Wednesday, June 01, 2005

sonar on decks

by Sonar ~ compiled by Brent Crampton ~ photo courtesy of DJ Sonar ~ Matthew J. Rissi, aka DJ Sonar’s fascination with rhythm and music began at an early age after his father had given him a dual tape deck and a stereo for his tenth birthday. Matthew was immediately addicted to the sounds of synthesizers and drum machines, and couldn't resist the temptations of wanting to be on a dance floor.

Through hip hop culture, Sonar was introduced to the rave scene in Arizona. Shortly after this discovery, Matthew and his family moved to Iowa. He began DJing on his own in ‘97 and completely focused all of his efforts on establishing an understanding what it takes to become an avid performer. He would find himself traveling all over the eastern part of the country to watch internationally respected DJs work their magic behind turntables for crowds of people up into the thousands. He was in love - in love with techno, the environment that it provided, the feeling that it gave him, and the way that it blessed him with something that made nothing else matter.

From the basement, to the house party, to the all night music event, Matthew found himself wanting more. Naturally he was inclined to start his own production company, “Solar Cathedral Productions.”

Having played along side names such as Dieselboy, Grooverider, Richie Hawtin, Woody McBride and Terry Mullan, Sonar’s mixes have gained him much respect, subsequently getting him booked throughout the Midwest.

Through his promotions under the guise of Solar Cathedral Productions, Sonar has played a part in bringing international talent into Iowa such as Tommie Sunshine, Donald Glaude, Derrick Carter and Frankie Bones.

Pulled From Perversion is Matthew's latest mix CD, a compilation highlighting memorable tracks played by Sonar at the infamous Perversions of Science event series. Scheduled to be released in June, the mix more than likely sell out fast. But Phocas.net is providing you an exclusive mp3. So grab it in the month of June while it’s hot!





Track Listing

Nathan Fake/The Sky Was Pink(Holden Tool)/Electro Choc
John Dahlback/Eastern Light/Immigrant
Hugg & Pepp/Mazarin/Dahlback
Unit 4/Bodydub(TiefschwarzRMX)/Clone
The Gritsch & Royal TS/Techno Tanzen!/White Label
Misc/Status Now/Kompakt
Vanguard/1 Bit Bass/Frisbee
John Dahlback/The Bad Giant/Giant Wheel
Jesper & John Dahlback/Sundin Lost In The K-Hole/Turbo Rec.
Basteroid/Reaching Betriebstemperatur(Sonar Re-Edit)/Areal
Jens/Never Be The Same(Jesper Dahlback RMX)/Shallow Cutz
The Hacker/Radiation/Goodlife
Tiefschwarz/Ghostrack(Blackstrobe RMX)/Four Music
Gregor Tresher/Firebutton/Datapunk
Ferro(W.J.Henze & Toni Rios)/Redes Privadas Virtuales/Danza Electronica
Anthony Rother/Bodytalk/Cocoon Rec.
Anthony Rother/Father(Sonar Re-Edit)/Datapunk
Sven Vath & Anthony Rother/Komm/Cocoon Rec.
As in the words of Sonar:

Keep in mind that this is a compilation of tracks that I played at three different events. For 'PS1' I played at three a.m., right after Frankie Bones, who had just laid down a wild-ass ‘96 styled 'ardcore techno set. So, I had to come with the heat. At 'PS2' I played the 11 p.m. slot right before my partner, the Goat, who had planned on playing a fairly hard techno set. We also had Chris Liebing out from Germany who BEAT the shranz' style techno. I tried to play a little more 'electro-ish' to add diversity to the line-up. For 'PS3' I opened up the nine p.m. slot with some stripped down minimal techno.” For this show, we had Derrick Carter out, so we had a lot of house heads in the building. I figured that a minimal set was perfect for getting the crowd started. With that being said, this 75-minute mix has a little bit of everything that I have to offer.

Now . . .

The first track that I play on this mix is by far one of my favorites. It reminds me of something that I've heard Hawtin play at about five in the mornin' in Detroit, right about that time where absolutely EVERYONE in the building has just lost their minds. It's some of that minimal funk, but at the same time, it's so dance floor. The shit moves me. The programming of all of the blips ‘n' bleeps is just ridiculous. I absolutely love it. I figured that playing something like this early in the mix would set the perfect tone.

The track that I play after that is a John Dahlback tune that has a real “housey” feel. For those who know me, I don't really play house - at all - unless you catch me laying down one of my two and a half hour residency sets at “Orbitz” here in Cedar Rapids. I'm a techno guy, and I really like to conduct an electronic energy, but this is one of those tracks that puts that shit aside, and just gets inside of me. Lately I've been dabbling into the realms of soul, and depth, and this jam just swims way out there. The sounds on this record just remind me of sunsets, or better yet, sunrises! This is the kind of stuff that I want to hear after I've been taking a beating on the dance floor all night. It will get me moving no matter what.

Next up, I laid down a Jesper & John Dahlback piece called “Mazarin.” I think that it could also be an “opener” track, but it really helps set a certain mood in my mind after a small warm up. I actually opened with this cut at “PS2,” and the crowd really got into it quick. The vocal on this track is very hypnotizing, and combining it with that little acid riff just made for a perfect combo. The base line starts out very nicely, and out of the blue drops a few octaves giving listeners that little push that will keep them listening to the track until it's over. I absolutely love this track. The break in the middle gives you a little chance to take some deep breaths before it picks up again, but it never really “takes-off.” It really gives the DJ a chance to lay something on top of it that is going to win over an audience.

After the break, I decided to bring in the Tiefschwarz remix of Unit 4's “Bodydub.” This is one of those tracks that will permanently imbed itself in your brain. The shit is butta! So clean, so pretty, so dance floor. I mix it in really smooth using the filters on the Allen & Heath to sweep the melodies in and out. When the base line drops, I get the chills . . . seriously. I think that I actually played this out of the “Mazarin” cut at “PS2” and the b-line drop absolutely made the dance floor come alive. Just when you don't think that it can get any better, the main bleepy riffs kick in with the claps and movement becomes alive. I can safely say that this record is in my all time “top 5's.” Love it.

Next I start to bring out the techno in me. I play Gritsch's “Techno-Tanzen.” This is one of the last tracks that I played at “PS1.” It's sort of a “wet behind the ears” crowd pleaser. It's the kind of track that newcomers would really get into. A lot of your more established techno heads won't really get into this track because it's a bit amateur - but I like it. The synth-line is gritty, and if it's played on a proper sound system, it will turn ANY dance floor out. Nuff said!

Then we take you to Germany. Anyone who knows anything about techno is down with the “Kompakt” sound. It's a bit more stripped down and not as bangin, but it's VERY dance floor friendly. You hear dudes like Sven Vath, Hawtin and Villalobos canning the shit out of stuff on this label. It's quality. This release is a bit more mathematical than some of the “speicher” series releases, and that's why I like it. I'm very in tune with the timing of my mixes, and this cut is very DJ friendly. It's got a nice breakdown, and the pattern changes are pretty obvious. It's got a catchy little acid riff that will have even the most jaded of techno fans bobbin' their heads. GO GET IT!

