Special Download

Hailing from Brazil, Wehbba is one of the latest additions of Brazil’s techno ambassadors.
Dentist graduate, licensed diver and Jiu Jitsu fighter for almost five years, he could have just stuck to what he does. But DJing and music is what he really does best.

Rodolfo Wehba had it all: a practice dentistry office, working in two big clinics in Sao Paulo and becoming a Jiu Jitsu fighter, but that was not enough, he actually crossed the pacific ocean all the way to Sydney where he divided his time between teaching english and scuba diving, participating in diving expeditions at the great barrier reef of northern Australia.

His involvement in the ripe underground scence in Australia inspired him to continue his dream of becoming a DJ. After returning to Brazil he started collecting wax and participating in events. As a producer, his main aspiration led him to create his own sound in techno and its subgenres.

In 2004, Wehbba released his first national album titled “Revoltin’” with the support from the well established brazilian label “URBR”. The album’s success translated in sales, as it sold out after three months of its release. That led Wehbba to perform on one of the biggest festivals in Brazil and South America: Skol Beats. Since then, his carrier advanced to a new level on a national scale.

In 2005, when Beatport was still consolidating its reputation as a world reference for electronic music sales, Wehbba reached top 6 with his project Hybrid Players. Establishing his ground, Wehbba went on to release on labels such as Renaissance, Global Underground, Great Stuff, Get Physical, Tronic, Audiotherapy, Jesus Loved You, Craft Music, BluFin, Primate, Concept, Titanium, among many others.

In 2006, Wehbba managed to sell out his second release, this time supported by the established german label “Killa Beat Rec.” titled “Flapin’ my Pie Hole” including smashing minimal electro remix by Kiddaz.fm’s Dave Shokh. The release drew attention of the big players such as DJ Hell, Karotte and many others. His constant evolving sound has drawn him a lot of attention from press and public, as he scales his rhythm up and down, with his uplifting funk as signature. In addition, his DJ skills also surpass the realm of standards as his dynamic style allows him to flip from all kind of techno and house music which carried him to perform globally on a busy schedule starting from Europe in early 2007.

In 2009, Wehbba launched his label ’82 Recordings’ making it the beacon for his musical direction and a breeding ground for honorary talented techno producers. His first release on his label has generated thousands of sales and reached Beatport Top10 Techno chart which paved the way to a massive DJ and producer support for the label’s continuous releases such as Timo Maas, Danilo Vigorito, Dave Clarke, Technasia, Renato Cohen, Ken Ishii, Paco Osuna, Umek, Stephan Bodzin, Pascal Feos, Kaizerdisco, Valentino Kanzyani and more. In addition, his contributions to other labels like Audio Therapy, BluFin and Tronic are attracting more attention from the big players. Wehbba was also nominated the 30th best DJ on House Magazine’s annual Brazil Top100 DJs.

Early 2010 sees Wehbba fruitful projects get the spotlight: a remix of Christian Smith’s hit record on Bedrock, “Flyertalk”, two new singles on Tronic already showcased by the labelowner himself on BBC’s Radio1 Essential Mix and his first worldwide mix compilation launch!

Deadbeat is, in the broadest sense, an electronic dub artist, but his musical palette goes far wider, fusing his productions with deep, tech-laden ragga and crackly, sparse ambience. After producing for over 15 years, Monteith has indeed mastered his craft.

An ambient rework of a Pantha du Prince track opens up the mix, which melts into crisp, minimal dub from Sven Weisemann and works its way into heavier form, through Matias Aguayo’s much-used tech-house stomper ‘Dance Machine’, ex-Headhunter Addison Groove’s manic ‘Make Um Bounce’ and Dutch progressive-dub prodigy 2562, with a cut from his latest warped disco album.

The mix finishes with some typically refined but heavy dub atmospherics, via ‘Fourth Quarter (Cala’s House)’, one of Monteith’s own tracks taken from his new album, ‘Drawn and Quartered’, which is out now on BLKRTZ.

Known for his proficiency in producing both refined techno and dubbed-out texture tracks, Moeller’s Clash mix sees the artist starting off by exploring a dancier track selection than expected, initially characterised by crisp techno, but one which soon delves into the spacious areas (courtesy of Frank Bretschneider’s minimal click journey, ‘Flight 09’) often favoured by Moeller himself in his dubbier moods.

Things then take a darker turn, via Norman Nodge’s aptly named ‘Breakdown’, before the trippy bleeped nightmare of Oni Ayhun’s ‘OAR 004 A’. Scary but satisfying.

A clever, mood-shifting mix, and as you’d expect from Moeller, with over 15 years production experience under his belt, everything here has been carefully scrutinised and masterfully mixed.

‘Subterranean’, Moeller’s latest album, is out now on Steadfast Records.

Fittingly for an artist who thrives on experimentation within his music, the journey is a delightfully quirky one, featuring shards of a Star Wars cover theme, some classic new wave synth biz from Depeche Mode, b2b classic hip hop from Melle Mel and Public Enemy, and tracks from Sonic Youth and Velvet Undergrounder Nico.

Some fine and unusual choices, but luckily the man himself is on hand to shed some light on his selection:

Clash: Tell us about your mix

Robag: The mix tells you my journey with music from when I was three until twenty-years-old. It’s my own private story. It doesn’t include all the kinds of music of course, but this is the way I have done it.

