Featuring SPECIAL REQUEST

The phenomenal Special Request series continues with The Ride, the third in the series of warehouse style white labels.

Special Request - The Ride / The Ride VIP [Special Request]


This time we are treated to some proper jungle vibes, with obligatory unauthorised vocal samples (courtesy of Lana Del Rey), rumbling bass line and hardcore VIP rerub on the flip.

As always, it is vinyl only and not be missed. Grab your copy from Juno before they are gone.

Featuring SKATEBÅRD

Bård Aasen Lødemel is a DJ/producer that operates under the aliases Skatebård and Transilvanian Galaxi. Two different monikers which allows the Norweigen to channel his creativity down contrasting paths. The former is reserved for more dancefloor driven productions while the later has no discernable style. When placed next to each other Lødemel's releases as Transilvanian Galaxi make for an odd juxtaposition. The first is an off-the-wall italo disco outing on cult label Sex Tags Mania while the second is a considerably more subdued and pensive techno release on Acido.

Galaxi - Transilvanian Galaxi [Sex Tags Mania]


You Always Have EP - Transilvanian Galaxi [Acido]


Lødemel has been considerably more prolific as Skatebard and has produced some real gems under that guise. Personal favourites include the one sided June Nights South of Sienna EP and the Conga EP both out on Sex Tags. I'm yet to find a Skatebard release that isn't sold out on the internet so if you want to pick up any of his 12"s you'll have to do it via Discogs.

June Nights South of Sienna - Skatebård [Sex Tags Mania]


Conga - Skatebård [Sex Tags Mania]


All in all Lødemel is an outstanding producer that creates intelligent and emotive music and I strongly encourage you to listen through his back catalogue.

Walking contradiction...

The combination of Superpitcher and Rebolledo was always destined for great things but perhaps not many anticipated 2012 to be such the big year when the duo formed back in 2009. 'Time' off the Girlcatcher release will no doubt make it into every decent end of year tracklist, possibly even top 10 - and their debut album We Are Really Sorry may follow suit in the off-kilter electronica album charts. Anyway, more importantly, last Monday, Parisian record label I'm A Cliche released a new EP from Bot'Ox entitled Basement Love. On said EP lies this 12 minute long growler and it's been made available to download for free. Tuck in.

Basement Love (Pachanga Boys Remix) - Bot'Ox

HH MIX #039 - ARNALDO

For the 39th edition in our mix series, we present arnaldo. We also had a pretty extensive chat - enjoy.

Who exactly are you and what do you do for a living?

I’m William Smith. I'm Argentine born but was raised in Norfolk. I cut my teeth in Manchester and currently reside in London. Norfolk is a great place to grow and to die, but in between you need to make a tree and split.

In Manchester I worked for several years at Eastern Bloc Records (established 1985). I learnt and bought a lot working there.

I’ve been in London for around a year, and I work for a music consultancy company who compile playlists and music systems for venues ranging from bars, restaurants, cinemas, shops, blah blah blah. I also play for a few bars weekly. It’s great as it gives me two clear days off in the week to write and listen to music... I can’t write music at night so it works a treat for me. I also sacrifice most weekends so I’m that guy commenting from the bedroom on Facebook!

You mention DJing in bars... do you take requests?

Haha. I am known as a bit of a… hmm how to make this sound like I’m not one? I’m a bit of twat about it to be honest. I have been doing it for many years and have studied people’s habits quite closely... mating rituals too (not that I’m a peeping Tom or anything).

I have found the best response is a flat “no”, as if you budge a little they will ride you all night thinking you’re their “mate” or “bruv” if you’re down here in the south.

It’s not that I’m that arrogant twat who thinks he’s so cool… I’m in fact that quiet guy who does not want to talk to you whilst DJing. I always get people telling me to “cheer up” – my relaxed face must look grumpy to some.

Best example is when someone requests, you say “no” and go back to mixing, then a few moments later you turn and they are still there! I’ll say “yes?” and they’ll say “You’re so rude!” and it’s like “How so? You asked a question and I replied”... it’s not like we’re gonna grab a drink and talk about the gross national debt or how expensive the drinks are in here... or are we? Maybe I’m the bad person…

Tell us a bit about your production set-up. Cracked copy of Ableton and a few VSTs, right?

