Produce Shop

Friday Mach 22 marked Boysnoize Records' return to New York's premier discotheque, Le Bain.  Alluring techno and deep house by Djedjotronic, Strip Steve, and Ben Mono stirred a sexy atmosphere consistent to Le Bain's standards.  Peruse through the rest of the night captured by Colin Walker right here.

After a rambling journey from the Bronx to Brooklyn we parked the car on 4th street and made our way into the cold.    Across the river Manhattan is a constellation.  Street lamps light the quiet rows of warehouses to our right, casting a dull orange haze overhead.  The avenue is vacant besides shadows and the occasional gypsy cab cruising past, trolling the avenue for fares.  I walk along Kent Avenue with the kind of hunchback posture of a person trying to keep warm; looking forward to the solace of Glasslands up ahead.  A huddled group of twenty somethings lean over their cigarettes in front of the venue when we arrive, their breath an indiscernible mixture of smoke and fog.  At the door a solitary hulk-like bouncer tells us the show’s sold out.  We tell him we’re on the list.

Inside, Glasslands is packed wall to wall. In an instant I forget what cold feels like.   The room is as warm as the sounds hitting my ears.  An undeniable groove of flange coated, tape saturated, cocaine-infused disco, transmitting a contagious euphoria that’s got the crowd boogying and my head bobbing.  String stabs and reverb drenched vocals electrify the room evoking the spirits of Shaft, Dirk Diggler, and Billy Dee Williams all at once.  Once we've checked in, I’ve already shed my jacket and tied it around my waist like a third grader on a field trip.  I head to the bar for a beer, a reasonably priced Brooklyn Lager suiting for the occasion, then approach the floor to watch the stage.  

Psychemagik

Danny McLewinn and Tom Coveney are Psychemagik, and tonight they are killing it.  These guys are the curators of 70’s dance music and psychedelia, wielding a golden era of sound in samples.  Conjuring lost wax treasures from the musty attics and garage sales of the world, the duo’s prolific oeuvre of edits, remixes, and original productions make clear Tom and Danny’s affinity for digging.   Tonight’s set is no exception.  

Shortly after I’ve joined my friends in some disco krumping, the duo drops “For Your Love”: an understated edit via Chilly’s furious eurodisco rework of the Yardbirds crooning anthem of the same title.  The Psychemagik edit is a certified banger, twice removed from the breakthrough hit that precipitated Clapton’s departure from the Yardbirds (who expressed resentment towards the tracks departure from the blues).  Psychemagik’s selection is tasteful, applying minimal treatments of vintage records: beefing up the low end, layering percussion, and at times adding a new imaginative atmosphere via arpeggiated synths and reverb drenched stabs & samples.  Within these tasteful revamps lives a rich genealogy of classic 70’s recordings, setting Psychemagik’s cuts apart from the monotone churnings of todays conventional EDM scene.  This is dance music with substance.  

Coral-esque ceiling decor

Above the stage there is a cluster of pink fabric resembling some kind of tropical coral reef, and overhead to stage right is a balcony filled with dancing silhouettes.  I made my way up there and began typing notes that proved useless in daylight.  A small girl dancing next to me alone called me out, asking with disapproval, “Did you come up here to text?”  I explained that I was a writer or was at least pretending to be, and that I was taking down notes.  This seemed redemptive and she offered her thoughts on the show.  She pointed out that the duo was rummaging through CDs looking for the next track to play.  “What’s up with that, don’t they have a set-list?  Write about that.”  Apparently they did not, opting instead for a more organic, impromptu approach, flourishing like the coral reef adornments on the ceiling.

