TEA likes this #7

A little tropical

Aaron Coultate - SW1ADL mix

Not often you will find a mix with such cross over of artist and genre. Aaron Coultate's brisk 50 minute take on deep house, dubstep, broken beat and techno will see the likes of Wolf & Lamb next to Actress, Motor City Drum Ensemble next to Martyn and MyMy next to Linkwood.

Take note of NA featuring Rosalina – Fables & Fairytales (Deniz Kurtel Remix) at 15 mins. 

TEA likes this. 

1. Bonobo feat. Andreya Triana - Eyesdown (Ninja Tune) 
2. Bonobo feat. Andreya Triana - Eyesdown (Appleblim & Komonazmuk Remix) (Ninja Tune) 
3. MyMy feat Emika – Price Tag (Aus Music) 
4. Linkwood – System (Prime Numbers) 
5. NA featuring Rosalina – Fables & Fairytales (Deniz Kurtel Remix) (Crosstown Rebels) 
6. Ryo Murakami – Just For This (Graeme Clark’s Revenge Mix) (Dessous) 
7. Motor City Drum Ensemble – Prayer (Faces) 
8. Martyn – Seventy Four (3024) 
9. Virgo – Do You Know Who You Are? (Rush Hour) 
10. josif – Jus You (Wolf + Lamb) 
11. Actress – Ivy May Gilpin (Werk) 
12. Will Saul & Tam Cooper feat Ursula Rucker – Where Is It? (Will & Tam’s re-loved dub) (Simple Records) 
13. Gadi Mizrahi _ She Don’t (Lowtec Remix) (Spectral Sound) 
14. Four Tet – Plastic People (Domino)

March's TEA

Dad would always say to me never to relive 1 years experience more then once. I'd say, year 12...best 3 years of my life.

As it happens life is repeating itself once again, packed lunches, sticky bus rides, dead arms, loud yawns and roll calls, yes im back at school for 2 years of Audio Production. 

So before I untuck my shirt, answer back or get sent to the headmasters office, here are the 10 songs for March that my dog ate.

1. Unknown - Corfield Street Jam [Unkown]
   
2. Foals - Spanish Sahara (Mount Kimbie remix)
   
3. Shadow Sync - Intimate [KRD]
   
4. Jeff Mills -Something in the Sky Vol 2 [Something In The Sky]
   
5. James Blond & Oliver Deutschmann - Milanese (Quarions Sicilia Profouda remix) [Falkplatz]
   
6. Eddie C - Wonderful Dub [Karat]
   
7. Populette - Daddy [Throne of Blood]
   
8. 19 86 1 18 5 - Snake Cave [Horizontal Ground]
   
9. Robert Hood - Omega (End Times) [M Planet]
   
10. Falty  DL - St Marks [Rush Hour]

Foals Don New Album Art

Foals have revealed their infinite deep blue/finite future theme for their upcoming album 'Total Life Forever'. 

Deep.

TEA like this #6

On and On and On and On.

Following Fabric

Fabric's ability to produce amazing line ups week after week will never cease to amaze, except maybe for the drum n bass line ups that should read "Same as last time".

The next 2 weeks are of no exception with the likes of Ricardo Villalobos, Jeff Mills, Shaun Reeves, Frequancy 7 (Surgeon & Ben Sims) and Black Tokyo (Live) all gracing room 1.

DJ T. has been announced next at the helm for Fabric's mix series with Fabric 51. At first glance you can help but think DJ T. could be feeling the pinch of succeeding Martyn's historic Fabric 50. Although you can expect a very vocal inspired mix by DJ T.'s standards rather then his usual clickity clacks.

If your a soundclouder get following fabric here for exclusive downloads and promo mixes.

