run Mix)
Timbaland - Miscommunication (The Bloody Beetroots Remix)
Goose - British Mode (Jester Remix)
Yelle - A Cause Des Garcons (TEPR Remix)
Midfield General - Disco Sirens (D.I.M Remix)
Kid Sister - Control (JFK Remix)
The Prodigy - Out Of Space
Vitalic - La Rock 01

Duck Sauce

If you visit music blogs or go clubbing on a regular basis, its likely you've encountered Duck Sauce, the new musical collaboration between Armand Van Helden and A-Trak. Despite being a relatively recent project and only having a few tracks under their cumulative belt, they have been making waves all over the world for the past couple of months with their tracks aNYway and You're Nasty.

Compounding elements of disco house with more recent production techniques, they have created a sound that somehow manages to be both unique yet conventional. Whilst both producers' signature sounds shine through on the tracks, there is a level of freshness that has been missing from a lot of house music for the past couple of years. This is primarily due to their self-described intention of bringing soul back into dance music while simultaneously retaining that high-octane dancefloor feel.

Even though such a pairing may seem unlikely given each producers background (A-Trak won the DMC Championships in 1997 at the tender age of just 15, whilst Armand Van Helden has been mixing it up for years under a variety of genres), for some reason the pairing seems to just click. Out of the two tracks, You're Nasty is my personal favourite due to its emphasis on contemporary house, but aNYway is definitely a feel-good, soulful little gem in the rough as well.

Enjoy the tracks.

Duck Sauce - aNYway
Duck Sauce - You're Nasty

Metal Monday #1

This is something we have had planned for quite some time. It is no secret that the writers for AHC are huge metal fans. It is, without a doubt, one of the biggest influences on our lives. We grew up listening to it and it has helped shape who we are today. Unlike a lot of other early teenage metal fans, however, we never grew out of it. In fact, our adoration has almost increased over the years and at least one of us can be frequently found at the latest concerts featuring heavy acts.

The idea behind Metal Monday is basically every Monday a different blog staffer will take the reigns and post up any metal tracks they've been enjoying that they wish to share with the world. There are no genre or subgenre limitations. As long as it can be classified as metal, it is eligible for posting. There are also no specifics, which essentially means that anything goes. The reason behind this is to keep it fresh. For instance, one week you could be listening to the high-pitched wails of Timo Tolkki from Stratovarius, the next you could be hearing the dissonant, abundant distortion of Gorgoroth, .

Once we get our shit together, we are hoping to make a variety of different daily posts based on conceptions similar to this. Techno Tuesday or Funky Friday, for example. Unfortunately due to other commitments and blog-related issues we have been unable to pursue this task but we fully intend on persevering and accomplishing it sometime within the near future. It could be a week, a month or even a year from now.

Onto my post. For this post I have decided to mix the old with the new, blending a variety of styles and genres for contrasting effect. The majority of the stuff is extremely heavy and will possibly put a few people off. The likes of Slipknot, Metallica, Oceano, Sikth and Overkill all make appearances.

The first track is Slipknot's People = Shit, a track that until recently I had all but forgotten about. I was first introduced to this song through a Kerrang compilation CD around 2000-2001. Up until this point, Slipknot had been kicking the world into a frenzy with their debut self-titled LP and the wait for their next album, entitled Iowa, was exponential. The aforementioned compilation CD was no doubt a promotional mixtape designed to wet fan's collective appetites; a goal it easily achieved. Just like Iowa itself, People = Shit was the opening track (515 doesn't count as a proper track) and what an opening track it was. To those naysayers who claimed the band had lost some of their driving force in the time between the albums, this was a track for them: an absolutely brutal Molotov cocktail of chord progression, turntable scratching and signature drum patterns complimented by a performance by Corey Taylor that is arguably one of his finest moments.