Ha… I have Ableton 8, I think, and it’s definitely not for me... I just can’t seem to get on with it. When I tried to make something that didn’t just use samples and “clips” I just came up with stuff that sounded like everyone else... I’m kidding, some of my most respected peers use it and it boggles me what they can do with it... I just can’t! I’m that guy that has to get someone else just to warp something for me haha.

My workhouse is Logic, I’ve used it from the start and find that it’s very quick and has a great ‘width’ of sound… you can really place sounds well in the stereo field. Obviously its width is nothing in comparison to using a desk and having separate outs running from a drum machine... then it gets WIDE!

I guess that leads us on to the tidbits I use out side ‘the box’. I have my boom machine (808) and my thunderclap machine (909), both made by Roland in the 80s, in addition to a 606. I’d really like a CR-78 too, one day. I also use an MPC and a filter bank (not a Sherman though).

Unfortunately synths are something I lack, but I’ve borrowed a few in the past and got some great samples, so that should keep me busy until the modular arrives, ha. I also do a lot of field recording with my DAT recorder and microphone.

I think that all aspects should be considered in this day and age - including Ableton. I personally think that you should try and use analog stuff if you can but then utilise the positive aspects of a DAW for processing. What I’ve done from the beginning is to get something raw and then get it screaming yourself… not just use a pre-made sample pack.

In the 90s the production process was often a lot more rough and ready and obviously equipment was limited... I have an early DJ Spen record (“Back When”) which phases quite badly… VIBES!

It phases?

What I mean is, his samples are so rough and ill cut… possibly he may even have two records mixing together. Phasing is when you have two identical sounds and they cancel each other out.

Love the record though. I just want people to understand my viewpoint, I’m not an “anti-sampling” kinda guy (most of my favourite records are sampled to fuck) - it’s just the way I go about things personally. Just try and do the work yourself and learn the techniques.

How did the hook-up with Smallville come about?

Ah it’s actually really funny, it was a fate thing.

Oh yeah?

I played with Julius (Steinhoff, one half of Smallpeople) and Lawrence at meandyou. in Manchester a few years ago. Then maybe two or so years later I was selling a record on Discogs and noticed the guy buying it was called “Julius Steinhoff” then checked the postal address and noticed it was the address of the Smallville shop in Hamburg!

I messaged him saying “Hi, I played with you at meandyou.” or whatever and then thought fuck it and copied and pasted my Soundcloud URL at the bottom of one of the messages. It was a punt but it paid off!

I should mention Greta Cottage Workshop too. I sent Matt, the label owner, a track after I bought his Mudkid record, which I really like.

I’m really bad at deciding on what to send and who to send to. I’m not one of those types to go around sending my music to 50-odd different labels – my music is too precious to be mass-sent like that.

"I don't make music for the masses, I make music for the small majority that listens" as the great Kenny Dixon Jr. once said.

Haha good words... similar to the slogan for Hendricks gin – “Loved by a select few”.

A lot of my stuff is just me trying to make things work and experimenting, especially as I’m not a trained musician - just a guy learning, and trying things out, more importantly.

Trial and error eh?

Yeah but I go down the error route for quite some way more often than not. I’d prefer to use the term ‘experimentation’, as ‘error’ means different things to different people.

It's all just subjective I suppose.

Ha, indeed. I’m not too fussed with what other folks think.

Best way to be. We loved your set at the Smallville night at Berlin's Loftus Hall in October. How did you find the experience?

HOT. As in degrees, I don’t mean that in a ‘Seth Troxler’ kind way.

Was a bit of a sweatbox in that place wasn't it?

Yeah. You know it’s 'close' when you have to wipe your hands just to be able to get traction on the records. Plus I had to take my hat off!

But the party was magnificent. I’m starting to really enjoy playing with Dan (Juniper) and Just and Julius (Smallpeople). Great people and great jocks.

Loftus Hall, Berlin 27.10.12 - arnaldo


How does playing in Berlin differ from a regular gig?

Germany in general is a great place to place to play I think, crowds always seem so appreciative. I’ve not really played many different countries so I can’t really give too much of an answer.

That was going to be my next question actually... so I take it that wasn't the first overseas gig you've played?