Tracklisting: 

01. dOP - Wiper Law 

02. Michael J Collins - I Just Wanna Be Your Disco Bitch 

03. 10lec6 - Drown Dogs Holidays 

04. Stuffa A Million Secrets (Salax Peep Show Remix) 

05. Madioko N Rafika - Ellelli (Kalabrese Remix) 

06. Danton Eeprom - Give Me Pain 

07. Matias Aguayo Ft. Lerato - Pata Pata 

08. Ben Mono - Jesus Was A B-Boy (TJ Kong & Nuno Dos Santos Remix) 

09. Will Saul & Tam Cooper Ft. Ursula Rucker - Where Is It (Will Saul & Tam Cooper’s Reloved Dub Mix) 

10. Dave DK & Holger Zilske Feat. Richard Davis 

11. Azari & III - Hungry For The Power 

12. Wigald Boning - Kobra Dance - Compost 

13. Soulphiction - The Royal Pennekaums (Chocolettes Nervous Mix) 

14. Le Roif Ft. Roland Clarrk - I Get Deep 

15. DJ T. - Try To Understand - Kindisch 

16. DJ Mujava - Township Funk (Crazy P Mix) 

17. Good Guy Mikesh - Milk & Honey (Basket Mix) 

18. Bodycode - Immune 19. Random Factor - Broken Mirror 

20. WhoMadeWho - Keep Me In My Plane (DJ Koze Hudson River Dub)

Requiem for Detroit

Juan Atkins, Derrick May, Kevin Saunderson and Detroit's unequalled musical legacy aside, the city is amidst climbing crime, poverty and unemployment rates.

Julien Temple's BBC4 film charts the rise of what was once America's richest city and what is becoming a stark warning from the future.

So instead of listening to a bitter Eddie Fowlkes bitch about Richie "F*ck Ass" Hawtin learn some more about this intriguing city in its current social state.

Unfortunately this video is only available to UK residents only.

All you Geezers can view it here

Stop The Press!!

The rumors are true!

TEA's number 1 for February has now been confirmed as a collaborati-on between smiling techno giant Chris Leibing and TEA favourite Tommy Four Seven.

Bauhaus's digital release on "Bauhaus" marks a Sledge & Mallet mix, take one listen and you'll know why.

Tobias Rapp Interview

A book that took me under 5 days to read (no it wasnt R.L. Stine's Goosebumps) will be featured at Kim Bar in Berlins Mitte via a special reading and discussion presented by EXBERLINER on thursday the 11th of March.

This book was Tobias Rapp's 'Lost and Sound: Berlin, Techno and the Easyjet Set'

As the book suggests techno was declared ‘dead’ by the turn of the century; the 1990s euphoria of the postunification Berlin scene had lost steam. Tobias Rapp's book Lost and Sound: Berlin, Techno und der Easyjetset, wanted to show the world that techno and club culture was still alive and kicking in Berlin.

After a reading from the book, a panel of DJs and promoters from the Berlin club scene will discuss the theme of the book: the rise of Berlin's extraordinary club culture surrounding the techno scene. Alongside Tobias, the book's translator Paul Sabin, EXBERLINER music editor D.Strauss, Dixon of label Innervision, and Leo Olofsson of Awesome Agency will join the discussion. Exciting!

Here is the interview from www.exberliner.com

How did you first make the connection between easyJet and Berlin nightlife?

Around 2003, while I was standing in queues waiting to get into clubs, I began to notice that more and more people were speaking all kinds of different languages: they were coming from somewhere else. It was at about that time that a lot of low-cost airlines started flying to Berlin. I estimate about 10,000 people fly to Berlin every weekend just to go clubbing. The good thing about easyJet is that it’s like a cab… as if Milan or Birmingham were suburbs of Berlin, and the other way around. That’s the great thing about it that made this scene possible. And the thing about the Easyjet set is that if fuel gets more expensive, then it’s over. 

 

There is so much nightlife here – so many different clubs – that you can hear everything from heavy metal to folk, Balkan beats to Britpop every weekend. What’s unique about the techno scene?

I think it’s better here than anywhere else. Berlin is a techno city. It’s not a heavy metal or folk city. In New York, jazz and hip hop and Latin music communicate the reality of the place. I lived in New York in the early noughties, and what I really liked was the way that hip hop communicated within the city. In London, you have similar things with all the pirate radio stations and all the different music styles that are communicated this way. Coming back to Berlin, I realised that we have that too, but it’s techno here.

In the book, you describe how Detroit techno came over here in the early 1990s and was developed in places like Tresor into this pounding music that was a kind of celebration of reunification. There were a lot of East Germans involved, and by the late 1990s, it had burned out. The Love Parade had become huge, then lost steam and moved to another city (Dortmund). But the flame of Berlin techno was somehow kept alive by a few clubs. Everyone thought Peaches and electroclash were going to be big and that techno was over. But by 2003 or 2004, it somehow re-exploded. How did that happen?

