Gus Gus – 24/7 [KOMPAKTCD73]
•January 19, 2010 • Leave a Comment
Lindstrøm & Christabelle – Real Life Is No Cool
•January 19, 2010 • Leave a Comment
DOWNLOAD//ENJOY IT:
Lindstrøm & Christabelle – Real Life Is No Cool
MISPENTYEARS INVITA 12 DE DICIEMBRE @ PASAJE AMERICA:
•November 23, 2009 • Leave a Comment
THUGS AND PUNKS presenta:
CLASSIXX
Desde Los Ángeles, California llega este par de djs/productores: Michael David y Tyler Blake, mejor conocidos como Classixx. Han empezado a generar ruido por sus remixes “delicados y bonitos”. Con sus primeros temas electro house editados, que dan vida a la pista de baile y varios remixes realizados para gente como Phoenix, Major Lazer, Holy Ghost, Ladyhwake, Yacht y The Ting Tings han comenzado a aparecer en todos los rincones de la blogósfera.
Durante este año 2009, Classixx es fichado por el sello francés más trendy e influyente del momento: Kitsuné Music. Bajo este sello editan el sencillo I’ll Get You con la participación vocal de Jeppe Laursen mitad de la agrupación Junior Senior, tema que se ha convertido en la sensación de este verano. El video de este sencillo ha sido dirigido por el Photobloger más famoso de toda la Internet, Mark Hunter, mejor conocido con el seudónimo de The Cobrasnake, el mismo que retrata lo más selecto de las mejores fiestas electro en Los Ángeles y Nueva York.
Esto es apenas el comienzo para Classixx, sin embargo actualmente se encuentran recorriendo Asia y Europa tocando en los clubs y festivales más importantes a lo largo del continente, y pronto los tendremos en México para una exclusiva fecha dentro de su apretada agenda.
+
-DJ CALACAS(sicario.tv)
-VICE FEVER(sicario.tv)
-THE NEW CLASSICS DJS(thugs and punks)
.-.-COVER GENERAL: $180-.-.
+INFO:
WWW.THUGSANDPUNKS.CO.NR
www.myspace.com/classixxmusic
BACK AGAIN….
•November 10, 2009 • Leave a Comment
VA-Balance 015 by Mixed by Will Saul
•October 22, 2009 • Leave a Comment
Chuck Pereda -A Night in Berlin
•October 19, 2009 • Leave a Comment
Awesome …….
Nice Fucking Track
Download/Enjoy it
Various – 5 Years of Hyperdub
•October 7, 2009 • Leave a Comment
The Hyperdub 5 year comp has finally landed, and as everyone already knew, it’s a truly heavyweight package. This is the only place you’re going to find An EXCLUSIVE and freshly delivered new Burial track, unreleased killers from Kode 9, The Bug and Zomby next to freeze-dried freshness from Cooly G, Joker, Martyn, Flying Lotus, Samiyam, Ikonika, Mala, LD and Darkstar. A cast of unique producers split over two discs, one holding a hand to it’s brow and gazing into the future, while a second allows time for the indulgence of nostalgia. The Hyperdub imprint has basically become the go-to point for the finest UK (and now worldwide) Bass music of the last 5 years, skillfully and philosophically managed under the A&R of Kode 9, cherry-picking the most crucial records and artists from a wide range of tempos and styles and placing them under a banner that’s earned the trust of connoisseurs everywhere. Everyone knows that the label is sitting on a treasure trove of Burial material, but it’s a credit to Steve Goodman’s (aka Kode 9) management that it hasn’t been splurged into the market, making the new track here even more precious. Hearing Burial’s ‘Fostercare’ for the first time is an exquisite delight.
Kaito – Trust
•October 7, 2009 • Leave a Comment
It is an accident of both history and his label that Hiroshi Watanabe’s Kaito alias has come to be one of the most recognizable and critically accepted ambassadors for trance and deep house, two styles of electronic music long derided for vapid sameness and limited critical worth. There’s still some debate on how a Berklee education and nights out at Twilo or Save the Robots got him in the door at Kompakt, but Watanabe’s breathy New Age-influenced house didn’t just win over Cologne – 2002’s Special Life was a critical hit for turning expectations of the Kompakt label on its head, and the following year’s beatless companion Special Love aimed to, and succeeded in winning over the ambient crowd. Watanabe ushered in a wave of reform that had electroheads exploring new avenues of progressive house and reevaluating trance just as the musical climate at large was coming to be more favorable for electronic artists in general. He was in the right place at the right time.
LEON