Clash: You favourite track from the mix?

Robag: All the tracks, because every song has a story.

Clash: What tracks are you currently enjoying playing live?

Robag: I would say but I can’t – it’s not electronic dance music! [Editor’s note – we at the Clash DJ podcast do in fact condone non-electronic music. Occasionally]

Clash: What’s the best remix you’ve heard of one of your own tracks?

Robag: I’ve got just two remixes – one from Luciano and one from Tobi Neumann.

Clash: What do you have planned for the rest of 2011?

Robag: I work in my own library and I work in a kindergarten for some hours during the week.

Robag Wruhme’s latest album, ‘Thora Vukk’, is out now on Pampa.

One of the first acts on the renowned German electronic label M-nus, Niederflur have been making experimental and uncompromising electronica for over eight years, often deep and hypnotic, but always fascinating and with an underlying warmth and undeniable groove.

The duo’s mix takes in a range of techno moods to stimulate the brain but keep the body moving at the same time, ranging from minimal click-back to blissed-out tech-house to jumpy, jackin’-influenced Chicago sounds, from the likes of Shed, Terrence Fixmer, Mike Dehnert and Jonas Kopp.

The perfect intelligent and innovative antidote to the relentless uber-cheer that adorns the usual slew of festive tunes and new year cheese classics. Enjoy your new year with some bite, for a change, courtesy of Niederflur.

Tell us about your mix:
Well whenever I do a podcast mix I always try to create something that basically condenses how I would hear a full night of music into one set. So, I always start with deeper, warm-up music and develop it into tracks with a stronger groove and then into the more intense sounds at the end of the mix. This represents what I would like to hear over the course of a whole evening in a club.

Favourite track from the mix
Well I love them all so that’s not so easy to choose but if I was forced to say one I would probably go for Pablo Cahn – ‘Elle’. For me this has such a such a nice balance between house sounds with a techno mentality. Of course I should probably say one of my own productions but that feels a bit cheap. Of my own tracks on this mix I really like the ‘What The Fuck’ track that is coming out on Get Physical. It’s been a regular in my set for a couple of months now and always gets a great reaction on the floor.

Some favourite tracks to drop live at the moment:
I love to play the Nao Siano ‘Track for Lyn’ record. It’s actually by a really well-known producer but I am sworn to secrecy. It’s an amazing record and for me stands out from so many of the other release coming out at the moment. It feels almost a bit like an old school garage record and feels really sexy on the floor. Techno house for girls and boys. This is a really important part of keeping the right vibe on the dancefloor.

How has 2010 been for you DJ-wise?
I definitely can’t complain. I started releasing under my own name Martin Dawson instead of King Roc because the sound I was producing just felt very different to previous works and I want to have a fresh start for these sounds. I have been collaborating with some other guys as well which has been a lot of fun. I have done some tracks with my good friend Glimpse – our first release came out on Cocoon with some amazing support and now we have lined-up a release on Crosstown Rebels with a Ewan Pearson remix and a two-track EP on 2020vision, so it’s all looking good for the future. Gigs-wise, I have been all over the world from Central and South America to Asia, Indonesia and of course around Europe. It’s all good basically!

Do you have any recent or upcoming releases?
My latest release, ‘Double Six EP’, has just come out on Kling Klong with remixes by my friend Ramon Tapia. We were recently in Mexico together and Ramon’s a hilarious guy to hang out with. Along with this I have ‘Blue Train EP’ on 2020 vision, the Two Armadillos remix of Commix on Metalheadz and TA remix of legendary producer JoVonn all coming soon. There will be an original Two Armadillos EP on secretsundaze music plus some other Martin Dawson remixes… so it’s quite busy.

What else do you have planned for the future?
I am currently working on three albums – a Two Armadillos record with Giles Smith, a new King Roc record and a indie punk album with Darren Farrow from Get Shakes. I will be back in the studio with Glimpse soon for some new material and Andre and I are about to work on music for the Off Recordings two-year anniversary compilation. DJ-wise I am off to India, Israel, the UK, Bali, Brazil and of course some gigs in Germany where I am now living.

With a career spanning three decades, dance royalty Underworld have indeed been around the block a few times, and have emerged from the journey all the wiser and all the more ready to continue offering their own uncompromising take on the electronic scene, be it through classic stompers like ‘Born Slippy’ and ‘Cowgirl’ or via the melodic ambience of ‘To Heal’ and ‘Glam Bucket’.

Drifting hazily towards this ambient side, Underworld’s Clash offering is a chilled and lush affair, full of blissful moods and downbeat explorations, but with enough bite to keep things more than interesting. Tracks featured in the mix include the obscenely tight funk of JK Soul, a fantastic ambient remix of Tracey Thorn’s ‘Kentish Town’ by current Kompakt favourites Walls, and the group’s own ‘8-Ball’ – the perfect subtle stomp to fade out a fine selection of rare gems.

Underworld will perform a one-off album launch gig at The Forum, London, on Thursday September 16 to celebrate the release of their new album, ‘Barking’, which is released on Monday 13 September.

