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This section includes compiled posts from some of Lars Behrenroth's favorite (Deep) House and Tech blogs.
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Roxy

Niall O’Conghaile aka CNUT TR4XXX interviewed the legendary Louie Balo ahead of the brand new The Ride Committee ft. Roxy EP “Guess Who” out on Batty Bass.

It goes without saying that I love house music. The rhythm, the sounds, the energy, the emotions, everything about it. I love house so much, you can even find me grooving to the background music in a Clairol advert. Sometimes. But beyond what we perceive as being the main tenets of house music, one of the reasons I love it so much that it has validated gay and queer identities in the public consciousness. For real. It may seem outlandish to some, but I am convinced that being shouted at, and sung to, by various drag queens and obviously “queer” vocalists throughout the Nineties is partly responsible for the recent Marriage Equality Bill that passed in the UK (where many of these songs were regularly in the charts).

One of my all-time favourite draggy house vocalists is Roxy, best known for tracks like “Get Huh” and “Accident” with the Ride Committee, released on the legendary Tribal label in the mid 90s. So it came as a very pleasant surprise to find out that the next release in the Batty Bass’ “NY Series” label would be the return of Ride Committee ft Roxy, with the pumping “Guess Who”. It kinda makes sense though, what with 90s house sounds being back in vogue (literally) and also with New York’s current “gay revival” and the re-queering of house music in general. With all that in mind, and also wanting to get the low down on the current NY club scene, the legendary Tribal label, Ms Roxy herself and the Ride Committee’s comeback, I reached out to the man behind the act, DJ/producer Louie Balo, who was kind enough to answer my barrage of questions:

How did you get into djing?

I started djing around the age of 12. My dad owned a social club, and had two complete different stereos, and I would not allow the music to stop. I didn’t even use a mixer, ha ha, and I remember that one set of the speakers on one of the hi-fi stereos sounded better than the other. It was spanish music, but eventually it moved into 80′s r&b, dance, party music, etc… When I finally got two turntables (with a mixer) and a mic, it was popping.

How did you get into music production?

As many dj’s do, I wanted to transition from playing other people’s music to playing my own. So I bought a keyboard, synths, and a drum machine.

What do you use to produce now, and how is that different from what you started producing music on?

When I first started I had external equipment – which means there were no plug-ins, everything was rack mounted equipment. Now everything is computer based. There is a certain quality with analog synths and equipment where you can actually tweek them, I miss that. The original beat makers would understand.

What were your big formative influences?

I had a lot of ndifferent influences growing up, but I would say the big ones were Santana, Curtis Mayfield, Sade, old school break records, and rare underground grooves. I was always drawn to music or tracks that would make me say, “Damn!!!”, ha ha!

What are your all time top 3 favourite records?

“The Bottle” by Gil Scott Heron, “The Message” by Bobby Konders, and a specific mix of an underground gem called ‘Take A Chance On Yourself’. Not sure who made that one, but it’s fly!!!

And what is your own favourite record that you have produced or remixed?

Well I am well known for producing “Love Commandments” by Gisele Jackson on Waako which I dig, ha ha!!!

But I also really like what I do, so it’s hard to pick any individual tracks. Maybe my Boogie Balo E.P. series, my Tribal stuff, and my funky tracks like ‘Activator’. Oh, and the Roxy material!

How did you get hooked up with the Tribal labels?

I worked at a company called Eightball Records in the East Village, NYC. It was a record company and record store, and a lot of people visiting didn’t realize that, while they were in the store, I was upstairs in the studio. I was eventually introduced to Rob Di Stephano through the label (or the store, I don’t remember exactly when or where) but we met, the rest is house music history.

Do you still have any contact with them?

I am in contact with them yes, but their label has transitioned from an actual office space to primarily being in the online world. So it’s not like before when we used to visit each other’s label/offices, grab a bite to eat, and have person to person meetings.

Were you already a fan of theirs? If so what’s your favourite Tribal release?

I was a fan of what Tribal was doing, it was a part of IRS records, but at the time, I felt like I had something different to offer, so when they took a chance on me, I became a big fan of theirs, ha ha!

Roxy seems like quite a character! What is Roxy like in real life?

The same. Roxy is a character, funny, loyal, cool to hang out with!