The next track that I play is a killer. I opened with it at “PS1.” It’s the sickness. You see, we had asked Frankie Bones to play an “old-skool” rave anthem set, and he did. We're talkin' 150 BPM fist-in-the-air techno. I knew that the crowd was going to catch a beating from him, and I was going to catch a peak-hour audience when he was finished. I wanted to play slower, around 135 BPM's, but I still wanted to play material that captivated a rougher audience. I thought that an explosive opening was something that I NEEDED to keep their attention. This track was the answer. Paired with a 70-foot WALL OF BASS, vanguard blew the roof off of that joint! I swear that I could have just played this cut alone, and walked away from a happy audience. The one-bit base is SERIOUS. It hurts people.

Up next I drop this “Giant Wheel” cut. I wouldn't normally play anything off of this label due to their outstanding ability to release super-cheesy trance anthems with samples of crowds going crazy over rolling snare drum build ups. However, this jam is different. It's a bit ravey, but the base kick had me locked. The patterns on that drum are simple, yet so effective. It makes me want to “break a neck!” That's all that I've got to say about that!

Once again, I drop another Dahlback piece (do we see a pattern developing here?). I've really been into these dudes lately, and it just so happens that I played a bunch of their cuts at this series, explaining why so much of their work is on this CD. This shit's on Tiga's infamous Turbo Record label, and I think that it's the bomb! I actually chose to play this track because of how I thought that the acid line would work with the lights at our shows. The sounds on this record just give me a visual full of intelligent lighting. I don't know - I guess that I'm a bit weird like that. The tone on this release is a bit breakey, but it's layered over a 4-4 beat, which is the best of both worlds in my opinion. Who's got the juice now?

Now we begin to get a little gritty. This Basteroid record is in every way shape and form, SLAMMIN'. Heavy on the base, dark on the tones, meant for the warehouse. This track was perfect for “PS1” as we held the event in an armory. It was like the days of old, huge sound, huge lights, huge visual screen and a huge vibe. This piece was meant to be played in that environment. I think that I flipped two copies of it, got a little cocky for the audience. Ya know? It worked well, and the mood in the room began to shift. A few people told me that I began to look possessed when I started playing this stuff. I'll bet it's true. The dark tones just consume me. I turn into a visual display of the noises that are coming out of the speakers. Youngin's get scared and tough guys start to jack!

After the heat, I drop a “Jens” gem on “Shallow Cutz.” It's got a bit of a girly vocal sample, but it's completely balanced out by insanely nasty acid stabs that defecate the dance floor. I really like the clap. I think that it's got a dull rim shot laid over the top of it that gives it the perfect texture. Midway through the track a bunch of tones ring throughout that remind me of Speedy J's remix of Adam Beyer's “Ignition Key.” Very inspirational. I naturally close my eyes when I hear them. They just give me a very deep feeling. Anytime I've ever played this record live, the crowd has always given me great response. It has the capability to reach inside of you only to stir up feelings that you didn't think a techno record could stir up. Sexy!

Now back to the dance floor. Next, I play a “Hacker” track that is very taunting. I can't really explain it, it's techno, but it's electro . . . I don't know. The vocal samples on it sound like they were recorded in an old gothic church. Sick. Everyone that hears this track gets moving. It's quite attractive for even the most hard to impress electronic music listeners. It's not too intricate of a track, a bit simple actually. But it's so effective. I drop it right off of the scratch so it's the only mix on this CD that I would call sloppy, but very few notice. Tell me what you think!

Blackstrobe, blackstrobe, blackstrobe . . . What are we going to do with this guy? I've been canning his shit for a few years now, ever since his remix of Dave Clarke's “What Was Her Name” came out. His tone is very signature, sort of like Johannes Heil. You can hear a couple bars of any of their tracks and immediately know that they produced them. It's definitely on the electr side of the fence, and dance floors eat it up. This is one of those records that you can use to get peoples attention. The formula is standardized but at the same time it's unique and extremely catchy - a crowd pleaser for sure.

After Blackstrobe I play this Gregor Treshor release. I would assume he's German, but I really don't know. I can honestly say that I play this track for the vocal. The shit is punishing, it makes me feel like I'm part of some cult that I really shouldn't be running with. All of the drum programming and kick patterns sound like Gregor was highly influenced by none other than the great Johannes Heil. I know that they both do work for “Datapunk,” and I've been a big supporter of this label since I heard Johannes' “This World.” If you don't already know, look out for this label as they are about to be dominating the German electro scene.

Now I start to get back to the techno with this hot pick off of the new Danza Electronica label. W.J Henze and Toni Rios aka Ferro bring the pain with this stormer titled “Redes Privatas Vertuales.” The shit is foul. It's got a bit of a “Murder Was The Bass” feel through out the main bar. But I really like the noises in the intro. I played this track closer to the end of my set at the “PS2” show with Chris Liebing. The sound system that we had that night was insane, and when I laid off of the filter to drop that bass, the crowd erupted. Put a smile on my face, that's for sure. I've heard some tracks sound really good from behind the decks, but this one took the cake.

Enter Anthony Rother. This guy is making moves - seriously. I've been on top of all of his releases lately, and I've never been let down. He's a staple in the electro scene, but his techno just kills me. When I play this live, it's always the track that everyone asks me about. “Hey Sonar, what the hell was that shit that was like, 'BODY-MOVE, BODY-TALK'!?” Sometimes I don't want to tell them, because I haven't heard too many people around here playing this stuff. It doesn't really matter though, because in Europe they can't keep enough copies of Rother's music in stock. Cocoon is a sweet label, and you've got to put trust into anything that Sven puts his stamp of approval on. BOOYAH!

Once again, I drop another Rother cut. “Father” is one of my faves. It really has the ability to pull a crowd together. It's sort of an anthem track. I play my own personal re-edit of this release because I felt the need to cut out a few parts that I didn't agree with. It just got a little repetitive for me. This shorter version seems much more effective, and sets me up for an explosive mix out of it.

And last but most definitely not least, Sven Vath and Anthony Rother's “KOMM.” This piece is by far the sickest track on the CD! I can't even begin to explain the visual that I got when I first heard this tune. It painted a picture in my mind - a picture of a landscape so vast that I will in no way do it justice by using English diction to try and explain. Just listen to it. I had to play it last because I really don't think that I have a record that is powerful enough to play afterwards. This is what I call music, and precisely why I love this thing that we call techno.

For more info, contact: thesolarcathedral@hotmail.com

shadowrunner june 2005 trance

by DJ Shadowrunner ~ Welcome a new reviewer! DJ Shadowrunner out of Kansas City. It's taken a little while to find someone willing to do it, but he has graciously offered his time up to give us a bit of Trance. I'm still not quite sure about the connection with waffles though. Without further adieu, here's DJ Shadowrunner's picks for this month, in no particular order.