Beginning with a gentle dub-reggae track from Rhythm and Sound, Vanese’s mix gradually melts into deeper and darker territory – via the likes of Dutch dubstepper Martyn – but without ever losing the warmth and soul that characterises her own music, some of which is thankfully present here. Other featured artists include talented electronica production duo Mount Kimbie, fellow jazz-experimentalist Jose James and Harmonic 313, whose considered glitch hop rounds off Smith’s mix perfectly.

Released earlier this year, Smith’s latest album, ‘Foxtrot Mannerisms’ is the result of this fascinating musical palette and considerable vocal and rhythmic talents, and comes highly recommended. Truly a one to watch, what better introduction to Vanese’s considerable skills than by indulging in the blissful, bassy tones of her Clash DJ mix.

Pursuit Grooves will also be playing at Fabriclive in London, on Friday 11 June, where she performs her UK debut live show alongside some Tectonic veterans, including Pinch, Skream and Kuedo. In Room Two, meanwhile, you can catch D&B talent Zero T – launching his ‘Fabriclive 52’ album – as well as Ed Rush, Wookie and a host of other names, while dBridge & Instra:mental head up Room Three.

Live, the duo refuse to deal with dubplates and Pioneers, preferring instead to cut and paste their tracks live. Mixing live instrumentation with pre-programmed loops, their show is an intense yet down beat experience.

Aiming for the cerebral, techno inspired end of dubstep Mount Kimbie recently released two special remix EPs. Well respected within the bass world, a host of producers have stepped up to the plate to remix the duo’s material.

Mount Kimbie have been remixed by the likes of James Blake, Instra:mental and more with New York’s FaltyDL providing perhaps the pick of the bunch.

If you’ve heard his two Planet Mu album then you’ll know what to expect from a FaltyDL remix – woozy post-garage beats which break Mount Kimbie to pieces before putting them back together in some unusual shapes.

Here, he provides a mix never before been aired in the UK. And as you’d expect, it’s a good’un.

Beginning with a series of deep, hypnotic house grooves – including a superb atmospheric opener by Blagger – Wink’s mix slowly builds, before an entirely welcome acid hit kicks in at 15 minutes, via Wink’s own ‘How High Acid’ track.

The mix then explores – through a series of effortlessly fluid transitions – tribal house and progressive, minimal techno from Tevo Howard, Valmay and a Martinez remix of a track by fascinating wild-child Seth Troxler. Things then get taken up a notch yet again, via a trippy remix of Wink’s ‘Hypnoslave’ (again taken from the record label that Wink himself established in 1994, Ovum), before a subtle burst of acid house form Kingpin Cartel for the final push.

All of which proves what has long been suspected: that Wink has a profound understanding of the music he makes and the wider scenes into which it falls. Classy, mesmerising stuff.

Based in Berlin but with band members originating from London/Sri Lanka, Israel and Germany, this multi-national and multi-talented trio have been making waves on the underground with their unique take on dub and bass – often melodic, often heavy, their sound is given further resonance by the lyrics and MCing of Sasha Perera.

Beginning with a brooding dub track – remixed by Deadbeat – from their upcoming album, Jahcoozi’s mix melts fluidly into a deep, dark carcophony of bass-driven textures, including 2562, Untold (a big favourite for Clash podcasts of late), King Midas Sound and the untouchable Rustie remix of Zomby’s Spliff Dub.

And though there’s plenty of fine dub cuts on there, this mix is far from a one-trick pony, morphing through twisted styles of techno, IDM, glitch and ambient. Much like Jahcoozi’s own distinctive, vast sound, this mix has atmosphere oozing out of its pores. A unique and heavy set which refuses to be ignored.

Jahcoozi’s third album, ‘Barefoot Wanderer’, is released on 19 April on BPitch Control.

As well as releasing his own material under a variety of aliases, Robi is also known to be a bit nifty on remixing duties, giving the likes of Chromeo, Zombie Nation and Roxy Music the space-disco treatment. As such, Headman’s mix for Clash works its way through a galaxy of cosmic disco and electronic punk-funk, containing several of Robi’s expert reworkings, such as his version of the Units’ classic synthpunk track ‘High Pressure Days’ and Tiga’s ‘Beep Beep Beep’, which gets… beepier.

Also featured in the mix is an electro-heavy rework of the ever-listenable ‘You’ll Disappear’ from The Phenomenal Handclap Band, a fine track from French electro-head Joakim and a selection of cuts from the Relish label itself, including something from fellow disco-enthusiasts The C90s. Marvellous stuff, all of it.

Though it didn’t get anywhere near the amount of recognition it should have done, the album remains essential listening for anyone with even a passing interest in bleeps and beats. Full of glitchy IDM and skittish rhythms, ‘Tied up to Machines’ recalls moments of Plaid and Aphex at their most playful with an underlying dose of Skam-esque weird hop, whilst a coherent musical narrative somehow gels everything together.

A quick scan of the tracklisting for Kingbastard’s Clash mix reveals the eclecticism of Weeks’ musical preferences, which all somehow find their way into his own tunes as well as making for a belting listen by themselves. Kid 606, LCD Soundsystem, Hudson Mohawke and Simian Mobile Disco make all make an appearance, as do some leftfield choices like N.W.A and Radiohead. Finally, Weeks’ plays out with the brilliant Hawking-does-freestyling vibe of ‘Rewind’, by electro weirdo Cylob.