In the 1990s, techno was a typical pop-cultural movement. Everyone wants to participate when it’s growing, but when it stops growing, it collapses very quickly because the growth was the most important thing about it. If you look at who runs the clubs now, most of them were already around in the 1990s. They learned from their mistakes. Nobody believes in the “raving society” anymore – that was the catchphrase from the 1990s: the illusion that everyone was going to be a raver.

When you see 3,000 people go into a club, is that ‘underground’?

That’s an interesting question. In the East German techno scene, you have two developments. You have partying to techno music as a sort of mainstream social behaviour – lots of people accept this as a leisure time activity. The underground thing is the artistic content. In the 1990s, you had techno in the charts... That’s over: the music has become very underground. There aren’t as many record stores, and not as many people care about the music. That’s why the DJs are so important – they are the mediators between lots of people who want to go out and the very few people who are interested in the music. DJs are the ones who have to communicate this music to a mainstream audience. And, amazingly, it works.

 

For how long can minimal techno remain the dominant style?

Forever! No, really – I can’t answer that. It’s a type of music that is very simple but at the same time has infinite possibilities. It’s like a haiku. It’s a very simple form, but you can fill it with an endless number of sounds. Let’s put it this way: I’m not seeing young people coming up with something categorically different. That was our aim in the early 1990s, but it was an illusion. Techno was the child of disco music, so it wasn’t new, but it felt new. And we felt we wanted to have it because we didn’t like the other stuff. ‘Fuck off, guitars, we don’t want you!’ – I’m not seeing that anywhere now. Maybe it’s over, this idea of revolutionising pop culture through the murder of the father; maybe it doesn’t work anymore. I feel a little lost when I start to think about the future, because I have just started to understand the present. It’s very difficult to realize what it means to have access to all the music that exists on the internet.

 

You also write about Ableton, the Berlin music software company that grew out of the techno scene. With Ableton Live, you can play music on your laptop with practically every sound known to man. Do you think this is actually going to kill off creativity in the long run?

I don’t think so. I’m an optimist. Why should creativity endnow after thousands of years of world history? The tools are changing. I think humans always find new ways of connecting their subjectivity to the new tools. When I grew up, I learned to think in genres and epochs and all these things have just disappeared into one platform. It’s all there. And the fact that it’s all there isn’t new anymore. The territory is charted. I haven’t seen the rocket that is going to take us to the next level of music.

What about the future of Berlin as a location for this culture? Is the Club-Meile along the Spree really threatened by gentrification and development?

Some clubs are and some are not. The big clubs like Berghain, Watergate and Weekend all have long-running contracts. They have invested a lot of money. They are going to be there in five, 10 years’ time. I have already twice witnessed everyone saying, “Ah, now it’s over.” And it never was. It was over in one part of the city and moved to another part. I think the city of Berlin still has enough spaces and enough empty buildings to maintain an interesting nightlife. The people who know how to make a great club out of a building, they’re there – that’s what’s important.

 

You stress in the book how important the club scene is for Berlin’s economy. Do you really think the government is aware of its significance?

It’s a double-edged sword. On the one hand, it’s good that the government cares about the club scene a little bit. It doesn’t see it as an enemy as most other city governments do. On the other hand, I don’t know what the club scene has to gain now that the government has discovered the attractiveness of its nightlife. There are some embraces that can choke you. I was at a conference last fall organised by Berlin Tourism Marketing and I had the feeling that, in a way, my book scripted the marketing campaign for them.

 

Do you want to be part of that? No, I felt very uncomfortable in that kind of situation. If the city comes along and starts to treat club culture like ‘culture’, then the problems begin. I think it’s a good thing if the Senat for economy deals with clubs, not the department of culture. If the city comes up with a worldwide marketing campaign that says, “Hey everybody, the nightlife is so great”, then at a certain point Berliners’ hatred of tourists will be justified. The good thing about the tourists that come now is that they really come because they care about it. Most of them have more knowledge of techno culture than the Berliners do. These people are always welcome. But if people come because of a certain image of the city and everything has to be explained to them, then the club scene will suffer. That’s the danger.

 

In the book, there is a chapter about a 39-yearold woman who is still a passionate clubber; her 19-year-old daughter had a pretty unconventional upbringing. Why did you include that part?