Medway - The Bassline Track 2005 (Luke Chable + Jiva Rmxs) - Release Records - REL025
One side massive progressive groove with prime time written all over it. Echoed and phazed to give that "gonna get naughty" feel in full effect. Flip for the breakbeat street feel.
Sucker DJs - Banrock (Paul Rogers Remix) , Kinky Vinyl, KINK030
This one uses funk to drive home a vocal groover. Natural sounding rhyhtm guitar, bass, and drums sustain the real deal feel. A vocoded vocal acompanied with a light electro percussion mixes well with it all.

Marco V - More Than A Life Away (DJ Preach Remix), In Charge - IC001
Dark and gritty grinding along in a techy industrial sludge. A distorted vocal barks out like an intruder alarm. If you wanna get dirty this double a side come in two varieties: Original (HARD), & DJ Preach Remix (HARDER).

Ant & DDR - Acid Techno... All The Time, Stay Up Forever - SUF79
If George W. Bush is still looking for weapons of mass destruction.... give him this 4 track pressing of whoopass. Stay Up Forever stays true to form with their trademark hard and fast style packed full of distorted 303's ripping through the harmonies. Careful, this is designed to destroy dancefloors with no mercy for the weak!!!!!!

Punk Floyd - Stella Artois Overdrive/ (b.side) High As A Kite, Wah Wah - WAHWAH012
Whatever they used to create this stuff has got to be still hot and smoking in the aftermath. Grungey synths lay down a maniacal decending melody while furious percussions fly and arpeggiated mad 303's sweep in and out of the madness. More energy than a 4 yr old tweekin on a suger high.

Benz & MD - Spiagia /(b.side) Tainted - Baroque - BARQ044
This duo from Canada have some of the most atmospheric sounding grooves. Beautiful and deep sweeping movements with long emotional breaks give these tracks a sensual feel.

Signal Runners - Backfire (Activa + Verny vs 8 Wonders Rmxs) - Somatic Sense - SOMATIC012
If you ever wonder what they play across the pond(Europe), this would be a great example of energetic epic trance that some of the big DJs use to
motivate crowds.

Mercurio - Music /(b.side) Box - Vapour - VR12043
A hauntingly deep echoed vocal pushes through oscillating synths as the percussion switches from breaks to 4/4 and back again. Please check your skills before attempting to mix. Flip for a more tribal inspired groove that lays it down thick in a 4/4 funk.

Armin vs M.I.K.E. - Intruder /(b.side) Pound, Armind - ARMD1009
Intruder is a serious builder. It seems the longer you play it the more alarms you set off. This one bangs along and the synths get more agressive up to the break. Things might seem tame in the break but just wait, all hell breaks loose again. I hope you can escape with your life and the top secret plans. Pound is more of a traditional melodic epic tune that chugs away and
then echos into the night.

MOS - Elektrify (Subsky Remix), Pissed Off Recordings - POR 001
Low growling basslines and trippy echoed bells resonating with a hint of electo-percussion float you off to a fluffy cloud where Care Bears and Candy Kids are giving out free hugs. More of the deep ethereal trance that dreams are made of.

solaris june 2005 techno

by DJ Solaris ~ Local KC Techno DJ, Solaris is back once again with his picks for some of the hardest and rawest Techno beats for the new year. Always looking for ways to push the limit of your Techno experience, check out these tracks and, courtesy of DJ Solaris.

Teknic Records - Jeff Amadeaus vs Ganez - TEKNIC02
Nice tracks here the first is a nice opener with the reverse is a nail driver. Drums and effects galore. It defiantly makes me feel like I want to go 10 rounds with Mike Tyson, just as long as I have ear protection.

Cluster - Mobile Dogwash - CLUSTER73
This label never surprises, it keeps me feeling young knowing that there is a bit of consistency with techno. Granted it is hard as nails, and I think it will never change. But once you get through to the plutonium core you will be able to create your own nuclear device out of old pinball machine parts….keep this for yourself!

Stealth - Alex Calver & Mark Maitland - STEALTH003
Alex C never fails to impress! This flip is nice and hard, reminds me of a bit of the Beyer mentality. Drums and darkness oh my! Just don’t follow the yellow brick road like everyone else and go into the forest, it is good for us all.

Blueline - Andreas Kremer - BLU025
This man shares the same love of putting the vision of apocalypse into a medium of music that makes life worthwhile. If only Obi-one was listening to this he might have thrown that whiney bitch into the lava like I wanted.

Blueline - Primal aka Marcus Olson - BLU026
Why be picky and place only one piece of wax up when both are of such great driving quality? You don’t, what you do execute is get both and drive those kids into the ground. Just bear in mind human farm post don’t make good friends….

Combat Skills - Pet Duo, Matt M Maddox - CSK005
They provide copies of this at ninja training school. If you can survive this onslaught then you might have a chance at being a ninja. Don’t worry, not everyone can, but those of us that do will be better off for it.

Skull Tunes - Boris D
This guy may have a Russian name, but I’ll be damned if he isn’t a secret agent bombing for bin laden with these tracks. This wax is a bunker buster if I ever heard one before. Want to destroy something? Take this out and beware the ensuing holocaust.

Open Source - Pat Hurley & Maxx - OS003
Not near as explosive, but defiantly a nice groove here. So get out of that cave and chill for a bit. This is the calm before the storm. If there was ever such a thing in the first place.

Temper - Michael Burket - TEMPER009
What a nice driver! I mean hell if I was going to Vegas with all my bosses money to loose it on a single bet, I would be listening to this the whole way there. I am not sure if life would ever be the same, but it would be a hell of a lot of fun for the time being.

Working Vinyl - Andreas Kremer - WV017
As always I leave something nice at the end for all you headz. What better than this man. He is what drives me to expand my collection of wax exponentially. If only all things were made like this I believe we would stop holding events indoors…the building would most likely collapse from stress overload. But we like living dangerously, that is why we do it.

svs june 2005 jungle dnb

by SvS ~ Originally from Long Island, NY, SVS has been playing around in Kansas City since mid-2000, playing different types of music over that time and finally settling on Jungle & DnB and pushing the limits of that since. Here's his picks for the month!

Calyx Presents :: No Turning Back LP :: Moving Shadow :: ASHADOW33L
Along with remix and original work by Dom & Roland, Hive, and Gridlock this LP 4 pack is at the top of the list. This classic Moving Shadow album is packed with grissly bass lines that claw at you on top of intense melody. With a show stopper like Hive and Gridlocks remix of "Are You Ready" this double pack should be on everyone's hot list.