Beside the balcony a disco ball reflects green lasers and the duo drops “Not Fade Away,” a propulsive, head-banging edit of a harmonica driven Stones cover. In between the vocal snippets and soaring juicebox lines, a fidgety bass synth penetrates the mix, juxtaposing old sounds with new ones.  All while percussion crispier than the chicken nuggets I ate earlier set the backdrop.  The sample is playfully boosted from King Size Slim, aka Toby Barelli, a virtuosic guitar player renowned amongst UK blues heads.   As a digression I looked into Slim after hearing this track; I highly recommend his stuff.  Later the duo samples another one man band, the sensational acapella/beat-box/YouTube sensation Bobby McFerrin, when the boys drop “Beauty and the Bass.”  This track is as inventive as it is undeniably catchy, with McFerrin’s quirky syncopated vocals dancing over the kick drum while an octave-hopping bass line nails it all down to one funky groove.  A certain fan on SoundCloud quips that “McFerrin himself would be proud.”  I’m sure he is.  This is the kind of unconventional, right-under-your-nose sample selection that makes producers think, “I wish I thought of that.” 

Towards the set’s end Psychemagik showcases their recent Lunar Escape EP.  The three track effort demonstrates Tom and Danny’s production prowess in an imaginative display of cross-genre exploration. “Where Are We” blasts off at 128 BPM with swirling pads, a nostalgic arpeggiated 80’s bass line, and a catchy melody.  “Bass Purr” follows suit with an instantly recognizable filtered bass line that gets the crowd jumping.  The sound is not my cup of tea, but the crowd seems to love it and it's executed tastefully as far as “wobbles” go: minimally.  My personal favorite track on the EP is “Above the Clouds”: a lounge track arranged over a shuffled house groove boasting a marvelously composed string section reminiscent of Bonobo’s 2010 release Black Sands.  Leaving behind the vaults and the needle, Psychemagik defies their own conventions and executes three distinct styles entirely from scratch.  As the title insinuates, this EP is a departure from the groups sample based production and an exploration into a new realm of cosmic sounds.

Before long I’ve sweated through my clothes, spent my last dollar, and it’s time to catch a train back to the Bronx.   All and all I had a blast at Glasslands, as I am partial to small intimate venues and was captivated by the surreal waterfront location.  By the time I sit down to write this, I’m reminded that nostalgia is good, and that disco is fucking awesome.  Psychemagik delivers on both.  

On January 30th, or as I like to call it, New Year’s Eve Eve, EDM titans Afrojack, Diplo, and Rusko put on a show at Pier 94 in the greatest city in the world. This show helped bring the year of 2012 to a loud and aggressive end filled with plenty of hooks, drops, and bangers to make your head spin. In the massive indoor venue, waves upon waves of eager concert goers began to fill the empty space of Pier 94 at a seemingly endless rate. After a solid set by the opening DJ, Rusko took the stage and the party truly started to begin. 

Rusko

Honestly, Rusko is wearing the scarlet letter of dubstep with pride. He’s taking that shit and he’s running with it. Good for you, Rusko. He’s not simply sitting down and taking the fact that he and Caspa popularized has gone to complete shit, he’s actually doing something about it. Rusko is continuing to make quality dubstep for the common man. And that’s exactly the set he dropped at Pier 94. He put on a schmorgasbord of sorts and displayed to the Afrojack-heavy crowd what quality, jacked-up dubstep sounds like. Plus, he probably burned more calories than bpms were in his set. Always the energetic showman, Rusko was jumping up and down and hollering louder than the most juiced up lax bro sounded while he was getting sweaty in the pit. Dropping an array of classic hits like “Da Cali Anthem” and “Jahova” as well as a few tracks from his new Kapow EP, Rusko’s set varied from tracks hardcore steppers could get down to as well tunes kids new to the scene would find accessible. However, nobody’s perfect, and when Rusko takes a risk like remixing DMX’s “Party Up in Here” into a cool new dubstep track, you start questioning whether this man is completely unhinged or not.

Diplo

After a successful European tour promoting his third LP, Out of the Black, Boys Noize (Alex Ridha) brought his unique live experience to the states via HARD.  While founder of HARD and Boys Noize fanboy/friend Gary Richards recently sold the brand to Live Nation, he ensured the HARD following that his events would preserve the same integrity as always.  So far, Richard’s has lived up to this promise, maintaining the brand’s tradition for Ridha’s New York debut by stacking the lineup with lesser known, quality electronic acts such as BNR artist Djedjotronic, mysterious trapstar ƱZ, and BNR's indie hip hop act Spank Rock.  