All in all, a slice of exemplar electronica with some great curveballs weaved in. If bastardliness is measured in musical prowess, this one certainly deserves his kingship.

Having worked together on the recent release ‘Ambient Film Themes Vol.2’ – which features avant garde film and documentary scores that blend electronics, orchestras and field recordings – the two artists have once again teamed up to put together an exclusive mix for Clash.

We caught up with them to find out more about the mix and their intriguing new album.

Clash: Tell us a little about the mix and some of your favourite tracks from it:

Casio: It’s some of my favourite tracks from the golden era of downbeat electronica plus some references to the 80s and 70s. Nowadays a lot of music is produced for specific occasions and therefore has only a short lifespan. The tracks in the mix are somehow timeless in my opinion.

Clash: How do you decide on what goes into a mix? Does it depend on your mood at the time?

LOPAZZ: That’s always different – playing peak-time, warm-up, podcasts – every time it’s different and new. Of course there are some tracks we play for years, our all-time-favourites! But it’s good to follow your mood and the crowd and somehow the customers/listeners’ choice. I mean, it doesn’t make sense to play techno on an ambient floor, right?

Casio: It depends very much on the mood. I was loosely listening to my records with the plan to do a downbeat mix with musically appealing tracks. I collected some more records that I needed for it and then in putting it together kicked out what didn’t really fit, mix-wise.

Clash: Some favourite tracks to play live?

LOPAZZ: I’ve got some all-time-favourites like Metro Area, The Other People Place, Ron Trent, Man Parrish and so on – but I also have a look on new releases and artists.

Casio: I used to do a lot of DJ sets in bars and so on, but recently I’m mostly playing house and techno.

Clash: How about the best live shows you’ve ever played?

Casio: They were all so great. Sometimes I’m having a hard time topping myself.

LOPAZZ: Ha ha, right – I think our show on Pelorinhou Plaza in Salvador was the most inspiring one! We were one of the few electronic artists ever allowed to play there!

Clash: What makes a good remix for you?

Casio: A good remix has the characteristics of the original as well as the footprint of the remixing artist sounding good together.

LOPAZZ: I like remixes that sound completely different though some of the original sounds or patterns have been used!

Clash: Tell us about your new album, ‘Lopazz & Casio Casino – Ambient Film Themes Vol.2’:

Casio: We made a lot more changes in the tracks compared to the original soundtracks than on the first volume. Because some of them were only working with the pictures, some were too short, and some needed a more acoustic, analogue feel to them.

LOPAZZ: Right, but we followed the same rules – mixing the tracks with original sounds captured at the shootings, like city sounds, animals, singing monks…. We wanted to get a fluent mix, a travel-music-album.

Clash: You took sound recordings from various parts of the globe as part of the project – how were these used in the final product? And how did you decide what sounds to record?

LOPAZZ: It’s supernatural to me! Sometimes I travel with the film crew to locations such as Mongolia, Macao, Ethiopia, South Africa and my ‘Kook Kook’ tour led me to places like Brazil, Ecuador, Lebanon and I always record sounds and moments. I started doing field-recordings as a little boy and now it’s part of my profession. LOPAZZ records always have this analogue feel (I don’t like this expression) – I use real acoustic instruments or my voice to create sounds I need for dancefloor tracks or scores.

Clash: Yours will be our first DJ mix of 2010! So – a few generic New Year’s questions: Tell us about the best New Year’s Eve you’ve had:

LOPAZZ: With Casio on a fancy LSD-Party (in the early 90s) – now we don’t do that anymore – we changed to ecstasy pills, hahaha….

Clash: Any New Year’s resolutions?

LOPAZZ: No meat, no alcohol, no drugs – at least for the first two days in 2010.

Casio: A little less of everything that’s bad for my health.

No strangers to making mixes, Allez Allez – DJs Sam Willis and Steve Nolan – have made a name for themselves blending Krautrock and ambi-disco with techno and electro, creating a deliciously warm and intoxicating addition to the electronica scene. Their excellent Clash mix features tracks from the legendary Brian Eno and TBD (a little-known project including a former member of !!!, playing some fantastically sideways tech-house), and kicks off with the brilliance of Animal Collective, whose ‘Merriweather Post Pavilion’ record has just been voted ‘Best Album of 2009’ in this month’s Clash.

We caught up with Allez Allez for a chat about their mix and some general festive banter:

Clash: Can you tell me a little about the mix and your favourite tracks from it?

Steve: Well we wanted to put together a selection that gave a good representation of what to expect at one of our nights. We start playing early in the evening at our residency at Cargo which is a great opportunity to play the non-dance songs we love, so the first 20 minutes mix is very laid-back. Then things get a little more oomph-y.
Also this has been amazing year for us away from DJ-ing – we’ve released our debut 12” on Kickboxer , put out remixes for Fever Ray, It’s a Fine Line, and Simian Mobile Disco, to name a few, and we started our own label – Amazing Sounds. We wanted to represent that side of ourselves as well.
In terms of favourite tracks – I love ‘The Big Ship’ by Eno and the Rodelius & Nikos Arvantis tune is a corker which hits big on the dancefloor whenever I play it. I love pretty much everything The Micronauts have done and The The track that finishes the mix off is one of my all-time faves.