Dylan / Mason :: Falling Away / Suicidal Life :: White Label Ltd Edition :: THRASH001
Dylan and Mason take on already bass heavy sounds of rock group Korn. The breakdown on this one is sure to have everyone banging their heads. The break is very nice, hard drum and bass lines with the vocals to follow. The flip side brings Mason back again against Evanesance. Very heavy drums on this one. Overall the production is on point although I felt this record to be more of a novelty than a must have.

John B :: New Shit [RMX] / Closer [RMX] :: Rock God Records :: ROCKGOD01
First John takes on Manson in "New Shit", a very goth rock meets hard step jungle track. Solid drums and complimenting bass in this one. Another very nice show stopper. On the flip side John goes up with NIN and Closer. Classic track that's sure to get the floor going. Hard snares and kick push this hit along. A must have for a remix album.

Ryme Tyme / DJ Benjie :: Donkey Kong / Power Pill :: Spawn Recordings :: SPAWN001
Ryme Tyme does it again with his track Donkey Kong. The synthy-wine bass moves you along through the piece. Definitely a nice starter. Benjie's "Power Pill" brings us back the 80's arcade era with some PacMan hits. The production is very nice in this track as well but the samples are tiresome. I thought Super Mario Brothers was a good game.

Technical Itch :: Life Of Sin [Feat.MC Jakes] / Dreamcatcher :: Penetration :: TIP013
Life Of Sin is the ultimate hardcore track! This is Technical Itch at it's darkest. Hard pounding 'ardkore drums with a punch-in-your-face bass line. MC Jakes features on this with some out of control lyrics. Dreamcatcher is your classic Itch piece. Ground shaking bass and intense pauses. All the fanatics should have this one.

crampton june 2005 house

by Brent Crampton ~ Whether it be funky and deep, bompty and quirky, or just click-click beepy – this is your monthly house music source for what’s hot and churning on the dance floors at the moment. And with the Winter Music Conference just behind us, so many great choons are now on the market.

Various – WMC 2005 Promo – Mesilla Valley Madness

Starting off with a DJ Spun & Mystic Bill mix of “No Love,” the track takes on an atmospheric electro house feel with a sampled diva. Grey’s “Why Guess,” was the track that stuck out the most to me. With quirky stabs and a cool melody, this four-to-the-floor track brings a sub base line that carries the spoken word of Simone Salloum. Bringing the hollowed out funk feel courtesy of Mes’ “Uncle Bernie,” of course Mes samples the comedian Uncle Bernie, teaching us not to be afraid of the word “MF.” And while “MF is about expression,” Mes is expressing his dance floor sensibilities with his light percussion and looped keys. Bringing the Mesilla Valley Madness, John Walker’s track, “Shoe,” gets dirty with his acid base line and key stab. If you’re looking to drown your audience in subterranean house funk, pull this weapon out of your box.

Delano Smith feat. Diamondancer – A Message For The DJ – Still Music

“Message for the DJ - I’m a house head forever” declares a cool, calm and sexy female voice by the name of Diamondancer throughout this track. “You can’t move me without it, so don’t you even try . . . I tap my toes to that other shit, but house really makes me move. Some people need hip-hop, rnbs okay, but a funky laid-back funky sweet house track takes my mind away.” I haven’t seen much of Delano’s Smith’s name lately, but I’m usually pleased with his work when I do come across it. By far, this EP is the most exceptional by advocating not only a groove, but also a message in the music. With a breezy afro-carribean flare, the “Inception Dub” lays out the sand over beaches with percussion and atmospheric chords for a scripted sunrise. Coming back with a New York-night-lurking remix, the Jimpster “Red Light mix” stands out the most. The swaying chords give the backdrop to a subtle rising tension while displaying a connoisseur’s appreciation of deep house.

Brett Johnson – Un Quantize Mindz – Magnetic

If you like your bompty mind-twisting and raw, pick this track up. Just when all the ravers thought I was a jaded club DJ, I threw this down at a party the other night and watched them turn out. This track makes the goal of getting people to dance all too easy.

Lawnchair Generals – Truth remixes – Lowdown

A shining shadow of the past, the new Truth remixes get the cut and paste action like Sneak, Hector Moralez and Chris C only know how to do. Stripped down base lines with a less-is-more approach, this redo serves to preserve that momentary groove that the house community has come to enjoy, but in the process doesn’t break any new ground. If you liked the original Truth cut, pick it up and play it out.

Natural Rhythm – Robot Training Camp - .Dotbleep

Justin Long’s label doesn’t jack around when it comes to putting out quality releases (but they may jack the dance floor). “Groove Thing” provides a subtle and soulful jazz layer on top of a bompty appealing groove. Then seemingly to my surprise, “Downtime,” a notable acid jazz track, is encrusted on the pliable vinyl platter, pouring out diversity to what I otherwise thought was a house-or-bust label. With bleeps and blips, the next cut, “Digifunk Era,” takes on a spacey vibe cat feel through round-about base lines and digitized melodies. The last track is one that’s been available for download through www.digibag.com for over a year now, but with a touch up and redit, “BBQ Jazz,” is all sauced and sassed up. Through house, jazz and a bit of tech layering, this release is true to the Natural Rhythm form.

Matthew Bandy & Jake Childs feat. Derek Mayo – Feel It – Seasons

Two names that when put together, can spindle chills down your spine. Seemingly two flawless up-and-comers that have been making quite the shake lately, this release takes on shades of a deeper feel. With late night and poolside ripples, the male vocals of Derek Mayo hit the high notes to stimulate the deep chords of emotion.

Lil Mark – Montage – Aesoteric

For a grooveable true-to-house release, Lil Mark brings it correct. Four feel-good blippy tracks stand the test of appeal, but not the ring of originality. Nonetheless, dance floors need that steady pace of rhythm, and this may just be the round and flat catalyst for the job.

rj bass june 2005 breakbeat

by RJ Bass ~ Rj Bass is one of Kansas City's foremost authorities on break beat music. Coming originally from Florida he has been spinning since 1995 and has played with some of the biggest dj's in the world. A former record reviewer for Breaksworld.com he and his new DJ partner Paul Prato will soon be launching their own web site dedicated to all breaks broken, entitled FrostedBreaks.com, as well as an internet broadcast show with the same name.

Dylan Rhymes - Nightbreed - Kingsize Records
Dylan Rhymes is one of those artists that you either love or hate. In my case, I love him and Nightbreed is one of the reasons why. Nightbreed is a dark yet powerful breaks track that envelopes a sort of hip-hop feel while still retaining all of its edm qualities. Hard hitting bass lines with distinct and clear mid and high range freqs combined with piercing synths and a mean vocal make Nightbreed a fantastic addition to any break dj's collection and to Meat Katies Kingsize label.

Beauty School - Beatbox Baby - TCR
What do you get when you combine a little bit of EMF with the singer from Fluke and then throw in one half of JDS for fun? You get Beauty School, the latest, greatest group of artists to come out of the TCR record label in London. Their first single “Beatbox Baby” is a cross genre tech house meets break beats that sounds similar to Shiny Disco Balls but with allot more energy. Beatbox Baby has proven itself to be a dance floor smash with its extremely powerful vocals, well-placed guitar riffs, and driving bass line. This is a complete fist in the air, pounding for more track that is guaranteed to leave your dance floor begging for more.