Djedjotronic

The initial gathering of partygoers were greeted to an assorted set by Berlin based, Djedjotronic (Jeremy Cottereau).  The techno producer refrained from delivering a static set, starting things off with expected, straight up techno, and later easing into techier displays of bass music, introduced with French Fries’ remix of Birdy Nam Nam’s “Goin In,” and “Wrong Ghetto” by Dark Ages; into other bass cuts of the Night Slugs variety.  Seamless mixing allowed for a smooth and natural back and forth between tempos. His selection of more experimental and trippier trap, such as Sinjin Hawke’s “Like That,” was an unexpected yet fitting surprise, switching crowd dance movement from basic 4/4 obedience to a darker street-lean on the fly.  While attendees in the know may not have expected Djedjotronic to stray from his traditional genre, he accomplished his duty as the first opener, exciting the crowd with his choice of quality tracks within the fast rising, electro trap genre.  Ending his set with TNGHT’s “Higher Ground” stirred the crowd, arms pumped in the air, leaving a nice foundation of crowd momentum for ƱZ’s all trap set. 

ƱZ quickly arrived on deck, and without hesitation dropped Luminox’s remix of Bingo Players’ “Rattle,” building upon the crowd energy laid out by Djedjotronic.  His swift mixing of Flosstradamus’ “Underground Anthem,” into Don Mida$$’ “Hustlin” remix, to Floss’ remix of “Original Don” displayed his prowess on deck and blasted crowd vitality up to dynamic proportions. Having already proven his deftness within the first few minutes of his performance created even more intrigue about this trap enigma.  

With the crowd now turned the fuck up, I made my way backstage to catch some air and chatted with a homie of ƱZ’s, ever so reluctant to reveal the identity of his masked compadre. It seems that maintaining the mystery behind the trap phenom is a necessary contract of his friendship…but I have a sneaking suspicion ƱZ may be SMOG affiliate Danny United.  

ƱZ

With a closer view backstage I noticed ƱZ's technique on the control vinyl.  Transitions were rapid and seamless, and he layered tracks on top of each other to make live remixes with the help of an MPC; peppering in vocal samples of his trademark, “real trap shit!” throughout his set.  While trap may be viewed by some as the next “bro” trend, pushed away by veterans of the scene assuming it to be the next hype to fizzle out like Moombahton; ƱZ does the genre justice by maintaining a distinct and personalized live experience.  He offers a performance rather than the typical track after track recitals many of today's stars present. 

ƱZ proceeded to play Diplo and Grandtheft’s bootleg of Calvin Harris’ “Sweet Nothings”, his own remix of Alex Metric’s “Rave Weapon,” and a trap remix of “Face Down Ass Up,” soon ending his set with one final "real trap shit" plug. His performance proved to be a driving force of credibility for the genre, making him just the hero (or dark knight) trap needs.

An over extended cigarette break caused us to catch just the end of Spank Rock's performance, which saw him yelling into a mic with a big booty dancer twerking on stage.  The upset over this missed performance was brief, as Boys Noize’s menacing stage piece was soon revealed with the headliner himself finally beginning his much anticipated performance.  He poetically opened with “What You Want” to cheering fans as the eyes on his skull throne ignited a deathly red.

Oi Oi Oi

While his chaotic visual display was a tasteful incorporation, his signature performance outshone the colorful lights and shiny skull.  As advertised, fans experienced Boys Noize “LIVE,” with Ridha creating exclusive renditions of every track played off of his catalogue.  He meshed new tracks like “Rocky 2,” and “XTC” into classics like “Kontact Me,”and “Jeffer.”  While his skull throne loomed like an ominous symbol of death, the crowd was as alive as they’d been all night, springing at the drop of “Oh!” and euphorically singing along to his remix of The Chemical Brothers’ “Swoon.”

Pumped fans

Ridha then segued into his remix of Feist’s “My Moon my Man,” slowing the track down till it gradually progressed into an eerie buildup.  Following a short-lived drop, Ridha lowered himself into his skull, signifying the end of his show.  Disappointment was fleeting however; as a fist emerged from the top of the skull, with one finger pointed in the air signifying one last song to be played.  The hand began to wave towards the stage, beckoning fans to stay, while a flash of white off the light screens confirmed that it was on again.  