Clash: How do you decide on the tone of an individual mix and what goes into it?

Steve: Mood is a very important factor, especially as we don’t tend to limit ourselves to one style of music in the mixes. Usually I’ll put together a selection of tracks that sum up the style of mix I want to make and then put them together and see which ones fit and which don’t.

Clash: Some favourite tracks to play live?

Steve: So many but some that never really disappear from our sets include Ada – ‘I Love Asphalt’, the Creedence version of ‘Heard it Through The Grapevine’, James Holden’s remix of ‘Safari’ by Andre Kraml, The MFA – ‘The Difference it Makes’ and ‘Time of the Season’ by The Zombies.

Clash: Really enjoyed your Worst Case Scenario remix – what makes a good remix in your opinion?

Sam: Thanks! A good remix takes elements of the original and takes it somewhere different – I just try and get into a creative zone and see where the mood takes me… It’s fun to mangle the original elements through some guitar pedals and plugins to create a weird audio mulch. I much prefer to work with tracks that have vocals and instrumentation, as this really broadens your options as to where to take it, rather than just a minimal percussion pack and some VST synth sounds…
James Holden and DJ Koze are absolute masters at completely reinventing the original song, but in a way that really compliments the original. Check out Holden’s remixes of Radiohead’s ‘Reckoner’ and Mercury Rev’s ‘Senses on Fire’ and DJ Koze’s remixes of Matthew Dear’s ‘Elementary Lover’ and Matias Aguayo’s ‘Minimal’

Clash: Any new material coming up?

Sam: We just had our debut single released by Kickboxer recordings out of Cologne, and the new year will bring a four-track EP on NYC’s awesome RVNG Intl. label, plus a remix of Dan Deacon on Amazing Sounds, alongside mixes from Hudson Mohawke and Luke Abbott.

Clash: Yours will be our Christmas mix, as it were, staying up over the festive period – so excuse the clichés, but here are a few generic Christmas questions. Firstly – your opinions on the festive season:

Steve: I love everything about Christmas – the carols, the shopping, the tree, seeing family, the ‘Holidays are Coming’ ad – I’m the anti-Grinch. The best thing, though, is the music – it’s very special that there’s this section of music that never gets overplayed due to you only being able to listen to it for one month of the year (unless you’re crazy). Every December I dig out the classics like ‘A Charlie Brown Christmas’, the Ze Christmas Album, and obviously the Phil Spector album, and it’s like visiting an old friend.

Clash: Best and worst Christmas presents you’ve received:

Sam: Worst Christmas presents were probably the endless Parker fountain pens I’d get from my aunts and uncles in my early teens – ideal if you’re a charted accountant, but not much fun for a kid! The best present was probably the Kaos Pad that my wife bought me – still getting great usage out of it now!

Clash: If Brian Eno came over to your house for Christmas dinner – what would you buy him for a present?

Sam: Well, I’d give him a copy of our debut release, which is a 12” of remixes by Shackleton & Appleblim of some of his music he made with Harmonia, and also, a special audio processor called ‘The Gristlizer’ based on an original design of Chris Carter from Throbbing Gristle – perfect for creating mental noises with.

Clash: Plans for New Year’s Eve?

Steve: Sam will be playing down in Dalston at the Question Mark bar for our good friends Chopshop. Whilst for a change I’ll be staying in with a good bottle of wine and a heavily pregnant girlfriend. Does Clive James still do the ‘Review of the Year’ Show?

Clash: What will you be getting up to in 2010?

Sam: As we mentioned, further releases on our label Amazing Sounds, an EP on RVNG Intl. and also the launch of my new project with Alessio of Banjo Or Freakout, entitled WALLS – we’re currently working on an album for Kompakt Records which is very exciting and a huge honour!

Owner of the hugely well-respected Berlin label Supplement Facts, Israeli producer and DJ Gerber has played pretty much every dance event, festival and club that matters, and shows no signs of letting up.

A don of progressive house and refined techno, Gerber’s love for and expertise in deep, minimal sounds and stripped-back beats is reflected in his mix for Clash, which features DJ Sneak, Motor City Sound Ensemble, and Taron-Trekka, as well as several fine cuts from Guy himself.

Oh, and kids – if you’re at a loose end this Saturday night (12 December), Guy and labelmates from Supplement Facts are in control of the tunes in Room Two at a little club called Fabric. You could do a heck of a lot worse than pay a visit.

And whilst she’s far more capable than most will ever be at creating quality electronica, she’s too smart a cookie to be tied down to just one genre, instead using her ample talents to explore a range of fascinating music, including the haunting beautiful alt folk showcased on her delightful recent solo album, ‘Bright Lights and Filthy Nights’.

This sense of musical variety is also very much present on her Clash DJ mix. Beginning deceptively with the gentle a cappella of Doc Watson’s ‘Down in the Valley to Pray’, things are suddenly cranked up several thousand notches when the mix kicks into the punky techno of Motormark, before going on to explore theatrical German electro, new-wave, ambient and rhythmical French folk. ‘Eclectic’ and ‘quirky’ are words unjustly overused in music journalism, but Nina’s lovingly crafted mix really is both of these, and is absolutely compelling and fascinating listening as a result.

