Whilst I don't arrive back to my trusty laptop in the northern hemisphere until the 1st, I've got a couple of days of free internet access and so thought of relieving myself of a few thoughts that have been bugging me lately.

In particular, it's about the use of sampling.

Now, sampling is an integral part of most modern music production. It's an art mastered through the genres of hip-hop to the deepest techno. I have no prejudice against the use of sampling, as up until recently all artists made extremely creative use of the original sample, taking it out from an obscure record or genre and looping/chopping/reversing/splitting and so recontextualising the sample into a whole new musical creation.

A prime example of this is no less than Dj Shadow's album Endtroducing, which is quite brilliantly made solely out of samples.

Now to understand where the current controversy over samples is coming from watch this:


Now this is the sort of creative procrastination that annoys me so much about modern day popular music. Just pure laziness on the artists behalf and a lust for success. My opinion anyway.

Now here are a few more tracks using samples. I think it's fairly clear what my opinion is on the matter but I'll leave them all for you to decide.



Obviously I have an infatuation with Justice, but that one's just to show another effective use of samples, and so that I can post some gratuitous Justice. Also the original song is quite a cool italo-disco tune.


This one brought a tear to my eye...



Fairly obvious where these two were sampled from. Serial offenders.

After the intense inauguration to EXIT festival on the Thursday, courtesy of Erol Alkan and Boys Noize, the next night just couldn't come quick enough for us. Unfortunately our plans of sleeping throughout the day to clear our heads and refresh our bodies hit a snag, that being the 38 degree weather which made sleeping in or out of our oven-like Tesco's tent almost impossible. Luckily though, there was no planning needed for the nighttime. Friday's line-up conclusively decided where we would be, and would stay, for the duration of the entire night's music. Unlike most of the other days where there was at least some dilemma-causing overlap of acts, our attendance in the Dance Arena would be confirmed for at least 6 hours, beginning at 12:30 with Moderat, performing live for an hour, followed by Josh Wink for a mandatory 2 hour set and then crowned for the next three hours by Ricardo Villalobos. For us, there couldn't really be much competition in the other arenas, only Joker's set in the brilliant Happy Novi Sad Arena remotely tempted us, but in reality we were staying put.

Moderat Live @ EXIT Festival 2010 - 'Rusty Nails' from Dominic Kocur on Vimeo.

Quite frankly, we were shattered when we got to the dance arena at just gone midnight on another humid Serbian evening. The night before, the heat of the daytime, the few beers we had before we left the campsite and the undesirable journey to the festival site all contributed to a general feeling of lethargy amongst us. But we remained positive and my excitement was undiminished, especially with a line-up to die for. Up first was Moderat, the collaboration of German duo Modeselektor and Apparat. For me, this was one the main attractions for me at this year's EXIT, and one of the decisive factors in me coming. Their debut album, Moderat, is nothing short of a masterpiece. Their sound is intelligent, melodic and original, difficult to pigeon-hole but often categorised as 'Electronica'. But their sound is far more complex. There's the stylistic trademarks of Dubstep, especially in Rusty Nails, featured in the video above. It's glitchy, and could even be perceived as 'Ambient' electronica. Not only is their music excellent, but they were awarded the 'Best Live Act' of 2009 by Resident Adviser, which made their performance at EXIT even more exciting. Predictably, they performed the best from their album, I had not been aware of any new material of theirs so I looked forward to my favourites such as New Error, Rusty Nails, Seamonkey and of course, Les Grandes Marches. After the first 20 minutes or so, it became clear why their live performances are so revered. In this age of multi-laptop, space-equipment live set-ups, often with the artist hidden behind stacks of stage props etc., it was just so refreshing and uplifting to see three artists on three synthesizers, one of which (Apparat) has a mic for his occasional vocal contribution. That is it. So gloriously simple and yet their performance remained exciting and utterly compelling. The lighting and visuals were perfect, the sound was crisp and powerful. It was a truly unique set from such a unique project, and it certainly whetted our appetites for what was to come.

Almost as soon as Moderat's live set-set up was dismantled and swiftly moved aside, Josh Wink stepped up to take centre-stage behind the huge DJ table. I can't confess to be too familiar with Wink's productions, the only one I really know being the club favourite Higher State Of Consciousness, but I was more than aware of his high reputation. Chris on the other hand knew far more about him, and I was assured we were very lucky to be witnessing one of his valued sets. As the night entered it's deepest, the amazing lighting and visuals really began to create a true rave atmosphere. Wink descended into an aggressive journey of acid techno as more festival-goers began packing the dancefloor. It was a brilliantly assembled set which brimmed with all the pride and charisma of a headline slot but yet kept it's role as essentially setting-up the true main attraction. Inevitably, as the clock turned 3am and a certain bearded Chilean could be spotted popping up from beneath the table (presumably setting up his turntables), Wink decided it was time to unleash Higher State of Consciousness to devastating effect. The fuse was well and truly lit for an epic final few hours.