Finally sending us off with a mashup of “Kontact Me”, “& Down,” and other signature hits; Ridha created one last moment of heavy electro bliss with a unique twist.  When it all ended, the humble DJ saved himself a bow and jumped down from the stage to collect daps from his appreciative fans.  

Daleri - En Route

Label: Trice Recordings Catalog#: TRCR009A Release date: 12-11-2012 Format: mp3 Genre: Electro House

The original mix sounds like a dub stolen directly off of Feed Me’s HD. Playing to fans of the popular complex electro sound right now, it hits hard with beautiful melodys. The remix sounds more industrial with a more pronounced main synthline. Lots of white noise and what seems like clatter place it on a lower tier than the A-side.

  Fake Blood – Cells

Label: Different  Catalog#: DIFU 255D Release date: 12-11-2012 Format: MP3, CD Quality: 320 kbps Style: Electro, Bassline, Indie Dance, Nu Disco

Fake Blood’s eagerly anticipated debut album, ‘Cells’ is set to be one of the standout electro albums of 2012. Theo Keating, in true maverick style, has forged his own path as Fake Blood - a hard-hitting, multi genre artist with a cult following like no other.  Few DJs have truly trashed the rulebook like Fake Blood.  When his remixes snuck onto the dance scene in 2008, he shied away from the spotlight and, like a dancefloor ninja, managed to keep his identity firmly under wraps.  3 years and Keating is still something of an enigma. Fake Blood has found a home on Different Recordings, which counts club crusaders like Tiga, Felix Da Housecat, and Vitalic among its roster; and is finally ready to present his debut album. Scoop dat, aight?

  Julian Jordan & Martin Garrix – BFAM

Label: Spinnin' Records Catalog#: SP593  Release date: 12-11-2012 Format: mp3 Style: Electro House, Progressive House

When a legendary label like Spinnin’ releases a record with only an A-side you can bet it’s going to be a club destroyer. A progressive style bridge with trance style chords and melody envelope the air, building into an enormous and gritty pitch falling synth that beats you in the face. Huge electro here.

  Alex Metric - Ammunition Part 2

Label: OWSLA Cat.#: OWS 026  Release Date: 13-11-2012 Style: Electro House / House / Nu Disco

While I usually think OWSLA is on some tool shit, Alex Metric’s original mix of Rave Weapon is probably the dopest thing to ever come out on the label. Check it out, got a ravey Baltimore breakish feel to it.

  Laidback Luke - Super You & Me

Air Date: 10-24-2012 Format: mp3 Quality: 192 kbps Playing Time: 59 min Style: Electro House Nu Tribal Pow Wowstlye, ya hurd?

Laidback Luke releases a mix all fans of electro will enjoy. Packed to the brim with triple drops and exclusive dubplates out the ass, it’s no wonder Mr. Luke has been in such a high performance demand over the last year.

Dosem – A Modern Ritual / From The Edge

Label: Tronic Catalog#: TR095 Release date: 12-11-2012 Style: Tech House, Techno, Detroit

Big club sounds on this record cooked up by Dosem. The first cut is rolling tech house number, with infectious percussion. On the flip we see some more classic techno styles. Nice sounds.

  Nick Höppner - The Weed EP

Label: Echocord Colour  Catalog#: ECHOCORDCOLOUR022 Release date: 12-11-2012 Format: MP3, 12” Style: Dub Techno, Minimal

Nice semi minimal down filtered hats over a pounding 4x4 constantly pushing more layers and subsequently decaying them away. Rolling dub techno rhythms and big wily synth patterns mark the remix; a very Detroit feel to it. Good record for you techno fiends. 

  Fabriclive 66: Mixed by Daniel Avery

Label: Fabric Catalog#: FABRIC131 Release date: 19-11-2012 Format: MP3, CD Quality: 320 kbps Style: Techno, Progressive House, House

The fabriclive series needs no introduction. Known for pleasantly avant-garde producers and some of the most interesting track selections, this comp is not one to miss.