As well as creating various twisted dub brilliance – which manages to be both heavy and highly palatable – Ralph is also a dab hand on the trombone (a criminally neglected instrument), which he makes full use of throughout his work, adding a natural, brassy warmth to the dark landscapes evoked by modern electronic dub.

And he’s also nay too shabby when it comes to mixing tunes, as his exclusive Clash podcast demonstrates. The first of our DJs to include the genius Dorian Concept, Ralph then works his way masterfully through L-VIS 1990, Hudson Mohawke, a few Latino numbers and some Bass Clef’d-up Altern-8, as well as choice cuts from Clef’s fine new album, ‘May The Bridges I Burn Light The Way’, released earlier this month.

45 minutes of wonky dance, innovative dubstep and Latino folk, superbly stitched together. Bass Clef – win. Just in case you haven’t already gathered – I really can’t recommend this one enough.

After beginning to DJ in the initial phases of the acid house scene – an influence which still permeates some of his music – Slater began his recording career at Jelly Jam Records in Brighton, before going on to release a wide range of experimental techno on a variety of labels, including Novamute (which spawned the renowned albums ‘Freek Funk’ and ‘Wireless’) and Peacefrog, where he began using his (now widely recognised) Planetary Assault Systems moniker to release his harder-edged output.

A track from the Planetary Assault Systems alias – taken from the ‘Temporary Suspension’ album released earlier this year on Berlin label Ostgut Ton –also finishes up Slater’s exclusive Clash mix in glorious uncompromising fashion. The mix itself is a typically experimental affair – exploring everything from stripped-back minimal sounds to jittery synth-lines to rushes of harder beats – but one which never lets up from its techno paradigm, presented with true Slater flair.

Slater also pays homage to his many and varied electronic roots and influences, with a nod to the seminal Detroit scene and some of its key players via back-to-back tracks from Robert Hood and Jeff Mills. These blend into the sounds of contemporary techno from those who are continuing to evolve the genre, such as France’s Terrence Fixmer and James Ruskin.

Slater’s mix is, quite simply, techno heaven, purveyed by a true master of the scene.

Hailing from the techno-haven that is Berlin, Marcel was always bound to be a dab hand at relaying techno, but his tastes extend far beyond just this. As his Clash mix shows, he also incorporates some of the best in house, dub and broken beats into his DJ sets. Artists featured in the mix include the downtempo goodness of Jay Haze and the lush electronics of Lusine, as well as several choice cuts from Marcel himself.

Another track to listen out for is the remix of ‘It Put Me Well’ by Phil Weeks – a cracking proggy house stomper with a trippy, dark edge – more proof, if any were needed, that Marcel knows his stuff in this field. Shifting seamlessly between minimal, upbeat and a range of bases between, Marcel’s mix perfectly displays his ability to keep things fresh and experimental while also retaining a solid dancefloor vibe throughout – a talent which can be heard on Marcel’s latest record – ‘Dusty Dance’, released in late October on Mo’s Ferry Productions.

Over the years Groove Armada have made waves through both the underground and wider dance channels thanks to huge crossover appeal, with a string of hit tracks including ‘Superstylin’ and ‘At The River’.

Tom’s exclusive mix for Clash delves into techno, house and general slick electronic goodness of all kinds, exploring both the downtempo vibes and irresistible beats and melodies for which Groove Armada have become known. Featured artists include LCD Soundsystem, DJ T, and a marvellous Greg Wilson edit of A Guy Called Gerald’s ‘Voodoo Ray’.

There are also two fine remixes of Groove Armada’s upcoming single, I Won’t Kneel’ (released November 16, and taken from upcoming album ‘Black Light’) each slotting in seamlessly with the eclectic mood of the mix.

A delightful DJ mix from a true pro. Enjoy.

Tell us a little about the mix and some of the tracks you included.
I was feeling clubby, so I took it there on this mix. Bringing in old and new – some of those old 90’s hardcore rave tunes have the same energy and attitude as today’s club music.

Your mix has quite a diverse feel – Little Boots to L-Vis 1990 to Brian Eno – how do you decide what goes into a mix? Does it depend on your mood at the time?
Definitely. I like to blend in what keeps me going, and what I’m listening to at home or DJing in the club when it comes to mixes. Create a story with the mix. With this one in particular, it’s a story of a night on the town. The intro is getting ready with your crew at the flat, then you hit the club… there’s peaks and in-betweens when you leave the dancefloor to go and get a drink, and then party some more… then get home and go to sleep (that’s where the Eno came into play).

One distinctive thing about the mix is that it keeps re-grabbing your attention by dropping in something new. Is it important to you to keep things fresh in this way?
Always. Keep. Things. Fresh.

Some favourite tracks to play live?
At the moment, ‘Devil’s Eyes’ is a rise, because the crowd is singing along with me. Emalkay’s ‘When I Look At You’ is a big one as well… It’ll usually be my transition into the dubstep portion of my set and people get wild.

Loved the Major Lazer and Little Boots remixes – what makes a good remix in your opinion?
Create something brand new without losing the vibe and energy of the original.

Any new material coming up?
The Major Lazer 12” should be out shortly, and I’ve got a new single ‘Set Me Free’ dropping November 2nd on Trouble & Bass… It’s an epic club banger featuring vocalist Carrie Wilds.