No, I’ve played in Germany a couple of times before. First at Tape in Berlin for a meandyou. party, then I played for a friend’s night at Morlox in Berlin and of course the release party for Smallville030 at Ego in Hamburg.

We Met In Manchester - Juniper / arnaldo [Smallville]

You mentioned meandyou. a couple of times. They've made some great bookings over the years. Are you still a resident for them?

Yes meandyou. have some magnificent guests. Yes I am still a resident but due to my other commitments it’s hard for me to take time off... with Dan (Juniper) and Pete (Joy Orbison) looking after things it’s all cool. Hopefully I should be able to make an appearance early next year.

I'm sure they're in good hands with those boys at the reins. Do you have a favourite DJ? Or one you particularly respect/admire?

Mark Turner. Basically I would love to put on a night and have Gerd Janson first followed by Mark. That there would be an interesting night with of A LOT of dancing. Weird as I have only heard him once but amongst others he played “Can U Dance” by Kenny ‘Jammin’ Jason, one of my favourite 80s house tracks. Yeah it’s a little cheesy, but it has a hook big enough to catch a whale.

Is this the Mark Turner that was a resident at The Orbit?

Yes he was but that wasn’t all he did... he sold records to the best in Eastern Bloc and also embarrassed most of the 'best' when it came to mixing records. If you get a chance to hear him in Leeds you need to go.

Quite the endorsement, I'll have to keep my eyes peeled. What's in the pipeline for Arnaldo? Any upcoming releases or gigs you'd like to plug?

Gig-wise I’m playing this pervert party called Arthouse or something (or is it bath house?) but that’s not until March 2013. That’s at the Deaf Institute in Manchester. It’ll be three people’s birthdays (including mine) that night so should be a great party. Also I need to do a podcast for them, been a year or so since they asked!

Release-wise I have a track on Blank Slate Sounds 001 - some great cats from the east coast of the US. It’s the new label from one half of Supply Records (B-Tracks, etc). That should be available around Christmas through Honest Jons and all good outposts.

Then I have a Greta Cottage Workshop EP out mid January, and then Blank Slate 003 after that at some point.

Plenty on the agenda then. Did you have anything particular in mind when you recorded this mix for us? Tell us a bit about it.

I kind of wanted to do something a little different to my recorded club mixes, and wanted to include some particular records I’d bought recently. It’s more of a “home-listening house” mix.

Three-quarters of the way though recording it, I realized a large chunk of the records I’d taken to Berlin were missing… I almost had to stop the mix ha.

You’d left them there?!

Yeah, only at my mate’s place. He’d noticed them knocking about but didn’t know who they belonged to.

Phew! Could have had a disaster on your hands.

Things got a little ‘emotional’ let’s say.

They tend to when such large quantities of vinyl are involved...

Yeah, some I really didn’t want to have to replace due to the prices being charged for them on that record listing website.

That fucking website.

I am always so particular and cautious with records as well. Happens to the best of us I suppose.

Out to arnaldo for taking the time to chat with us - we'll leave you with his aptly named 'slow but what's the rush' mix which he's very kindly recorded for us.

HH MIX #039 - arnaldo [download]

Get following on Soundcloud if you aren't already and keep your eyes peeled for those forthcoming releases.

Introducing DENIRO

The Hague in the Netherlands has produced a fair number of respectable underground house and techno producers throughout the years. Names like Legowelt and Unit Moebius come to mind. Entering into the mix with his debut release on Tape Records, Reyneir Hooft aka Deniro brings us the Grey EP.

Using only old analogue synths and drum machines, this producer crafts a sound that is influenced by Detroit, but is uniquely Dutch. Much like his contemporary Legowelt, there is an added analogue warmth to the machine sound of his production on this EP. The first track 'Heat' demonstrates this, as driving percussion and soaring yet ethereal synth lines are the order of the day.

Heat - Deniro [Tape]

On the flip the next track 'Grey' is indeed the most subtle and deep track on the EP. It's the kind of stuff that's most often played either as one of the first tracks on the night, or in the early hours of the morning. Lastly, 'Taped' rounds out the EP with a broken beat take on Hooft's ethereal techno sound.

Grey - Deniro [Tape]

Taped - Deniro [Tape]

All three of the tracks on this EP are superb, and the excellent sleeve design is an added plus, which makes this a 12" release worth picking up.