How did you two meet and what exactly led you to collaborate in the beginning?

We were neighbours. Roxy lived across the street from me in what we call here, the sticks. A group of us lived nearby and we all liked house music and going out, so between the cook-outs, and the beer and cigarette runs, we became friends….

And why the decision to re-team now?

We never really stopped working together. We have so much material that we made throughout the years, we were just (like many other artists), dealing with the whole file sharing thing going on, dealing with shrinking budgets, and record labels closing left and right.

How did you get hooked up with Batty Bass?

My friend DJ Will Automagic from The Carry Nation put me in contact with Hannah Holland, who at the time was working on a song with Josh Caffe called ‘Play with the Maid’. So I asked if they were looking for stuff, and she said yes, and here we are!

Will there be more Ride Committee & Roxy releases coming soon?

Most definitely!!! Yes!!!!

As someone who’s been heavily involved in house music for quite a while now, how do you think club culture has changed since you first started out?

It has changed a lot. People used to be fixed on one club, and you would always see them at the same spot all the time. You became friends with these people and eventually they became your hang out friends. So the scene goes through re-generation, the people may have changed, but the scene itself is the same; music, liquor, and party!

What, do you think, are the good and the bad ways it has changed since the mid- 90s?

The music hasn’t changed much, that is why the 90′s sound is so hot right now. There is only so much you can steer away from the sound of house before it becomes something else. The clubs have become smaller venues now, and the age of the superclub no longer exists, which is fine with me! I always dug tight, smaller, good systems-based clubs, with a great staff and cool promoters. They’re out there!!!

What’s coming up next for Louie Balo?

I own my own label called BATTLEWAX RECORDS, so I have my third album that I am working on and going to be releasing.

Watch this space!

Niall O’Conghaile (CVNT TR4XXX / CVNTY blog)

Batty Bass https://www.facebook.com/battybassrecords

Artwork Alex Noble

Pic Ves Pitts

“Guess Who” The Ride Committee ft. Roxy (Batty Bass) out now


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Louie Balo : The Ride Committee

Niall O’Conghaile aka CNUT TR4XXX interviewed the legendary Louie Balo ahead of the brand new The Ride Committee ft. Roxy EP “Guess Who” out on Batty Bass.

It goes without saying that I love house music. The rhythm, the sounds, the energy, the emotions, everything about it. I love house so much, you can even find me grooving to the background music in a Clairol advert. Sometimes. But beyond what we perceive as being the main tenets of house music, one of the reasons I love it so much that it has validated gay and queer identities in the public consciousness. For real. It may seem outlandish to some, but I am convinced that being shouted at, and sung to, by various drag queens and obviously “queer” vocalists throughout the Nineties is partly responsible for the recent Marriage Equality Bill that passed in the UK (where many of these songs were regularly in the charts).

One of my all-time favourite draggy house vocalists is Roxy, best known for tracks like “Get Huh” and “Accident” with the Ride Committee, released on the legendary Tribal label in the mid 90s. So it came as a very pleasant surprise to find out that the next release in the Batty Bass’ “NY Series” label would be the return of Ride Committee ft Roxy, with the pumping “Guess Who”. It kinda makes sense though, what with 90s house sounds being back in vogue (literally) and also with New York’s current “gay revival” and the re-queering of house music in general. With all that in mind, and also wanting to get the low down on the current NY club scene, the legendary Tribal label, Ms Roxy herself and the Ride Committee’s comeback, I reached out to the man behind the act, DJ/producer Louie Balo, who was kind enough to answer my barrage of questions:

How did you get into djing?

I started djing around the age of 12. My dad owned a social club, and had two complete different stereos, and I would not allow the music to stop. I didn’t even use a mixer, ha ha, and I remember that one set of the speakers on one of the hi-fi stereos sounded better than the other. It was spanish music, but eventually it moved into 80′s r&b, dance, party music, etc… When I finally got two turntables (with a mixer) and a mic, it was popping.

How did you get into music production?

As many dj’s do, I wanted to transition from playing other people’s music to playing my own. So I bought a keyboard, synths, and a drum machine.

What do you use to produce now, and how is that different from what you started producing music on?

When I first started I had external equipment – which means there were no plug-ins, everything was rack mounted equipment. Now everything is computer based. There is a certain quality with analog synths and equipment where you can actually tweek them, I miss that. The original beat makers would understand.

