In preparation for Amsterdam Dance Event, we put together some new videos of our live performances. Check em out. If you're into them, please rate them for youtube and subscribe to our channel. Enjoy!
Wednesday, October 31, 2007
Tuesday, October 30, 2007
Fright Night
We had a blast performing in Bermuda for Volcanic's Fright Night 2007. Video is on the way and here's some pics from that night.
Monday, October 22, 2007
ADE review
Held in one of the greatest cities in the world, Amsterdam Dance Event is regarded as THE dance music conference of the year. I always wanted to check it out and was fortunate to have a free hotel room to crash in (thanks to writing for DJ Times Magazine).
The daily activities of the conference include panels, interviews and all-around networking. In European fashion, the bars serve as the perfect place to meet with record labels, managers, publicists, etc. It was referred to me by one A&R as "WMC circa 91". Where Miami in March is now the place for fans (mostly New Yorkers) to party, ADE is the place for dance music professionals to meet. If you are an aspiring DJ/producer, save some money and go to Amsterdam next fall. You wont regret it. The ADE bracelet also gets you access to almost every party in the city that is an ADE event. Highlights for me were sets by Mark Knight, Rene Amesz, and Sander van Doorn. I regret not going to more parties, but a person can only handle so much action. I also had a chance to witness an interview with legend Kevin Saunderson. Respect.
The daily activities of the conference include panels, interviews and all-around networking. In European fashion, the bars serve as the perfect place to meet with record labels, managers, publicists, etc. It was referred to me by one A&R as "WMC circa 91". Where Miami in March is now the place for fans (mostly New Yorkers) to party, ADE is the place for dance music professionals to meet. If you are an aspiring DJ/producer, save some money and go to Amsterdam next fall. You wont regret it. The ADE bracelet also gets you access to almost every party in the city that is an ADE event. Highlights for me were sets by Mark Knight, Rene Amesz, and Sander van Doorn. I regret not going to more parties, but a person can only handle so much action. I also had a chance to witness an interview with legend Kevin Saunderson. Respect.
Tuesday, October 16, 2007
New DJ Mix
A 66 minute mix from Dj Ohzee & The Butcha - The Future Beat Is On
Click Here To Listen or Right Click and Save
Click Here To Listen or Right Click and Save
Monday, October 1, 2007
Vinyl Life quoted in Billboard "Analog" Article
THE ANALOG KIDS
October 06, 2007
Dance Artists Abandoning Digital In Favor Of Vintage Gear
KERRI MASON
Before preset sound banks overflowed with prefabbed beats, electronic musicians made them from scratch with freestanding synthesizers. Before drag and drop, remixers physically cut and spliced tape to move sonic parts. When the digital production revolution finally did come, dance producers led the charge, emboldened by the standardization of sounds and methods they had pioneered. Since then, nothing has sped the genre's growth (or dilution, according to some) more than the advent of increasingly cheap, easily manipulated software.
But now, less than a decade after the debut of such computer synthesizers as Propellerhead's Reason and Ableton's Live, the same early adopters who embraced digital are turning their gazes back to the future.
"People are realizing what's missing from the sounds they're getting out of software," Phil Moffa of production/DJ outfit Vinyl Life says. "They're conscious of how everything is sounding the same, and digital replication is the same every time. The magic of analog is it's never the same, depending on the weather, where you are in the world, the electricity supply."
Moffa is one of a crew of young dance producers who have dumped their neat little laptops for rooms full of hulking black boxes, scouring eBay and garage sales for vintage, amp-driven, analog synths. Their mission: to shake off the homogeny of boilerplate beats and use synths as the nuanced instruments they once were.
"We get more inspiration out of the old machines," says James Ford of Simian Mobile Disco, whose addictive "Attack Decay Sustain Release" (Interscope) has fired up the dancing shoes of indie and club kids. "You try to do something, and they'll give you something back you didn't expect. Also, because they're physical things, it's less cerebral; there's a humanism to it. We're not big fans of pushing blocks around screens."
Acts from the Chemical Brothers to Nine Inch Nails have garnished their records with different analog tools for years. But the new school of enthusiasts sees its preference as a sort of reactionary revolution. Moffa dumped all his digital sounds for good in 2005, going fully analog for Vinyl Life's "Flashlight" (Ultra) and each release since. Simian's "Attack" contains no samples, and was entirely made with hunks of such audio antiquity as the Korg MS-20 (1978), ARP Instruments ARP 2600 (1971) and Roland Juno-60 (1982). Such acts as Uberzone and U.N.K.L.E. have also expressed their displeasure with the constraints of digital.
"I hate really nostalgic records that are trying to sound like old records," Ford says. "But there's something familiar about [analog], the way it shapes the sound and rounds out the edges and warms it up. It reminds you of the records you grew up with."
October 06, 2007
Dance Artists Abandoning Digital In Favor Of Vintage Gear
KERRI MASON
Before preset sound banks overflowed with prefabbed beats, electronic musicians made them from scratch with freestanding synthesizers. Before drag and drop, remixers physically cut and spliced tape to move sonic parts. When the digital production revolution finally did come, dance producers led the charge, emboldened by the standardization of sounds and methods they had pioneered. Since then, nothing has sped the genre's growth (or dilution, according to some) more than the advent of increasingly cheap, easily manipulated software.
But now, less than a decade after the debut of such computer synthesizers as Propellerhead's Reason and Ableton's Live, the same early adopters who embraced digital are turning their gazes back to the future.
"People are realizing what's missing from the sounds they're getting out of software," Phil Moffa of production/DJ outfit Vinyl Life says. "They're conscious of how everything is sounding the same, and digital replication is the same every time. The magic of analog is it's never the same, depending on the weather, where you are in the world, the electricity supply."
Moffa is one of a crew of young dance producers who have dumped their neat little laptops for rooms full of hulking black boxes, scouring eBay and garage sales for vintage, amp-driven, analog synths. Their mission: to shake off the homogeny of boilerplate beats and use synths as the nuanced instruments they once were.
"We get more inspiration out of the old machines," says James Ford of Simian Mobile Disco, whose addictive "Attack Decay Sustain Release" (Interscope) has fired up the dancing shoes of indie and club kids. "You try to do something, and they'll give you something back you didn't expect. Also, because they're physical things, it's less cerebral; there's a humanism to it. We're not big fans of pushing blocks around screens."
Acts from the Chemical Brothers to Nine Inch Nails have garnished their records with different analog tools for years. But the new school of enthusiasts sees its preference as a sort of reactionary revolution. Moffa dumped all his digital sounds for good in 2005, going fully analog for Vinyl Life's "Flashlight" (Ultra) and each release since. Simian's "Attack" contains no samples, and was entirely made with hunks of such audio antiquity as the Korg MS-20 (1978), ARP Instruments ARP 2600 (1971) and Roland Juno-60 (1982). Such acts as Uberzone and U.N.K.L.E. have also expressed their displeasure with the constraints of digital.
"I hate really nostalgic records that are trying to sound like old records," Ford says. "But there's something familiar about [analog], the way it shapes the sound and rounds out the edges and warms it up. It reminds you of the records you grew up with."
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