You can grab it from Juno here.

Moog On Acid - Steve Rachmad

Introducing CLASSICWORKS

Last month saw the second release on Barcelona based label, Classicworks, which is run by Venezuelan and Argentinian producers Cardopusher and Nehuen, respectively. After a successful split EP, Split 01, it is Cardopusher who steps out alone with the So What U Want Me To Do EP.

It is fairly obvious from the get go that the inspiration behind this EP comes from all areas of the electronic music scene. The opener 'I Know U Will' is a piano driven house affair with enough energy behind it to get anyone on the dance floor with its thumping beat. This is followed up with a rough techno thumper rooted firmly 90s hardcore with an infectious vocal hook which has landed it in the record bags of everyone from Bok Bok to Doc Daneeka.



Up next is 'The Real Thing' which harnesses a classic US house vocal and takes it on a acid trip across the Atlantic, really pushing the synths to the limit. Lastly is the the acid house number, 'Hysteria' which really does sound like something you would hear coming out of Boddika or Scuba set. Lastly for good measure there is a remix of 'I Know U Will' by label cohort Nehuen which gives it a bit more of a 90's flavour but takes away none of the energy.

The So What U Want Me To Do and Split 01 EPs are available from Juno.

Featuring LEVON VINCENT

As 2012 comes to a close, Levon Vincent drops a first release of the year via his own label, the highly acclaimed Novel Sound. Since its inception in 2008, the imprint has served to project Vincent’s very particular brand of deep, dubby house and techno across seven 12” singles. The medium in this instance is strictly vinyl, and you’ll be hard pressed to find copies of any previous Novel Sound release in shops today, as NS seems to have achieved the kind of ‘buy-on-sight’ reputation that marks it as one of the most consistently excellent labels of the latter noughties.

Way back in April saw the only other Levon Vincent release of 2012 as Vincent took the reigns for Fabric’s mix CD series in ‘Fabric 63.’ The mix opens with the recent ‘Earth Calls’ by Joey Anderson (a favourite of ours at Hush House) and sprawls across an hour and a half as Vincent pays homage to the truly individual sound of New York contemporaries such as Anderson, DJ Qu and Black Jazz Consortium. The mix is masterfully crafted and certainly a contender for best of the year, as ‘Fabric 63’ lacks the orthodox progression of traditional mix CDs – the tempo rising and dipping in a seemingly arbitrary manner, with wide open soundscapes constantly interchanging with claustrophobic and gritty percussive segments. Perhaps the aim here is for the DJ to assert himself on his audience. In ‘Fabric 63,’ the listener remains firmly within the control of Vincent himself as he seeks to exhibit the sounds that define Levon Vincent the artist. Viewing the mix as such, ‘Fabric 63’ could rightly be considered a magnum opus of sorts, as Vincent presents to us an impressive conclusion – the culmination of a sound that has been in development since his first release in 2002.

Fabric 63 - Levon Vincent [Fabric]

Novel Sound’s latest release fits neatly with this theory, as Vincent shows himself to be fully comfortable with the unique brand of house/techno hybridity both he and his peers have created. The A-side, ‘Stereo Systems’ is a track that featured in ‘Fabric 63.’ Given an entire side of wax to stretch across, the track’s shuddering kick-drum pierces through an astral soundscape sculpted with the Roland Space Echo Vincent is so fond of, as percussion flickers and twinkles brightly all around it. There comes with this the expectancy of a breakdown, for the soaring meteoric thud of the kick to explode and fragment into something new, yet save for a final heady flourish near the very end of the track, ‘Stereo Systems’ remains for the most part an explorative piece not typically suited to the dancefloor. If anything, to me this signals Vincent’s mastery. He understands every sonic aspect of his music and thus pushes and pulls listeners into any direction he chooses, as in the case of ‘Stereo System’s relative sparseness even the tiniest stabs of noise evoke a reaction, the track building expectantly towards the shower of sound that signals Armageddon.