What were your big formative influences?

I had a lot of ndifferent influences growing up, but I would say the big ones were Santana, Curtis Mayfield, Sade, old school break records, and rare underground grooves. I was always drawn to music or tracks that would make me say, “Damn!!!”, ha ha!

What are your all time top 3 favourite records?

“The Bottle” by Gil Scott Heron, “The Message” by Bobby Konders, and a specific mix of an underground gem called ‘Take A Chance On Yourself’. Not sure who made that one, but it’s fly!!!

And what is your own favourite record that you have produced or remixed?

Well I am well known for producing “Love Commandments” by Gisele Jackson on Waako which I dig, ha ha!!!

But I also really like what I do, so it’s hard to pick any individual tracks. Maybe my Boogie Balo E.P. series, my Tribal stuff, and my funky tracks like ‘Activator’. Oh, and the Roxy material!

How did you get hooked up with the Tribal labels?

I worked at a company called Eightball Records in the East Village, NYC. It was a record company and record store, and a lot of people visiting didn’t realize that, while they were in the store, I was upstairs in the studio. I was eventually introduced to Rob Di Stephano through the label (or the store, I don’t remember exactly when or where) but we met, the rest is house music history.

Do you still have any contact with them?

I am in contact with them yes, but their label has transitioned from an actual office space to primarily being in the online world. So it’s not like before when we used to visit each other’s label/offices, grab a bite to eat, and have person to person meetings.

Were you already a fan of theirs? If so what’s your favourite Tribal release?

I was a fan of what Tribal was doing, it was a part of IRS records, but at the time, I felt like I had something different to offer, so when they took a chance on me, I became a big fan of theirs, ha ha!

Roxy seems like quite a character! What is Roxy like in real life?

The same. Roxy is a character, funny, loyal, cool to hang out with!

How did you two meet and what exactly led you to collaborate in the beginning?

We were neighbours. Roxy lived across the street from me in what we call here, the sticks. A group of us lived nearby and we all liked house music and going out, so between the cook-outs, and the beer and cigarette runs, we became friends….

And why the decision to re-team now?

We never really stopped working together. We have so much material that we made throughout the years, we were just (like many other artists), dealing with the whole file sharing thing going on, dealing with shrinking budgets, and record labels closing left and right.

How did you get hooked up with Batty Bass?

My friend DJ Will Automagic from The Carry Nation put me in contact with Hannah Holland, who at the time was working on a song with Josh Caffe called ‘Play with the Maid’. So I asked if they were looking for stuff, and she said yes, and here we are!

Will there be more Ride Committee & Roxy releases coming soon?

Most definitely!!! Yes!!!!

As someone who’s been heavily involved in house music for quite a while now, how do you think club culture has changed since you first started out?

It has changed a lot. People used to be fixed on one club, and you would always see them at the same spot all the time. You became friends with these people and eventually they became your hang out friends. So the scene goes through re-generation, the people may have changed, but the scene itself is the same; music, liquor, and party!

What, do you think, are the good and the bad ways it has changed since the mid- 90s?

The music hasn’t changed much, that is why the 90′s sound is so hot right now. There is only so much you can steer away from the sound of house before it becomes something else. The clubs have become smaller venues now, and the age of the superclub no longer exists, which is fine with me! I always dug tight, smaller, good systems-based clubs, with a great staff and cool promoters. They’re out there!!!

What’s coming up next for Louie Balo?

I own my own label called BATTLEWAX RECORDS, so I have my third album that I am working on and going to be releasing.

Watch this space!

Niall O’Conghaile (CVNT TR4XXX / CVNTY blog)

Batty Bass https://www.facebook.com/battybassrecords

Artwork Alex Noble

Pic Ves Pitts

“Guess Who” The Ride Committee ft. Roxy (Batty Bass) out now


© admin for faithfanzine, 2013. | Permalink | No comment | Add to del.icio.us
Post tags:

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Read more: http://www.faithfanzine.com/?p=1894

Flex Cop – Headed Home EP (Cream Couture Records)

7854365

Winter will melt, summer will thrive. Flex Cop‘s Headed Home is an endless reservoir of hands-in-the-air jams glistening with deep disco and melodic overtones. The Australian-based producer, fueled by the success of his My Honeys free EP has enlisted the man of the moment Stee Downes to grace the EP with his signature vocals. The release is a journey that travels far over the three originals whilst the two remixes provide detours off the beaten track yet staying relevant to the story.