Slipknot - People = Shit

Secondly, we have Metallica's For Whom The Bell Tolls. I will be the first to admit that, like the rest of the world, I abandoned Metallica after listening to St. Anger in its entirety. Here was a band that had a loyal legion of fans who stuck with them through thick and thin, awaiting an album worthy of the likes of Kill 'Em All, Ride The Lightning, Master Of Puppets, ... And Justice For All or even The Black Album. Around early 2003, the first details emerged of such an album. With the departure of their bassist Jason Newsted and the consequent inclusion of ex-Suicidal Tendencies, Infectious Grooves, Black Label Society and Ozzy Osbourne guitarist Robert Trujillo, the band set about in creating what they perceived to be their rawest and heaviest record to date. Unfortunately for the fans, this couldn't have been further from the truth. Although the album did indeed have a raw quality to it (mostly due to a lack of production overdubs), the exclusion of guitar solos in favour of bass solos didn't make it heavier, but instead made it sound bland and unimpressive. Although technically it was heavier due to its emphasis on bass, it lacked the amplified distortion which typically characterises the Metallic sound. On top of this, the songwriting on the album was nothing to write home about. It lacked that Metallica seal of quality where the lyrics meant something and the music conveyed a wave of emotion that most Metal bands could only dream of achieving. Although their newest album, Death Magnetic, is a return to form, something was lost on June 5th 2003 that can never be replaced. This is why For Whom The Bell Tolls has made it onto this list, it remains a timeless classic and is probably the song which best summarises Metallica at their finest.

Metallica - For Whom The Bell Tolls

The third track on the list is by a band called Oceano. Admittedly, I know very little about this band, having only been introduced to them very recently when one of their videos came on a late night music channel. The reason they caught my attention was not only because their lead singer was black, but because he could really bellow. It is rare that you see a ripped black singer who looks like he could easily slay an entire room spitting rhymes that can deliver skullcrushing screams that would put even the most hardened Metal fan to shame. Fuck Killswitch Engage, we have a new contender to the throne. More power to him and of course the rest of the band.

Their debut album, Depths, is out now. Buy it. You won't regret it.

Oceano - District Of Misery

Next up is Skies of Millenium Night by the now defunct Sikth, a band who I have absolutely no qualms saying quit before their time was up. Here was a band who were undoubtedly at the top of their game, creating a ferocious amalgamation of technical metal and mathcore as well as having two seperate vocalists harmonise in a way which no doubt makes Mushroom Head wonder where it all went wrong. Like Slipknot's People = Shit, I was first introduced to this band via a compilation CD. Unlike my introduction through Kerrang, however, I recieved this CD in a rock/metal club. To this day I have no idea how or why they acquired these CDs, but after listening to it only two acts stood out. The Swedish Metal band Passenger (who I may talk about in the future) and Sikth. The song, of course, was Skies Of Millenium Night, a track which remains my favourite by them. Upon first listen, I wasn't really sure what to think. At this stage of my life, I was majorly into Progressive Metal, to the point where I had less and less time for heavier artists. I guess you could call it Metal elitism and in a sense that's what it was, however, regardless of all this bullshit, here was a song really stuck with me. I just loved it for what it was and later went out and purchased the album, much to the dismay of many of my friends after I give them a little sneak demonstration. Its difficult to pinpoint, but you could say that this was the first, if not one of the first tracks to get me back into a lot of the heavier stuff. Whether that ultimately proved to be a good or a bad thing is up to yourselves.

Sikth - Skies Of Millenium Night

The last track to be submitted is It Lives by the band Overkill. Despite being in many respects an underground force within the metal community, this thrash metal band have been going since 1984. Although personally I'm not the biggest fan of their earlier stuff, it really puts it into perspective. After all, they are still playing live and releasing albums today. That's commitment. Though the first track I heard by them was Elimination, a song which to this day I still love, it was only when I picked up the albums From The Underground And Below and Necroshine that it all clicked for me. It Lives is the first track from the former album and I submitted it because it really has that opener feel. From the first sample of "looks like you've been up to the devil's business" you know you're in for a treat. It is just metal at its purest. There are no elaborations or compressions here, it is what it is and that's what I love the most about it.