Novel Sound 07 - Levon Vincent [Novel Sound]

On the flip, ‘Together Forever’ is a more purposeful and driven affair. Vincent ups the ante a notch and is here determined to get feet shuffling to fiercely aggressive syncopations. I’ve already mentioned how in ‘Fabric 63,’ Vincent is able to drastically alter tempo and mood when he sees fit. Within this latest release there is much of the same. The stifling and urgent call-to-arms of ‘Together Forever’ sees a drastic transition from the wide-open astronomy of the title track. The same could be said of ‘Specks Jam,’ as the down-n-out sleaze of speakeasy double-bass oozes an entrancing groove amongst the breathless gasps of thrill-seeking New Yorkers. Within this track, Vincent’s swinging, sultry bass is quilted beneath a sumptuous layering of warm, dubby chords. Thinking about it, both tracks on the B-side could be labelled as DJ-tools, though of course anyone familiar with Levon Vincent will appreciate that this term doesn’t denote any sense of convention to either track. Vincent is keen to assert upon us his own unique take on looping, driving house grooves.

It may have taken all year, but the first Levon Vincent record of 2012 was definitely worth waiting for. I can’t emphasise enough the powerful singularity of the sounds put forward on Novel Sound 07, as the release signals yet more evidence (if it were needed) of a musician at the very peak of his powers. What’s also quite interesting is the landscape in which Vincent makes his music. As the prevalence of house and techno rises ever-further to the forefront of public consciousness and the surge of EDM in general appears unabating, Vincent seems happy to burrow further and deeper into the unique, inimitable sound of himself and his close contemporaries – the kind of which was demonstrated wonderfully at the beginning of the year through ‘Fabric 63’. The result is genuinely staggering and will ensure future releases and DJ gigs are as hotly-anticipated as ever before.

Copies of NS-07 appear sold-out everywhere, unsurprisingly. If you missed out, go get it at Discogs.

Featuring OCTOBER & WILL SAUL

This week saw the release of another quality EP on Aus from label boss Will Saul in collaboration with one of our favourite producers, October.

'Light Sleeper' is a late night groover, slowly building the beat around warm yet eery synths before sneaking a 303 line about halfway through. The layers of vocal samples and effects only enhance the atmospheric qualities of the track making it the perfect set opener or perhaps when a switch up in pace is necessary.

Light Sleeper - Will Saul & October [Aus Music]


Michael Mayer picks up where the original left off, chucks in a load of, some may say, needed energy, and in the process creates an almost perfect B-side.

Light Sleeper (Michael Mayer Remix) - Will Saul & October [Aus Music]


Light Sleeper EP is available exclusively via Beatport now.

Featuring APPOINTMENT

Appointment return with their seventh four-track white label release titled Les Appointment Royale. Each track is a flurry of crunchy drum machines and synth sounds, with a raw, lo-fi approach to production. There's not much information on the Appointment crew, just that the music's composed on analog equipment and recorded to tape, just how we like it.

Their sparse but rhythmical style made them a perfect remix option for Moodyman's 1996 classic 'I Can't Kick This Feeling When It Hits', released last year.

ICKTFWIH (Appointment Mix 1) - Moodyman [Decks Reworx]

Buy the wax at Juno and listen through the Appointment back catalogue.

Featuring NICK HÖPPNER & AUNTIE FLO

Kompakt Extra began life at the turn of the millennia as an offspring of the legendary Cologne based label in order to provide honed-down pieces cut strictly for the dancefloor. In that sense, the name of its predominant series - 'Speicher,' or 'Warehouse' is fitting. Whilst its fair to say that Extra's output has become increasingly insular since 2007, the latest Extra release, Speicher 72, evidences a break from the label's usual roster in favour of an unusual pairing.

First up on side A is manager of Berlin’s Ostgut Ton, Nick Höppner. In ‘Ipso Facto’ Höppner demonstrates the ear for both groove and narrative that he consistently displays within his sporadic discography and DJ mixes. If you feel like getting a taste of Höppner’s style, I’d recommend checking out his entry in the Panorama Bar mix series. The mix is over an hour of sprawling, luscious and esoteric house sounds infused with the inimitable flavor of the famous Berlin club. Whilst much of the Ostgut-related limelight may often fall upon Techno posterboys and Berghain residents Marcel Dettmann and Ben Klock, Höppner deserves ample praise for his considered, intelligent take on dance music that never strays too far from the underground.