Kicking off with ‘Headed Home’ and wasting time to lay deep disco foundations analog bass, brass stabs and strings ebb and flow with the vocals guiding the track to the centerpiece breakdown, wherein the disco hook emerges to see the listeners through to the end. This chapter is not without its own turns as the track slides into a second breakdown accompanied by mellotron strings creating a brief sense of melancholy before the track resumes course. The story continues with ‘If You Only Knew’, the most uplifting and feel-good tune of the originals. Stee’s vocals shimmer between shaking tambourines and deep bass conjuring images of an endless sunset drive. When things seem to be going as well as can be, the breakdown ushers in a second wave of euphoria with a soulful brass section over the fading out “can’t hide it’s” from Stee. U2-esque guitars wash over the whole track to provide the cherry on top of a very sweet indulgence.

‘Thing or Two’ throws the listener into the deep end, Benoit & Sergio meets Prince if you will. Subtle sporadic clambering of drum sticks, delayed zaps dancing in the stereo field and slowly emerging synth lines, tick tick tick. As with all Flex Cop songs thus far, the breakdown figures prominently. Here synths are allowed to fade out slowly to create suspense yet engaging enough to have the audience in baited breathes. Audiences would be forgiven for wondering if they have stumbled into a Hollywood scoring stage for what transpires next. Angelic strings descend from the above that build with the same poise that the synths faded. By full crescendo there could be up to 30 pieces playing before the drop. With the strings still reverberating from Thing or Two Flex Cop decided to take the key elements from the original and turn it into a brooding acoustic piece of art, aptly named Thing or Two (De-Mixed & Re-Strung). Benoit & Sergio comparisons now become Nicolas Jaar ones. A cinematic opening sequence immediately signals that things are different with phrases inviting new acoustic elements from a howling Ibanez to a Spanish steel string. Throughout the track piano licks bring a beautiful consistency that gently reiterate a hook amongst other licks. Stee, now a few semitones deeper, now flirts with the bass below. The second remix of Thing or Two makes no mistake with its title, Sunshine Euphoria rides high. Nearly a remix of the De-Mixed & Re-strung remix, here Flex Cop opens with the same strings that the previous finished with however with a new chord progression. Piano and brass make a return in the form of licks and stabs that build towards the breakdown, where the brass then takes centre stage in a definitive ‘hands in the air’ climax. This is disco and life is good.

PURCHASE HERE

Artist:  Flex Cop
Title:  Headed Home EP
Label:  Cream Couture Records
Catalog No.:  CCR012

The post Flex Cop – Headed Home EP (Cream Couture Records) appeared first on Music is 4 Lovers.

Read more: http://musicis4lovers.com/2013/08/flex-cop-headed-home-ep-cream-couture-records/

Funky Fat – Speed Fire EP (Nurvous Records)

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The band that is taking the house scene by assault, with fat bass lines and strong indie influenced melodies. Guilherme Santoro, Rafael Cury,Thiago Guimarães and Manu D’Alcant ara are t he names behind the brazilian band Funky Fat. Their sound has a strong crossover appeal full of deep energy and funky grooves. Live, you can feel the analog-sounding atmosphere along with a seductive bold female vocal that involves you through the songs.

For their latest release they join the powerful Nurvous Records with a groovy two track EP.  The title track is seductively addicting with a catchy bass line and crisp percussion.  While ‘Second Chance’ in a similar fashion is another great track with a nice throwback pop feel.  This is a classic example of Indie Dance music, and great tunes threw and threw.  Stay tuned for their next release coming out soon on Hot Creation.

PURCHASE HERE

Artist:  Funky Fat
Title:  Speed Fire EP
Label:  Nurvous Records
Catalog No.:  NUR22891

Go to Beatport.com Get These Tracks Add This Player


The post Funky Fat – Speed Fire EP (Nurvous Records) appeared first on Music is 4 Lovers.

Read more: http://musicis4lovers.com/2013/08/funky-fat-speed-fire-ep-nurvous-records/

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