Overkill - It Lives

Enjoy the tracks. Over and out.

The Parachute Ending

If you have been keeping your ear to the ground in recent times, you may have heard of a DJ collective from France going by the name of Birdy Nam Nam. Though they have been dominating the French underground turntablism scene since the 90s, their first taste of 'mainstream' exposure came through their participation in the DMC Technics 2002 World TEAM Championships, which they subsequently won.

Despite winning such a prestigious competition, however, rather than concentrate their efforts on cementing their legacy on this circuit, they instead chose to make their mark on the world doing what they do best: sampling and assembling. Whilst such techniques may not necessarily be new within the production community, it is how they structure and develop their sound that sets them apart. After all, one of their main objectives is to operate turntables as if they were real musical instruments in the contemporary sense of the word.

Whilst their earlier sound is a mish-mash of downtempo, jazzy breaks with a dose of synth-hop thrown in for good measure, in more recent times they have adopted a more electro-orientated approach, which is exemplified by their latest album, Manual For Successful Rioting, almost entirely being produced by Yuksek, with the exception of the track The Parachute Ending which has been produced by Justice.

The latter aforementioned collaboration is a main point of note, because while it has undoubtedly boosted their reputation amongst audiences, such an unlikely partnership could be seen as being a double-edged sword for the DJ maestros. This is primarily because it is no secret that many Justice remixes have a tendency to borrow a little too heavily from their own back catalogue. Thankfully, The Parachute Ending doesn't suffer the same fate. Even though there are certain similarities on the synth front, the song is one of the freshest outside productions they have done in years, kicking it into overdrive yet retaining a familiar almost nostalgic feel. To add to this, there have been several remixes from both underground and more widely established producers such as
NEUS, Jaffinson, Mathematikal, Vitalic, Dilemn and The Noizy Kids. While Dilemn's remix is no doubt going to become a dancefloor favourite, special mention should go out to The Noizy Kids who really take this track to the next level. Unfortunately, it is unlikely that many DJs will drop this bomb due to the sheer relentlessness of it, but if you hear it out, count yourself extremely lucky.

Enjoy the tracks.

Birdy Nam Nam - The Parachute Ending (Produced By Justice)
Birdy Nam Nam - The Parachute Ending (NEUS Part-2 Remix)
Birdy Nam Nam - The Parachute Ending (Jaffinson Remix)
Birdy Nam Nam - The Parachute Ending (Mathematikal Remix)
Birdy Nam Nam - The Parachute Ending (Vitalic Remix)
Birdy Nam Nam - The Parachute Ending (Dilemn Remix)
Birdy Nam Nam - The Parachute Ending (The Noizy Kids Remix)

Back to School

Back when we were kids, this was effectively the worst time of the year. New shoes were a commodity, and a school bag was usually re-used from the year before. The signs that said "back to school" usually started to appear before summer even began and kids pretended not to see them, even while they were getting their new gear. When the kids got into school they caught up with their peers and then sat down for the inevitably grim first lesson. This "lesson" is dedicated to the many ruined summers caused by "Back to School" signs and the thought of having to go back to school.