Ricardo Villalobos 'MDMA' @ EXIT Festival 2010 from Dominic Kocur on Vimeo.

Ricardo Villalobos is, put simply, a living legend. A techno idol, a musical genius and a lovable character. I was first introduced to him when I spontaneously decided to buy his iconic fabric 36 mix some years ago. Ever since I have been one of his loyalist followers, managing to turn Chris into a similar fan on the way. Without going into a lengthy analysis of his musical style, he produces fascinating sounds, bending the conventions of electronic music to controversial and unfamiliar grounds which naturally divides opinion. If his idiosyncratic production style is not to everyone's taste, nobody can deny he's an incredible DJ. In 2009, Resident Adviser placed him top of the pile in their respected annual Top 1oo DJs list, and it's not hard to understand why when you experience his notoriously epic sets for real. While the likes of Hawtin and many other minimal jocks are happy to use all sorts of gadgets to assist their sets, Ricardo keeps it simple. The most advanced technology you'll see him using is a pair of CDJs, otherwise it's vinyl all the way. Just a pair of decks, a mixer and one of the most creative musical minds. Sporting a typically eccentric sweater, Villalobos spun a set of hypnotic techno and groovy house sounds for well over his allotted three hours. Flawless mixing, layers of clever looping and a record collection yielding some of techno's most brilliantly obscure numbers. Of all the songs dropped, I can only say to have been familiar with the few of his own productions he decided to use. The subtle piano chords of Enfants (Chants) filtered beneath something far heavier on the other deck, the mesmeric MDMA rumbled out later, and right towards the end when the master had donned his sunglasses, his mysterious anthem Easy Lee provided aural pleasure for the plenty left grooving at almost 7am. We already loved Ricardo Villalobos, now we also loved EXIT festival.

I mentioned in the previous post that there had been some significant developments in the minimal world, and there is nothing more significant when it comes to minimal techno than Richie Hawtin's sinister production alter-ego, Plastikman. Minimal Monday will make a return soon, I promise, but when news broke that Plastikman's Kompilation CD had been released, a collection of the moniker's best tracks, without question I felt it deserved an independent post. Come on, it is Richieeeee after all.

Perhaps the most influential and controversial personality in the underground techno scene, Richie Hawtin created Plastikman in the early 90's in response to an epiphany he had about the progressive restrictions of the harder techno sounds more commonly associated with that era. What emerged was an almost schizophrenic other side to Richie, a geek who became obsessed with pushing the boundaries of electronic music's parameters and the limits of musical technology. Ever since, his live shows have been an experience of futuristic hedonism which have recently included Hawtin caged behind an o-zone of LED lights on -stage while he fiddles with an array of laptops, synthesizers, samplers and whole range of other equipment that only he knows how to navigate.

What he was playing was some of the darkest, most formidable minimal techno ever heard. This wasn't music to make you smile and groove gently too, like you would expect from the latin dons of minimal such as Villalobos or Luciano. This was music to rave to, keeping the intensity of old techno but reducing the BPM to make something stripped down and perhaps even more hedonistic. Tracks like Spastik, despite the rapid drum patterns throughout, is remarkable slow, and has now become one of the most iconic minimal anthems. Now all of Plastikman's most important productions have been assembled together on his Kompilation CD. It's an incredible collection of tracks, displaying why there is oh so much fuss about Richie Hawtin. It's an essential album to have, right from the shadowy acid-laced 11 minute opener Plasticine through to the hollow confines of its finale, Ask Yourself.

Plastikman - Helikopter

While Minimal Monday has been in hiding for a while (perhaps it's too small to see), I feel like I should compensate somehow. Yet more technical problems has been largely responsible for the lack of minimal posts recently, made especially frustrating by the significant developments in the minimal world of late. So alternatively here is a tasty assortment of tech-house, the kind of sleek, groovy stuff fabric resident Terry Francis (above) would spin on a Saturday night at EC1.

Tracey Thorn - Why Does The Wind (Morgan Geist Remix)


Guy Gerber feat. Dawn - Hate/Love


Dinky - Paquita (Matthew Styles Remix)


Hoochie Mama - Martin Buttrich


Alex Niggemann - Take Control (Matthias Tanzmann Remix)

The third installment of Now We Rave brings you some more underground club bangers hot on the circuit, as always touring tempos from groovy house to much darker, more unpleasant techno sounds.

I'm not quite sure how I came across Jan Driver's Tellyfoam, but I instantly recognised it. Then I realised it was actually another brilliant tune I had heard for the first time at EXIT, where DJ Mehdi cleverly featured it in his brilliant housey-electro set on the Sunday. It's weird and wonderfully danceable, with such a fascinating bassline. Expect this to be in many a house or techno set for time to come.