  Totally Leena Chapter Two

Label: Leena 

Catalog#: MOBILEEDIGILP05

Release date: 19-11-2012

Style: Tech House, Techno

Very cool bassy techno comp. Hits the spectrums of house as well and comes recommended.

  Arjun Vagale - Disjointed Sequence EP

Label: Hummingbird Catalog#: HUMM008 Release date: 21-11-2012 Style: Techno

Cool Techno. Hummingbird comes correct with more housy versions on the record as well. Good stuff.

Material Best Of Remixes Part 1

Label: Material Catalog#: MATERIAL045 Release date: 12-11-2012 Format: MP3 Style: Tech House

Awesome percussion and slammin Ibiza style house fill out the first “best of” remix comp release on Material. Nic Fanciuli is the star of the record, with our favorite cut. A good and solid release

  Yousef – Beg (Hot Since 82 Future Mix)

Label: Defected Catalog#: DFTD374D1 Release date: 19-11-2012 Style: Deep House, Tech House

Defected is always on time and doesn’t fail with this great record. Keep it moving.

  Lelu – Say Moon

Label: 4Room Catalog#: 4RR030 Release date: 15-11-2012 Style: Tech House, Deep House

Awesome tech house to throw in a set. First cut is pretty dope. On the techno side of things but very groovy.

  Ramon Tapia – 411

Label: Say What? Catalog#: SAWH004 Release date: 12-11-2012 Format: MP3 Style: Tech House

Deep and down pitched spoken word vocals so common in tech house today mark Ramon Tapia’s 411. The original mix bests the B-side with a big drop that has a soulful guitar strum while the remix is more percussion based.

  Tom Demac - Critical Distance Part 2

Label: Hypercolour Catalog#: HYPE28 Release date: 12-11-2012 Format: MP3 Style: Tech House, Deep House

London’s golden boy Tom Demac releasing on Produce Shop preferred label Hypercolour means big tings. Both tracks feature a dirty comb filter saw wave bass that nods its head to classic dubstep sounds. Very big record.

  Eats Everything – Slow For Me

Label: Futureboogie Catalog#: FBR012DB Release date: 18-11-2012 Style: Deep house, Nu Disco

Eats Everything continues to add labels to his list of conquered territory. Another big release from the big guy.

A trip to New York produced more than a good time with old friends for Klepto.  The DC producer met up with buddy Bob Gravity to churn out this dark introspective piece.  Give an ear.

Dsan Powell, Gil Montiel – Catch A Spell EP

Label: Anhura Vinyl Catalog#: ANV003 Release date: 04-11-2012 Format: MP3, 12” Genre: Electronic Style: Deep House, Minimal Techno

The title track, “Catch A Spell,” leads things off, and quite well at that. The original mix has a defining, decayed synth that blasts through the down beats while a fat sine wave bass bounces around, pounding claps and very swinged out hi hats. 808ish bass coupled with the sub finish the dope vibe.  The Jonny Cruz remix means to go much deeper, without the defining sub from before. The bass is instead used in stabs, but the vibe of this track just isn’t the same as the first. Move on to “Mesemerized” which doesn't pack quite a punch.  However, Inxec’s Dope Dub revives it with a classic glitchy and bassy minimal techno style that keeps the beat moving through big pitch shifted chords. “Illusion” is a final little treat much like the lead off tracks hypnotizes the listener with fat subs and stacked upbeat hi hats. A big curious pads creeps in and sticks around through the build to strip away along with almost every other element for an all consuming sub bass drop.

  Christopher Rau - Two

Label: Smallville Records Catalog#: SMALLVILLECD 06 Release date: 05-11-2012 Format: MP3, CD Genre: House Style: Deep House

Christopher Rau leaves chin scratching techno hipsters with plenty to be happy about on his new album, but his older fans might have to grit their teeth to enjoy Rau’s new strange and syncopated take. Tracks like "Swag Lude" and "Apple Snapple Tracking" have a sort of mechanical feel that is predictable for the techno guys and esoteric for the deep fans. However, the second half of the album lends itself to the airy and fun deep house that Rau has built his name on. There's a real world quality to the melodies and samples that litter "Two". Even when the beats might be brash and the percussion prickly, the waify little details surreptitiously steal your mind and romance your heart with imagined nostalgia. It's hard to criticise an album that is still above most in its field but, as a product of his usual form, many might have expected more.