 She’s a good friend of mine. I included it because I wanted to show that this whole techno scene is about the way we live. It’s very controversial: I’ve had lots of conversations about it. But the people who continue clubbing and don’t stop are a reality. I’m 38, too. You have to adjust it to the rest of your life – your job, your family. But it’s still part of your life. 

 

Tobias Rapp will be discussing his book at a special EXBERLINER reading at Kim Bar (Brunnenstr. 10, Mitte, U-Bhf Rosenthaler Platz) on Thursday, March 11, at 21.00.

CLR Podcasts

Masculinity and Chizled jawlines aside, a great source of techno is Chris Leibing's CLR (Chris Leibing Recordings) podcasts.

Before your gobbled up in Chris's devilish good looks and infectious smile take a moment to listen in on one of his CLR podcasts. Think Beats In Space but techno...and no Tim Sweeney. Instead, a charming German.

So far the CLR Podcast is up to episode 53, featuring Czech DJ Ladida. Previous episodes have included Marcel Dettmann, Mark Broom, Darko Esser, James Ruskin, Pan-Pot, Thomas Schumacher, Tommy Four Seven*, Speedy J, A.Mochi*, Ben Klock*, Pfirter, Brian Sanhaji and the man himself, Chris Leibing.

Check out some live recordings from Ibiza's Space and Londons fabric night clubs.

Doof.

http://www.cl-rec.com/podcast/

Mount Kimbie remix new Foals

Oxford college's most famous 'sub transgressive pop' dropouts have been remixed by UK Dubstep duo Mount Kimbie.

The latest release from Foals 'Spanish Sahara' has Yannis Philippakis's inspiring and haunting vocals take us on a emotional rollercoaster dipping and gliding through beautifully laden keys, builds and plucks.

The Mount Kimbie remix is just as breathtaking with cold echoing reverbs accompanying downbeat drums and Yannis distant cries, as to be so brave and whisper "Intelligent Dance Music".

Find out more here

Quarion

Quarion, one of house musics best kept secrets.

Originally from Geneva, Switzerland, Yannak Salvo aka Quarion aka Ianeq did the "Berlin thing" and moved to Germanys hub of house and techno where he has been producing and djing just that. I first stumbled across Quarion when hearing his remix to Jagged's Hello Kool Nice, a very, very danceable hands up tune on UK imprint Quintessentials.

Quarion's affair with all things deep shines through with his ability to produce moody house music with a get up and dance element that according to him is "going back to the roots of hipnotic dance music". Qaurion has released on TEA favourite Drumpoet Community, Perspectiv and co-owns the Retreat label with vinyl obsessive Hauke Freer.

Check out Quarions remix for James Blonde & Oliver Deutschmann, coming out on Falkplatz Limitiert on a limited to 300 copy 12"

Tea likes this #5

London - Russian Bar - 04/03/10

In Russia if you're invited for a meal, expect the hosts to feed you so much Ukha, Pelmeni and Pirozhki that you'll turn Boris Yeltsin. If your you're on a diet i'd suggest emulating satiety, otherwise you will end up мертвый.

Same goes for all things music at the Russian Bar first Thursday of every month. Expect Juno Plus head honcho Aaron Coultate and the Thick as Thieves boys to have you rubbing your rounded belly and ears with content.

Aaron 'Cosmonaut' Coultate will be playing his first gig under his own name since splitting from life long (non sexual) partner James Manning, formally Radeo Vidio. Aaron is a DJ of phenomenal taste who's track selection harbours the ability to ebb and flow between moody house, broken beat and catchy disco whilst keeping to a structured set. You can see the 'Colonels' favourites for February here.

So far Danny "Arshaven' Bartha and James 'Trotsky' Hamilton aka Thick as Thieves have supported the likes of Basement Jaxx, Daniel Steinberg, Nat Self (Zombie Disco Squad) and Solo whilst honing their own tech house production skill(z) with cheeky horns and clicks that Jesse Rose would be proud of.

The two later in the year will be playing London's Stag & Dagger festival, White Nights (Berlin) and lending support to Thomas Schumacher at T/Bar and TEA favourite Ethyl at Shoreditch's Legion. The two recently did a mix for WEPLAYMUSIC which you can find here

As usual the night is free and it kicks off at 10pm.

"Democracy is indispensable to Techno" - Lenin

http://www.weplaymusic.co.uk/

New Cottam