Plump Dj's - Get Kinky - Finger Licken Records
London’s godfathers of Funky Breaks have done it again. This time they come at us with a techy, funky, almost acid like breaks track with a small and simple yet powerful female vocal sample that screams sex to your dance floor. Sweet little acid lines run through this track like a warm knife through butta. Combined with loud and powerful hitting drums, Get Kinky is another dance floor smash that will accompany your set very nicely.

Soho Jo - I like Synthesizers (Friendly and Jo re-shuffle) - Fat
Until I heard this song I had never heard of Soho Jo before and now I am searching the net trying to find anything I can from this unique artist. “I like Synthesizers” is a very nice breaks meets 80's synth pop track that in many ways has the feel of a late 90's big room hard trance track - only without all the cheese. As the title suggests, this song is full of well-placed and powerful synthesizers. The synthesized vocal lines also play an important role in bringing out the whole feel of the track. All the elements combined give the listener a dark, but still happy sort of feel that will have them doing the liquid grooves in style.

Atomic Hooligan - Just Once More - Botchit
This is the break anthem of the summer. Atomic Hooligan has delivered yet again with another dance floor smash. It’s very rare to hear a track these days with loud and long snare build-ups without being very cheesy, but the Atomic Hooligan has done it. “Just Once More” has a very smooth bass line combined with very nice glitchy acid lines and perfect kick and snare drums to make this song a dance floor favorite. The song constantly brings you up and down with your emotions, feeling all high and full of energy at one point, and then feeling down low and ready to relax before it hits you again. Regardless of your particular style or preference in the breaks genre, Just Once More will be a very welcome addition to your collection.

miami heat craze

Betty Kang ~ Winning isn't everything, it’s the only thing. Three-time DMC World champion DJ Craze would probably agree. On his latest mix album Miami Heat, genius turntablist Craze serves up 24-tracks of drum & bass and turntablism all sliced together to create an album that is greater than the sum of all its parts. Before DJ Craze starts a busy summer festival schedule, he will also be starting a new residency at long-awaiting nightclub Nocturnal in downtown Miami starting Friday, May 20th. Other confirmed Nocturnal dates include May 27th & June 3rd.

To turntablist obsessives, DJ Craze is a genuine scratch pervert, mixing up styles like a wiki wiki whirlwind, who won his last DMC crown with a set that included Mobb Deep, Common, Electro and Jungle. But you've gotta carry plenty vinyl to be a turntablist - and those bags get heavy. Now Craze is embracing technology and he gets down with Final Scratch so he can have his whole collection at hand and still get down with the wiki wiki.

More than just a technical DJ, Craze is a performer to the 10th power. He can incite the crowd into a frenzy while titillating the scratch fetishists. To see Craze live is to witness a mad-faced battle master at the top of his game. “And body tricks. Oh, the body tricks. Hand over hand, hand under leg, hand behind the back, shoulder blades, spins. Each fluid movement maximizes his compact body and the hand-eye agility of an Iversonian crossover dribble” (DJ TIMES). DJ Craze tours extensively worldwide covering over 40+ countries and headlining festival dates in the UK, Australia, South America and Japan. Lauded for years by hip-hop aficionados, Craze has won the respect of England’s drum 'n' bass cognoscenti and now tours with the drum’n’bass elite Andy C, Bad Company, DJ Hype, Goldie, Grooverider, LTJ Bukem, and Photek.

“With Craze at the wheels, clipped phrases volley like a ping pong ball to form complete thoughts – "I’m getting mine in the one-nine-nine-nine." He sneers as he drops a dope dis that hypes the hungry crowd. His beat juggling, more complex than his phrase juggling, requires more manipulation, more fader clicks. Drum sounds are located and linked together, rearranged, recast. New and old scratches converge smoothly. As genres of music zip and spasm beyond recognition, doubles of old-school funk records tag-team to make a half-time drum-n-bass beat.” – DJ TIMES

It was Craze’s older brother, a Miami party DJ who got him into the scene, and bought him his first set of decks. “I started off mixing Miami bass, then Hip Hop; then I got into Turntablism and then I got into Drum and Bass,” explains Craze. The accolades started in 1998 when Craze was awarded first place in the scratch category at the World ITF Scratch Off Competition. That same year in France he won DMC’s Technics World DJ Championship, a title he successfully defended one year later in New York and went on in 2000 to claim for the 3rd time in London, an unprecedented winning streak. Thus making DMC and turntablist history! He also won the Team Championship for 2000 alongside Allies' crew member A-Trak, regaining the title from the UK's Scratch Perverts. DJ Craze is a feared warrior who has also taken top prize at the Zulu Nation and East Coast Rap Sheet battles. In addition to gracing the covers of URB, Mixer, Knowledge, Rinse, DJ Times and DJ Mag, Craze was also distinguished as TIME magazine’s DJ of the year 2001 in their “America’s Best” issue.

Not only a competitor but also a mentor, Craze was a tutor at the esteemed Red Bull Music Academy (London 2002) designed to inspire a new generation of musicians. Now amidst a whirlwind touring schedule, DJ Craze and established production star Juju have recently formed a new imprint Cartel Recordings to cater to more rugged dancefloor Drum‘n’Bass. New tunes include Cartel Recordings 005, a split 12” with a Juju & DJ Craze collaboration “Holywar” and Craze going in a tune “Take It Ez” with newcomer Genr8 of BC Recordings fame (out April 2005). Also expect to see Infiltrata’s “Soulshine Rmx’s” hitting and the newly finished Cartel monster “Survival.”

For more information, check out DJCraze.com, SystemRecordings.com or contact PlexiPR.com.

micro tech mix 5

Betty Kang ~ DJ Micro is one of the most respected performers on the U.S. trance circuit and a true veteran of the East Coast club scene. He is constantly pushing himself with his non-stop touring and nearly annual album release schedule for his devoted fan base.

His latest mix compilation entry Tech-Mix 5 represents the night’s peak hours with hypnotic anthems & energetic moments that fade into melodramatic hooks. It is a full-on high energy combination of hard-edged trance creating a sonic soundtrack that will keep the party at full throttle. The mixed album includes exclusive remixes of D:Fuse featuring Jes from Motorcycle “Everything With You,” Paul Van Dyk darlings Second Sun join the dancefloor onslaught with “The Spell” from their debut LP and exclusive tracks by Josh Gabriel (Gabriel & Dresden)“Alive,” Ferry Corsten & Shelly Harland”Holding On,” Joshua Ryan“Blueness,” and a DJ Micro original production “The World Around Me.”