Tracklisting:
B*B Intro 2 Dusty Kid - The Underground persistance
Boys Noize - Lava Lava (Feadz Aval Aval Mix)
Felix Cartal - Montreal (demo version)
Rollin' & Scratchin' - Daft Punk
DJ Mehdi - Signatune Edit v2 - More Kick
WildChild - Renegade Master (TC's Magnum Pi fix)
Dirty Squirrel - Bisquits
Daft Punk - Pheonix
Zombie Nation - Worth It Part 1
Moby - I Love to Move in Here (proxy remix) (TC's Shark Attack fix)
Mr. Oizo - Positif (Sawgood Remix) (TC's Warped Mix)
ABC - Smokey Sings
Tiga - You Gonna Want Me
Tiga - You Gonna Want Me (Tocadisco Remix)
Radioclit - Secousse (Crookers Spino Mix)
Britney Spears - Outrageous (Felix Cartal Remix)
Thunder Child - Im Gonna Give you More Cheese (Deadmau5 vs Bloody Beetroots)
Vandal & Blende - Healthy Boy (Re Edit)
Michael Jackson - Smooth Criminal (Telemitry Remix)
Burns - Alternate
Run DMC vs. Bodyrox - It's Like My Bodyrox (Dani L Mashup)
T.E.D.D. - Lady Riding
Cassius - Feeling for You (Steve Ryback Remix)
Krazy Baldhead - Crazy Moth3f2ck8z (Midfield General Rmx) (Feat Tes)
Redial - Terror
Jay Robinson - Acid Line (Tom Deluxx Remix)
Justice - Culture Prophet Guide to Planisphere
D.I.M & TAI - Lyposuct
Boys Noize - Jeffer
Green Velvet - Flash
The Bloody Beetroots - Warp 7.7 (TC's Mad as Hell edit)

 >>>>>>>>>Thunder Child (B*B) - Part 1 - Never Lost It - 1hr 46 mins<<<<<<<<<<

--------------------------
Tracks from above.
--------------------------
Going to talk about a few stand out tracks in the mix, most of these are old news but I still want to give my 2 cents. These aren't necessarily thee standout tracks, as the aforementioned "thee" have been talked about by every blog under the sun.

Dirty Squirrel - Biscuits:
A nice downbeat techno track, that reminds me of some of the stuff that's on A Raver's Diary. I'm not entirely sure who "Dirty Squirrel" is/are, but some quick research leads me to believe its a guy from London and that the name he/she/they actually perform under is "The Dirty Squirrels". I'm surprised this artist doesn't have more exposure as the tracks I have heard are all top quality and they are tracks I'd love to hear on a night out. This is an artist I'm going to keep my eye on.

Britney Spears - Outrageous (Felix Cartal):
This track is dedicated to all those pretentious fucks who say they'll never put Britney Spears in a mix. Cartal, once again, dominates the original track to come out with something that's completely original in its own right. Expect Distortion.

Michael Jackson - Smooth Criminal (Telemitry Remix):
This is an inspiring rework of the original. Its very upbeat and the flow is perfect. Telemitry has taken some artistic freedom with his use of synth in this rework, and it has worked to his advantage. He has also used some trademark vocal samples of Jackson, and slotted them into the right places.

T.E.D.D. - Lady Riding:
Here we have an interesting remix of the instantly recognizable classic Modjo - Lady (Hear Me Tonight). T.E.D.D. are a duo from the UK who have been making runs on the blog circuit for the past year or two. They first came to my attention with their track "Cocaine Dancefloor", a track that im very surprised wasn't been played more in the club's, but then again, the clubs i go to, are pretty much all 2 years behind when it comes to music :(. Lady Riding is a track which has some nice bass synths to it and great use of the orginal Modjo vocals.

Justice - Culture Prophet Guide to Planisphere:
This is an excellent edit of an already great quadrology of songs. Culture Prophet have combined all 4 parts of the Planisphere quadrology from Justice. They have reworked it just enough that I could listen to the track and not get bored, adding in their own glitchy sounds and distortions along the way and nice new touches a long the way, at once point, i'm almost certain that there is a sample from Genesis in there as well.

Thunder Child - Im Going to Give You More Cheese:
A mash-up of The All-American Rejects - Gives You Hell (Bloody Beetroots Remix) & Deadmau5 - The Reward is More Cheese. I'm not going to review one of my own mashups, I will cover my bases by saying what all dj's say, it's a bit rough round the edges.

I hope you enjoyed this first post.