You played a fair few festivals over the summer – how was it doing ‘the circuit’, and which were your favourite ones to play?
Soooo many. Dour was pretty incredible. All of us breaking backs on the stage…

I see you’re playing NYC on New Year’s Eve – that should be an interesting one… Looking forward to it?
I won’t be playing New Year’s Eve… the rest of the T&B crew will be. I’ll be making the big dollars out of town ;p

Hailing from Detroit, Barclay Crenshaw (the VonStroke moniker arose when he and some partied-up pals were making up fake European DJ names for a laugh) got to where he is by (unsuccessfully) asking Juan Atkins for a job, working as an assistant on some Hollywood uber-films, playing a load of warehouse parties (where he lost all of his music in an electrical outage), making an epic film on electronic music, and finally starting a record label, which – amongst other artists – has released two fine albums from VonStroke himself.

VonStroke’s exclusive Clash mix showcases the wide range of classy house styles for which he has become known, veering from progressive minimal beats to glitchy tech-house, all expertly weaved together. Artists on the mix include a range of talent from Vonstroke’s own dirtybird label (including Jacob Seville, Iz and Diz, and Sascha Braemer), other carefully selected acts, and – of course – some choice cuts from the man himself, which come from his hot-off-the-press second album ‘Bird Brain’ – a diverse, masterful and danceable record, released but a few days previous – October 19 – to the airing of his superb Clash mix.

Right then, this week we hand your eardrums over to the very capable Keyboard Choir, to soothe and excite. Keyboard Choir formed in 1994, using a traditional band setup to perform using purely electronic sources and ‘found sounds’. The result is a massively enjoyable concoction of crafted but organic-sounding electronica, enjoyed by – amongst many others – musical genius Brian Eno. A seal of approval if ever there was one.

Quite simply, KC’s exclusive mix is rammed to the rafters with marvellous electronica, no messing, confirmed by a quick glance at the tracklist – Aphex Twin, Luke Vibert, Clark, Mr Oizo, Gang Gang Dance… and not just tracks picked at random, mind – Keyboard Choir have obviously got their heads screwed on right, having picked some absolute belters, including the skittish brilliance of Mr Oizo’s ‘Erruer Jean’ and the best track by far (‘A New Error) from the Moderat album.

There are also some fine tracks from the Choir themselves – blending in perfectly with business at hand – taken from their acclaimed ‘Mizen Head To Gascanane Sound’ album and ‘Electrical Unity’ EP.

There’s even a rather nifty Little Boots track. BUT WAIT, sit down, it’s ok – it’s a remix. And a good one at that, undertaken by Kid Who. Phew.

To conclude: Aphex, Vibert, Lindstrom, Moderat and more all in the same 30 mins? Oh, go on then, if you must. And turn it up while you’re there.

Incorporating visuals into their work, particularly their live shows, has always been important to Echaskech ever since their first gig in Brick Lane, three years ago. Since then, Echaskech have gone from strength to strength, playing with the likes of James Holden, Nathan Fake and a string of recent festival appearances over the summer.

Their exclusive Clash mix features a track from ‘Shatterproof’ – ‘On Your Mind’ – which closes the mix, but not before we’ve been exposed to a fine combination of heavy, brooding synth lines, dark ambience and jagged, jungly two step beats. Featured artists include trippy electronic multi-instrumentalists Floating Points, the Modeselektor/Apparat hybrid Moderat and a Burial remix of Bloc Party. Some nice choices…

Having produced some very fine electronic tuneage – straddling all kinds of techno, edgy house, ambient and plenty more – over a grand total of 17 years, Huntemann clearly knows his way around the decks, and his distinctive dark, crisp electronic style – as much influenced by the early acid house scene and hip hop as it is by a wide range of European and American techno producers, particularly the Detroit crew – is evidently in fine form if this blinding live set (featuring the likes of Basic Channel, Carl Craig and Radio Slave) is anything to go by.

Huntemann will also be performing at this year’s annual Reworks Festival, held in Thessaloniki, Greece on 18-19 September, where he’ll be joined by the likes of Daedelus, Sven Vath, DJ Medhi and many more dance and electronic bods, who’ll be working the sun-kissed crowds into a frenzy, offering the perfect excuse to finish off the season with one final festival.

http://media.clashmusic.com/music/djmix-podcasts/ClashMusic-DjMix-Podcast-ShirKhan-ExploitedRecordsShowcase.mp3

Berlin-based label boss, DJ and producer, Shir Khan here presents a showcase mix of his Exploited Records label for Clash, featuring brand new and classic material, and some exclusive preview tracks from an upcoming Exploited Records compilation (‘Exploited’, released on 14 September), again mixed by Khan and featuring some of the label’s finest moments.

A born and bred Berliner, Shir Khan started Exploited Records in his home city in 2007, and has since remixed the likes of Evil Nine and Bonde do Role as well as producing his own material. Exploited Records now plays host to some wide-ranging and innovative electronic talent – including Adam Sky and Mowgli – and its artists have been receiving numerous supportive spins from the likes of 2ManyDJs, Boys Noize, Erol Alkan and Diplo.