Much like in his recent release for Echocord Colour, Höppner on ‘Ipso Facto’ seeks to explore slightly darker territory. Like a ship lost at sea, Höppner’s bassline bobs rhythmically across the surface. As the track progresses, the threat of sinking under becomes reality – periodic alarms signal across a wide, reverberating expanse of percussive darkness. By the close, everything falls in upon itself as the immeasurable depths consume everything.



Flipping over, Goan-cum-Glaswegian Auntie Flo takes Speicher 72 way above sea level and out of the darkness towards warmer climes. In ‘Sun Ritual,’ Flo moulds a palette of rattling Aztecan drums that march ceaselessly against the searing heat of the sun as glockenspiels tinker a ceremonial melody. The contrast against Höppner’s track is clever and unmistakable – working to great effect. ‘Sun Ritual’ is a fabulous example of rich, unorthodox house music that would operate brilliantly on the dancefloor as a means of signaling a transition from deeper warm-up material to more direct and purposeful terrain.

On paper, the pairing of Höppner and Flo for this release shouldn’t work, yet upon listening it really, really does. Interestingly the record offers two contrastingly different shades – Auntie Flo the light, Höppner the dark. Should they continue in this vein, Kompakt Extra will be on to a winner, offering dancefloor-ready tracks that remain unswervingly true to Kompakt’s aesthetic objectives.

You can cop Speicher 72 at Juno now.

RA.339 - October

Quality.

RA.339 - October (2012.11.26) [download]

Che - The Incident (Wet Dream Mix) - Alleviated Records
DJ Qu - Movements - Underground Quality
October - Gate 2 Yesterday - Skudge / dubplate
October/Osborn - Trancending Biology - TANSTAAFL / dubplate
Omar S - Busaru Beats - Sound Signature
John Osborn - Epoch 4 (Version) - TANSTAAFL
Unknown Artist - Brotherhood - It's Not Over
Aubrey - Vortex Two - Lifeworld
October - Planet of Minds - TANSTAAFL
Joey Anderson - 3200BC - Until My Heart Stops
Ra.H & Dynamo Dreesen - Spacepops (Donato Dozzy rework) - Morphine Doser
Spektor - Pipe Bomb - Sound Signature
XDB - Recago - Dolly
DJ Spider - N.A.S.A. Deception - Plan B
TSC - Escape - One Track
October - Goddess Is Woman - unreleased dubplate

Read the full article here.

HH MIX #038 - MARCO SHUTTLE

Eerie label boss and purveyor of dark and dubby techno, Marco Shuttle, is up next in our exclsuive mix series. Notable releases from the Italian fashion designer turned music producer include his All Around the Fires EP for Clone and the unforgettable The Vox Attitude EP for the Farden records off shoot label VIDD.

The Eerie label was launched this summer with a nice 3 track EP entitled Modula and has been recently followed up by the There's No Point EP. If 'eerie' was what Marco was going for then he has hit the nail on the head with his latest release. Two haunting tracks that spread over more than 20 minutes, not for the faint hearted.

The mix that Marco has put together for us follows along a similar vein to our recent #.19.21.3.11.21.20 and Recondite mixes in the sense that it is definitely one for the late hours. A great mix from a great producer. Enjoy.

HH MIX #038 - Marco Shuttle [download]

01. Nulclid - Mewark [Art Tek[
02. Stoplight Loosejaw - Juju & Jordash [Dekmantel]
03. Earth Calls - Joey Anderson [Deconstruct]
04. There's No Point... - Marco Shuttle [Eerie]
05. A1 - Jeff Mills [Something In The Sky]
06. Fountain Of Life - Terrence Dixon [Tresor]
07. Dissolve (Dungeon Dub) - Crystal Maze [Bio Rhythm]
08. ...That's The Point - Marco Shuttle [Eerie]
09. Dr Blowfins Black Storm Stabilizing Spheres - Drexciya [Tresor]
10. Bad Schandau - El Mal [Ifach]
11. Buoyant Slight - Metasplice [Morphine]
12. Night - Funkineven [Wild Oats]
13. The Ace Of Spades - 2AM/FM [Spectral Sound]
14. The Final Frontier - Underground Resistance [Underground Resistance]
15. Rhythm Of The Night - Sex Worker [Not Not Fun]