Micro's journey began in 1992 as resident DJ at the famed Caffeine parties, where along with other early DJ luminaries Frankie Bones, Scott Henry and Adam X, the early East coast rave scene was defined. His first release Micro-Tech Mix (Moonshine, 1998) was followed by a large succession of best-selling mix albums, usually one released annually and each increasingly popular as he toured heavily year-round promoting the album and as a testament to his growing popularity among the club kids and rave circuit. In 1999, Micro graced the cover of DJ Times magazine for its high profile Winter Music Conference issue. With an unrelenting touring schedule, Micro’s music is always characterized by his energetic peak hour sets. Micro’s series of Tech-Mix, Caffeine and 2004’s Out Through The Input DJ mixed albums have been in high demand amongst his fans and has positioned him now as “one of America's favorite DJs.”

Tech-Mix 5 gives you just a taste of the adrenaline DJ Micro brings with his live sets, so get ready to be engulfed in peak time madness on his upcoming U.S. tour.

DJ Micro Tech Mix 4 Spring / Summer Tour Dates

April 29 - Springfield, MO
April 30 - St Louis, MO @ Velvet
May 7 - New Orleans, LA @ Ampersand
May 20 - San Antonio, TX
May 27 - Dallas, TX
May 28 - Detroit, MI
May 29 - New York, NY @ Webster Hall
June 18 - Murphysboro, IL @ Midwest Freakfest
June 3 - San Diego, CA @ ON Broadway Event Center
June 11 - Niagra Falls, NY
June 25 - Los Angeles, CA @ Spundae
July 2 - Philadelphia, PA @ Bang
July 9 - Denver, CO @ The Church or Vinyl
July 22 - Seattle, WA @ Club Element
July 30 - New Orleans, LA @ DeCaffeinated
August 5 - Milwaukee, WI
August 20 - Syracuse, NY
September 10 - Los Angeles, CA @ Avalon
And more dates TBA.

For more information about DJ Micro, check out DJMicro.com, SystemRecordings.com, or PlexiPR.com.

transplant part 3

Miss Michaela ~ by Brent Crampton ~ From acres of farmland to miles of skyscrapers - the majority of our readers lay somewhere in between. And with magazines such as XLR8R and URB talking about all the rage in London, Chicago, Miami or Germany – it makes a DJ wonder, “What if I moved to these places?” And what would happen if you moved? Would you make a name for yourself or would you just become another DJ standing in line, waiting for the next crap gig?

The Transplant mini-series will explore those concerns by asking the people who have already done it. From rural areas to citified hysteria – this interview may answer your questions.

This month brings us Miss Michaela - a former KC resident that, like Pat Nice, has followed her aspirations to Chicago. Determined to blaze her own musical path, Michaela’s determination has in turn been a creative outlet that has gained her steady momentum in the birthplace of house music.

Here is her story . . .

Tell me a little about your story - where did you grow up, did you move around at all and where do you live now?

Well, I was born and raised Overland Park, Kansas. After high school I did some moving around between Lawrence, Overland Park and Kansas City, MO. My first move to Chicago was back in 1999. Things didn’t work out so I returned to Kansas City and moved to Chicago permanently in the summer of 2003. I’ve been here almost 2 years.


Where did you live when you first started DJing and what drove you to take DJing and producing to the next step?

When I was fifteen, I started clubbing at Pogo’s – Club Piranha was probably my first real taste of the nightlife. DJ Pablo and Ray Velasquez were the first DJs I really heard. And then I started raving my senior year of high school, mostly in downtown KC at the Graffiti CafĂ©. But it was a year or so later that good friend and DJ, Coleco, turned me onto underground house music, and that’s when I really caught the DJ bug. Quickly, I was mesmerized and decided that I wanted to learn. And shortly after that began collecting records - house and disco mostly. I’d been operating under bedroom DJ status, until my first time playing out at “Flight,” which was February of ’99 at Gee Coffee. I was hooked.

So at one point you lived in a smaller metropolitan area with an electronic music scene. What motivated you to move to where you are?

I was very immersed in the KC EDM scene and have worn many hats within it. From attending shows and shakin’ my ass, promoting parties, booking artists, DJing, playing guest spots at various KC venues to holding residencies at The Hurricane, Empire Room and Spark Bar. But it was during the course of my partying days that I fell in love with Chicago. My first Chicago party was “Windy City All Stars,” May of 1998, thrown by the Vibeonauts crew. It was held at Cavellinni’s (this great indoor/outdoor venue on the Southside which has since been demolished). I will never forget dancing to Glenn Underground, who was spinning the sickest deep house sunrise set and never wanting to leave! It was love at first sight and I knew then that I wanted to live here.

So when you moved, what was it like? Did people in the music industry take you seriously since you were from a smaller scene?

After three tries, I finally made it to Chicago. I recommend having a job set up before you move anywhere! My savings went faster than I expected and I had to get the first job that I could find - and I hated it. After six months, I scored the interview that got me the job I have now. I work in the broadcast production department at a reputable advertising agency downtown. I’m lucky to work in a creative atmosphere that allows me to pursue my musical and DJ aspirations.

From a career standpoint - was it hard finding a job to sustain the higher cost of living?

From a DJ standpoint, it’s incredible. Chicago is such a diverse area. It’s great to be able to walk into a record store (or stores, there are tons) and find a selection that offers more than just one genre of music. There’s a wide variety of events, every night of the week and weekend. The local talent pool is stacked, from the up and comers to the old school jocks. And since it’s a big city, almost every artist (underground, indie or mainstream) has a stop here. Besides, for me it’s very refreshing to be living in the “home of house music.” There is so much history to learn and inspiration to feed from.

How is your music career now? Are things the way you envisioned them to be before you moved to Chicago?

As far as bookings go, it’s not all peaches and cream. Since there is a very huge, very talented DJ pool to choose from, you have to hustle to get your name out. Fortunately for me in my short time here, I’ve had the opportunity to play with DJs such as Tony Humphries, Josh Wink, Colette, Lady D, DJ Motion, Alena, Heather, Chris Leibing, Greenskeepers, John Simmons, Sombionix, Paul Anthony, and Sista Stroke among others, at renowned Chicago venues such as Smart Bar, Zentra, Vision, Moonshine, Tini Martini, Lava Lounge, Bar 3 and Holiday Club. Then, last summer, I played a mini tour in Seoul, South Korea. That experience blew my mind, like whoa — they’re flying me half way around the world to play records – Wtf?!

What advice would you give to people who are considering a transplant to pursue music more fully?

I personally love the challenges of being in a big city. Totally sounds cliché, but no pain, no gain. Truer words were never spoken (laughs).

interfuse 2005

by Andrea Johnson ~ photos by LuckyBrent ~ Interfuse was started in April 2004 by a group of Midwest Burners who noticed a need for a community event to bring the Burning Man principals to the central Midwest. 186 people from 14 different states showed up for the event, bringing art, theme camps and a sense of community with them.

This year, for InterFuse 2005, over 360 people from all over America converged at the Ozark Avalon Campgrounds on May 13-15th.