Accordingly, Khan’s mix for Clash – as well as the upcoming ‘Exploited’ compilation itself – is a seamless melting pot of electro-disco-krunk-tech-glitch-basement-funk that simply can’t fail to please even the most discerning ears.

Highlights here are plentiful, but include a typically superb bleep-hop Modeselektor remix of a track by fellow Berliner and Boys Noize artist Siriusmo, and some ‘proper’ house (IE of the dirty, acidic variety), courtesy of innovative production/DJ duo Zoo Brazil.

1. Zoo Brazil – Zoo Brazil’s Rock The House Rework / Exploited
2. Malente&Dex feat. Bonde do Role – Bangkok (James Braun&Dan M Remix) / Exploited
3. Siriusmo – Allthegirls (Tomboy Remix) / Exploited
4. Basti Grub – Und das Klavier / Exploited
5. Malente&Dex feat. Analogik – Gipsy Kings / Exploited
6. Chernobyl feat. MC Gi&Cabal – Empina a Pipa (Samim Remix) / Exploited
7. Bassjunk – Pressure (Demoversion) / Exploited
8. Adam Sky & Danny Williams – The Imperious Urge (Ku Bo Remix) / Exploited
9. Malente&Dex feat. New Kidz – Lions (Jan Driver Remix) / Exploited
10. Minimow – Bollyhouse / Exploited
11. Milanese feat. RQM – Sandman / Exploited
12. Siriusmo – Wow (Modeselektor Edit) / Exploited
13. Lorenz Rhode – A Little Something / Exploited
14. Lorenz Rhode feat. Snax – Somethin’ Hot (Demoversion) / Exploited
15. Adam Sky Vs Soho 2008 – Hippychick 08 / Exploited
16. Siriusmo – Spell on you (Demoversion) / Exploited

Source : Clash Music

Despite only recently having released their excellent debut, ‘In Cars We Rust’, the duo have already established themselves as regulars in both the Berlin scene and, well, pretty much everywhere else as well, including Sonar festival, Fabric and Berlin’s minimal techno haven, Panorama Bar. Through such performances, Ex One have built an enviable live reputation, sometimes crafting entire new tracks just for their live sets.

This perfectionist muso practice can be witnessed in their live set, which sees the duo flawlessly perform a selection of unreleased tracks, as well as cuts from their debut and several remixes, including one of Swiss techno stalwart Khainz. And speaking of techno, there’s an abundance of it here, all of the very highest quality – from deep, bass-heavy textures which hint at the dubby sounds of Basic Channel to jagged, futurist acid-techno stompers, it’s all here and produced to perfection.

Put simply, Ex One’s live set is a lesson in how contemporary techno should sound.

http://media.clashmusic.com/music/djmix-podcasts/tiga-clash-djmix.mp3

www.tiga.ca
www.myspace.com/officialtiga

Source : Clash Music

1. Zombie Nation – Worth It pt. 1 [UKW]
2. ZZT – The Worm (Original Munich Version) [Turbo Recordings]
3. Zoo Brazil & Adam Sky – Circle Jerk (Milano 309 Remixes) [Turbo Recordings]
4. Jonas Kopp – Cero [Ghostly]
5. Proxy – Raven (Marseille Remix) [Turbo Recordings]
6. Tiga – What You Need (Proxy Remix) [Different]
7. Tiga – Overtime [Different]
8. Phonogenic – Release the Dancer [Turbo Recordings]
9. Guy J – Shaman [Turbo Recordings]
10. Tiga – You Gonna Want Me (Tocadisco Remix) [Different]
11. Mr. Oizo – Positif [Ed Banger]
12. Tiga – Shoes (Mr. Oizo Remix) [Different]
13. Tiga – What You Need [Different]

Mix number 14 comes from renowned Montreal-based electro-head Tiga James Sontag, known simply as Tiga to the world of dance music.

Full of sleazy electro and dark house vibes, Tiga’s mix is also the perfect audio example of his own finely-crafted electronic style. Towards the second half of the mix, things also take a distinctly techno turn, resulting in some quite superb moments – dirty bass, glitches and skewered vocal loops. Lovely.

Overall, the mix covers a twisted variety of bases, from Zombie Nation (with whom Mr Tiga produces music with under the ZZT moniker, don’t you know) to French Ed Banger talent Mr Oizo to several choice belters from Tiga himself, including a few tracks from recent second album Ciao! (produced by Soulwax), released at the end of April, and well worth checking out.

As well as producing his own highly regarded material, Tiga, who kick-started his musical career through promoting raves (a sure-fire sign of someone who knows how to soundtrack a proper party), has also made a considerable name for himself through remixing a plethora of artists (everyone from Cabaret Voltaire to LCD Soundsystem to Peaches), displaying an acute ear for a fine tune, as this expertly compiled and produced mix demonstrates.

http://media.clashmusic.com/music/damianlazarus/lazpod%2012.mp3

(From Clash Music)

http://media.clashmusic.com/music/djmix-podcasts/Clash%20Dj%20Mix%20Podcast%20-%20Headhunter.mp3

BBC Breezeblock :

http://www.dubstep.com.ua/download/Headhunter_-_Hello_World_Mix_MAH_breezeblock_08.05.2008.mp3

www.myspace.com/dubstepheadhunter

dubstepheadhunter.blogspot.com

(From Clash Music)