Jan Driver - Tellyfoam


I'm well aware this isn't a new track at all, in fact I'm pretty sure it's been around for ages but after first hearing it when Cassius dropped it in their amazing set at Together in London back in April, I had been almost obsessed with trying to hunt down whatever it was. The next time I heard it was during Mehdi's set (again) at EXIT. It was only after that I finally discovered what it was, thanks to Chris's undisclosed sources. Ironically, it turned out to be L-Vis 1990, who we had seen at EXIT also, and had only really just been properly exposed to. It's shuddering, trashy, funky bassline is ultimate rave satisfaction.

L-Vis 1990 - Compass


I don't think I've heard this out yet, but after reading it's one of Brodinski's current fav's, I had to get my hands on it. I have seen Brodinski a few times and it's stylistically perfect for one of his techy sets. It's also worth crediting Acid Girls for yet another excellent remix.

Human Life - In It Together (Acid Girls Remix)


Another Brodinski favourite, Mumbai Science's Ancova is as Chris superbly put it, 'an absolutely huge techno tune'. This is a dancefloor weapon, with enough euphoria-soaked bass-heavy drops to make your average 8am raver weak at the knees.

Mumbai Science - Ancova (Dry Edit)


Chris says Boys Noize has used this in his sets before? I believe him. It's wonderfully groovy disco house, but with enough electro distortion to keep the sweat dripping off those walls... There's also a turbo-charged Xinobi remix out there for those wanting a bit more...

Gooseflesh - Caravan (Original Mix)

Love Someone, Now that's an album title you won't usually expect in electronic music. It somehow has worked for record label and minimal duo Wolf + Lamb (Zev and Gadi Mizrahi) who have assembled a charming new album which encapsulates the sound of love, but through synthetic melodies. Must Be Brooklyn, one of the many fine pieces of the album, is house at it's most chilled-out and coolest, yet still with a unquestionably groovy rhythm. The sort of thing that fabric's room 3 has to offer on Saturday nights.

Wolf + Lamb - Must Be Brooklyn


Love Someone by Wolf + Lamb is available now on Beatport among other sites

In a similar vein to the last Now We Rave post, this installment is designed to get your hands in the air and your bodies moving. Once again it's a small collection of some of the best dance tracks being spun by the best DJs right now, such as our old pal Erol Alkan, pictured above.

I'm not quite sure where Congorock has come from, or even how to really describe his sound, but one things for sure he's pretty awesome. Babylon is nothing other than an electronic assault, the main drop is one of the craziest I've heard in a long time and trust me, is just nothing short of incredible on the dancefloor when tested on a powerful soundsystem.

Congorock - Babylon


Flux Pavillion could be genius- he has made one of dubstep's biggest cynics, myself, actually go mad for a bit of skanking. I never thought I would say that but Got 2 Know is right now a favourite of Busy P who is more than happy to break up his typically pure electro sets with some electrified dubstep. It's fucking amazing by the way.

Flux Pavillion - Got 2 Know


The Religion remix of Felix Cartel's Berlin has only just arrived to my speakers and it's already racking up quite a high play count. The thumping house beat, melodic strings, piano riffs and nasty distortion is a marriage made in heaven, believe it or not.

Felix Cartel - Berlin (Religion Remix)

For those who don't religiously follow Resident Adviser, the online bible for all things good electronic music, here is a special little feature that was published a few days ago. A rare and truly precious interview with one of the most revered and respected DJs in the world, fabric resident and music director, Craig Richards.

Craig Richards - The Tyranny of Expectations (RA Interview)

Fingers crossed, I think I may have sorted out the uploading problems I had with zippyshare which had been preventing me from posting any music for download. What this now means is that I have a backlog of music I am simply desperate to share withe the world. I'll start with three diverse but equally ravey bangers that are hot on the circuit at the moment....

Firstly, Uffie's recent catchy electro-hop release ADD SUV, but given a housey makeover this time from the duo of the moment, Carte Blanche

Uffie feat. Pharrel - ADD SUV (Carte Blanche Remix)


A Sweat On The Walls debut for big-beat master, Fatboy Slim and fidget sensation Hervé, united by their shared love of the Roland TB-303 synthesizer, often dubbed the origin of the 'acid sound'.

Fatboy Slim vs. Hervé - Machines Can Do The Work (Action Man aka Hervé's Acid Flash Mix)


And lastly, one of the most highly anticipated releases this year without question, Bart B More's outrageous electro mash-up, Brap. Well I did promise some bangers, did I not?

Bart B More - Brap!


More to come....

Swedish House Mafia's One is ripe to be remixed. It's fairly clean simple house beat, the distinctive 'big' synths, and of course the fact that it has become such a mainstream hit has compelled many underground producers to give it their own slightly less pleasant twist. Congorock has done the best job so far, keeping the the best bits from the original while taking a chainsaw to some of the sub-drops and integrating a darkly funky L-Vis 1990-like bassline. This was one of the big tunes dropped by Crookers at EXIT. The original was left to David Guetta to drop...


Swedish House Mafia - One (Congorock Remix)