I attended InterFuse with seven of my good friends after finding the information posted on the Interfuse web site. Our ThemeCamp was “BubbleMania”, since I am known in some circles as the Laughing Bubble Chick.

The name InterFuse means “To pour or spread between or among”. “Fuse” means, “to become liquefied from the heat. To become mixed or united by or as if by melting together.” The “F” in “Fuse” is capitalized because “Fuse” also signifies a small fire that prepares the way for a larger fire.

Arriving in the early afternoon with my camping buddies Brent and Michael, we were greeted by Diana and Brett, two lovely greeters who took our tickets and blessed us with real Playa dust from Burning Man in Black Rock City, Nevada where the annual Burning Man event takes place.

After setting up camp with our fellow friends Andy, Dave, Gina, Mike who arrived shortly thereafter, we proceeded to crack open a few beers while I set up the industrial strength bubble machines and set up shop for people to play with the bubbles.

It was a beautiful day, everyone in really high spirits as they set up their theme camps. One guy across the way from us had these amazing black lit flower arrangements that he painstakingly hand painted with black light paint. Another camp had stuffed animals that you could make yourselves. Yet another was full of hammocks to lounge in. We met many people in fun costumes as well as street clothes and some with no clothes as we walked around and checked out our surroundings.

InterFuse officially kicked off Friday night when Diana lit the InterFuse sign, a beautiful metal sign that blazed and warmed us all up mentally and physically. It was time to party!

Mother nature rained down on us Friday night, so Brent, Michael and I huddled under the shade tent while our camping buddies decided to pass out. Eventually the storm passed and Brent and I sat out by our campfire welcoming passer-byer’s with a warm chair and interesting conversation.

We finally passed out in the wee hours of the morning, with the music from the Mindlicker Dome (the DJ booth and dancing area) booming out into the night.

Saturday morning we awoke, had a bit of breakfast, and headed down to the shower area affectionately known as the “Frog Bog”. There was actually hot water, and it felt so great to clean up a bit after the previous night’s rainstorm and partying.

Michael, who is an awesome fire spinner, let me tag along as we went down to the poi spinning practice. Poi spinning is the complicated art of spinning a flaming ball that is attached to a chain. When done correctly it is one of the most beautiful sights one can see, plus the sound of little fireballs swooshing around the air is really cool.

After an afternoon nap and outfit change, Brent and I once again headed out to explore the rest of the campgrounds. I was told there was a lake on the property too, but didn’t get a chance to see it. Andy made dinner, yummy steaks and baked potatoes over the fire.

Then, it was Burning TIME!!

Someone had made a large obelisk to burn, and it was so HOT, everyone took a few steps back once it caught on fire. The energy was crackling in the air. We then made our way down to the FrankenMann effigy and patiently waited for the show to start.

Now, I have never been to Burning Man. I have friends that have gone, and have heard many stories from the Playa and have seen the website as well. I have seen lots of fire dancers and a lot of crazy costumes, parties etc in the past few years. None of that would have prepared me for what came next.

The drums starting beating, and the crowd held it’s breath. In the distance we could see the soft glow of fire. Suddenly, the circle surrounding the Man was filled with dozens of fire dancers, fire-eaters, and anything else fire related. Each one of them took their turn showing off fancy moves, blowing or eating fire and building up the crowd’s energy. It was such a show!

The crowd clapped and screamed as the torchbearer came to light up derFrankenMann. It was beautiful. Everyone had added his or her own adornments to this crazy wooden creature that was carefully raised up. It took ablaze rapidly, warming the faces of all those who looked on. Clapping and cheering, suddenly the Man broke out in a beautiful firework display that popped off every 5 minutes or so. There are a shortage of words to describe how this looked…look at the pictures for an explanation.

The whole procession took about 45 minutes or so, then the crowd started to disperse down to the Mindlicker dome to dance the night away. I went down to the dome to dance and got distracted by some fire dancers of in the distance. I have since figured out I’m a fire dancer groupie, so I left the DJ area to go watch. I found my friend Michael was there with his friend Karen and they were spinning fiery whips and more poi.

After helping them clean up and put their fire toys away, we headed back to Karen’s camp for a bit. We noticed that the sky was a funny green color, and we saw soft waves of light pulsating across the horizon. At first thinking it was pollution, or someone’s campsite giving off funny light we dismissed it, but it stayed around for over an hour and we watched it pulse in time to the Psy-Trance beats the DJ was playing. It was comforting that my other friends could see this as well, so I gauged that on how much partying I had done that night! I found out a few days later that there was a solar flare, and that the sunspot had caused Northern Lights to be displayed in our atmosphere. It was like Mother Nature was giving a nod to all the Burners out there!

Sunday morning I awoke to Andy and Matt making breakfast of bacon and potatoes. Brent and I went out exploring again, because we had heard that some one was making pancakes for anyone who stopped by. I was restless too, and wanted to walk. We found Benry not too far down the road, with a huge grill, and an even bigger pitcher of pancake mix. After having some yummy pancakes and chatting with some of the people milling about, we went back to our campsite to start breaking down. I still can’t believe we got all our crap back in Brent’s car. It seemed like we left with more stuff than we came with!

We left about noon Sunday, tired, dirty but very happy and in great spirits. After finally finishing up the last of my laundry when I got home, I slept for almost 2 days to recover form the wonderful time we had. I believe the Burners call it Decompression. I sure didn’t want to go to work on Tuesday!!

The Midwest Burners became a Social and Recreational Association with free membership in January, 2005. InterFuse is a gathering for members and their guests. It is highly participational. You get more out of it, the more you put into it.

If you ever have a chance to meet up with some Burning Man peeps and are invited to go to a Regional Burn either here, or anywhere, I highly recommend it. …Because it SHO’ IS FUN!

To find out more information about the Midwest Burners, check out MidwestBurners.com, or to find out more info about Burning Man, check out BurningMan.com.

Special Thanks go to Zay, Chairman for the Midwest Burners, for filling me in on the history of the Midwest Burners, and InterFuse.

middle of know where

story & photos by Sarah Bates ~ By Friday afternoon I was so ready to leave town I couldn’t even sit still. I counted down the hours in my cubical until it was finally time to hit the road. My boyfriend and I loaded up the car with all our new camping gear, lots of food and beverages and finally we were watching the city fade in the rear view mirror.

While the flyer for the party said Omaha, Nebraska, it was actually about an hour outside of Omaha, a good four hour drive from home. With my love for outdoor parties, and it being the first outdoor of the summer, it was well worth the drive. I was looking forward to a three day weekend of lounging in the sun, hanging out with some party kids, and taking in some dope beats.

We got lost, but thanks to some interesting locals we eventually found the place. The name "Knowwhere" suited the venue well. The party was held on a good chunk of land in the middle of rural Nebraska, and about 6 miles out on a gravel road. The place had a really awesome set up for this type of party. There was only one entrance, the roads are easy to drive on, the land was level and there was plenty of space for parking, camping, running around in circles or whatever else you really felt like doing.

At the entrance to the driveway we got our wristbands, which are by far the funniest wristbands I’ve ever seen. They said “Lose this, and you better Knowwhere to find $10!”

We set up our tent with the already pretty large group of KC kids. I must say, the party kids from Kansas City definitely represented at this party, and they partied like pros. They didn’t even think about letting anyone else camping around them sleep ALL weekend long, saying, "Sleep? You can sleep when you’re dead!”

Friday night was open decks night with only one stage open. Those who brought their records and got their early enough to sign up, got an hour long slot to show off their skills. I didn’t get to catch everyone who played, but there seems to be a love for Hard House in the Nebraska scene. We crashed out early Friday, but didn’t sleep long. Everyone was up bright and early in the morning, grilling their breakfast hotdogs.

Since we arrived after dark, Saturday morning I explored the land where the event was being held. To the left of the house was a wooded area where the camping was set up, and cars were parked. To the right of the house was a good sized garage where the open decks were Friday night and the Jungle/ Drum n Bass room was set up Saturday night. In front of the garage was an area where there was a large bonfire and down the hill was the main stage for Saturday night.

Saturday I had a chance to talk with the people that helped make the party happen. The first person I met was Kidd (Pirate Transmissions), who is by far one of the most energetic people I have ever met. He is tremendously talented and has done the visuals for the Chaos Theory parties in Kansas City. He makes all of his stuff himself, including two massive homemade screens he sewed together himself out of 4 king size bed sheets, that he had rigged up to the barn and silos outside.

That afternoon I lounged in the grass and talked with Danny Maze, the creator and promoter of the event. The party itself was held at his home, where he and his beautiful girlfriend Abrey dwell. Danny is originally from Tampa, FL where he worked for Groove magazine. He has been spinning Hard House, NRG, and Breaks for 12 years, and promoting parties in many cities including LA, Tampa, San Bernardino, and San Diego for 10 years.

The event was put together with no sponsors; just himself and a few of his friends organized, paid for and ran the event. He wanted to make sure that props were given to those who made the party happen. First, Matt-E, a Hard House DJ from Omaha. Second, Dustin, also from HighLucyNation Productions in Omaha. He puts together the weekly event in Lincoln, Nebraska called Chatterbox, and Danny said that they were very helpful in supporting the party.

Danny and I, along with Matt-E and some local Nebraska party kids, discussed the Nebraska scene. Danny’s thought was that this event was “100% the trial/error for the scene in Nebraska”. It was agreed by all that the main problem, like in most places, is lack of support. Maze also added in that there is talent here, and there are enough people to support a scene, people just need to take the initiative. All of them hope that the scene there will be rejuvenated soon.

As dusk fell, everyone was getting prepared for the party to come. More and more people were showing up, the party had doubled by nightfall. While waiting for Milo to cook us some yummy grilled cuisine, I got to talk with one of the headliners, Paul Anthony from Chicago. He is with Ammo Recordings, Kontrast Recordings and Dirty Fabric. We talked about his current projects and his feelings on the scene in the Midwest.

“The Midwest is coming back large. Lots of new faces” Paul says. “The Midwest has a lot of people who are into House. It’s a good scene, and the kids are more appreciative than in larger cities. They don’t take it for granted.”

He had too many upcoming projects and record releases to discuss. Some of the more prominent ones are “Get a Move On” (611 records), which was was recently released and is being played by such artist as Bad Boy Bill, and CZR. Also, “Call to the Wild” and “Got the Groove” are being released on Kontrast Recordings, and “Everybody Dance” on Ammo Recordings.

I asked Paul if he preferred smaller parties, like this one, or larger parties. He said that there were good sides to both. He likes smaller parties, because they are more intimate, and you can really connect with people, and meet people. He likes bigger parties because “It’s a chance to reach a large number of people at once, and there is a high amount of energy in larger crowds.”

Shortly after I got done talking with Paul, the party was getting into full swing. From about 7 until midnight Nebraska locals played on both stages to a growing number of party-goers. There were way too many to name each, but all of them were on the top of their game and played well and with tons of energy.

By the time Paul Anthony and Mark Almaria (also from Chicago, on Ammo Recordings) took the stage for their two hour set on 4 turntables, everyone was ready to dance. Paul and Mark tore it up for two hours straight. The whole spectacle of the bonfires, all the kids dressed up and dancing, surrounded by Kidd’s beautiful visuals was awesome to experience.

Besides a minor interruption by the local authorities, which shut down the main stage early, I thought the party was a success. Talking with Danny later, the authorities asking for the main stage to be shut down was actually a blessing in disguise. About 20 minutes after all the sound equipment was loaded back into the truck, a storm came out of nowhere (no pun intended), and soaked everything. The music in the Jungle room continued, safely covered from the rain, well into the morning.

All and all, I think everyone who attended this event had a good time. It was definitely a fun way to usher in the summer. When I asked a very tired Danny Maze about any future plans for parties at his place he just said “Next time” and smiled.

You can see more the photos from what you missed by checking out the gallery Be sure to keep up with any of Danny's future events by visiting his website at DJDannyMaze.com.

june 2005 editor note

Spring has definitely kicked in to high gear, hasn't it. There have been a lot of interesting things going on. The month started off really great with a visit from Miss Kitten and ended Music, Sex & Cookies at The Newsroom. There is definitely a promise in the air of bigger and better things to come over the summer. If you wanna dance, you will definitely wanna be watching the calendar.

The cover photo this month goes to Sarah Bates, for a shot she took while Knowwhere (pun intended) last weekend. From her story, it sounds like I missed a really good time, but the time for camping is coming soon enough for me here in just a couple of weeks at MidWest Freakfest. That's gonna be a good time. A lot of folks have been comparing it to Caveman last year, but I think there's a different group of folks doing things this time. It is sure to be something to be a part of.

Things are picking up pace though. There are so many great things going on this month in photos and stories that it's hard to tell sometimes where exactly to start talking about it. The photo for this column was a shot that Sherri took while we were in Lawrence, KS briefly for Cyclone featuring Donald Glaude. I'm pictured with DJ and friend Manders. She is definitely one my favorite KC House DJs.

There have been some interesting peeks into other parts of the country added to the site, like Freakfest in New Orleans, Unify in New York, a three day, three venue event. Beach Club Sundays have started up again and there are some really fun things that are being planned there, so stay tuned, or just come down and hangout. That has got to be the best thing to don on a Sunday night. You can even play volleyball in the sand if you want.

Have a wander through this issue. We've got some new writings and reviews. On Decks rocks so far. I'm 20 minutes into it and I'm boucin in my chair. What's he sayin? Techno Pops? Is that like Corn Pops, but made out of Techno?

See you on the dance floor!

todd aka ~phocas~

june 2005 issue