Marko Fürstenberg - Gesamtlaufzeit Remixes

Label: Rotary Cocktail Catalog#: 0827170309784 Release date: 05-10-2012 Format: MP3 Genre: Techno Style: Dub Techno, Deep House

A big release off of Rotary for fans of the deeper dub techno sound. “In Der Pappelei (Rhauder Remix) kicks things off with a winding and constant groove that gives way to a very funky (and thoughly processed) guitar riff. His use of swinged out Bmore house sounding shakers gives the track the club flavor it needs for the dancefloor. Rita Hess brings an unmistakeably female romantic touch to her remix of “Rieht”. The semi distorted and delayed square wave synths that bounce around the track give it an amazing union with the classic NY house open hi hat samples that cut through the upbeats of each measure, eventually falling away to make room for a tight shaker to do the moving – very deep for sure. The third cut breaks a bit from the deep influences on the other and goes straight techno. “Steinbruch (Reference Remix)” uses classic vocodish analogue synths to pan over a driving dub techno rhythm. Of course this track follows the minimal formula, with all the instrument constantly working toward a huge build which crescendos into a delightful and pounding break. Cleaning it up is “Gegenströmung (Pattern Repeat Remix)”.  A peculiar yet sustained deep synth grows into the mix, while cut and syncopated hi hats move irregularly; a fun tune for techno fans but this one probably won't kill the club. This record stands out as it maintains the hallmarks of driving dub techno, but at the speeds and tastes of deeper house.

  The New Elastics - It's Just A Word

Label: Saura Catalog#: SUARA065 Source: WEB Release date: 05-11-2012 Format: MP3 Genre: Electronic Style: Tech House, Deep House

 A record with cuts for every taste from Saura. “It’s Just A Word” is a classic techno number that takes the listener through a twisting hallway of cut and pitch shifted vocals. The 8th note shakers blend with, rather than sit under the up beat high hats, while a sinister square wavey bassline pervades the mix.  Added funky guitar strums and more big, delayed, incomprehensible vocals make this tune ready for the parties. Cut 2 is the Produce Shop's pick for sure. A super deep mix that uses all of the elements of the track plus an added tambourine and very funky, almost sampled sounding bass guitar. Lot’s of percussion elements come in on the half measure, turning this tune into a banger.  Deep house fans may also like Johnwaynes Remix. Starts with hats and claps under a deep and emotional piano portion not found in the other mixes. A single high pitched pad remains in the background, giving a nod to classic New York and Chicago house. The Boys Noize-esque bassline almost feels out of place when it does come in though, and the extremely processed vocals come off as a bit annoying. Things speed up a bit with hard house hats on the Dosem Remix.  8th note decaying claps and an absolutely infectious sine wave sub push the mix right through your speakers - a classic minimal tech house rendition that works well for fans of that sort of thing.

    A week back Night Slugs label head L-Vis 1990 (James Conolly) smashed Bushwick's Church of Dionysous with an eclectic selection of dancefloor madness.  He gave us a few words before his set, filling us in on his influences for Neon Dreams, the integrity of Night Slugs, and his thoughts on Trap.

Prior to Neon Dreams your releases had a heavier, harsher sound. Very upbeat and dance floor ready.  What drove the change for your LP’s stylistic direction?

I mean it wasn’t so much of a change it was a progression, you know? My taste was maturing.   When I was doing all that bassline stuff I was experimenting and making stuff on the dance floor for my friends and I to play. Neon Dreams was a really personal project about music that I love; the classic dance albums that I grew up on, shit that I’m really into, just bringing it all in as one.

The theme of Neon Dreams is very love oriented.  Were you in love at the time?

It’s actually a love story about me getting with my girl.  All the songs are written about this period in my life whilst I was writing the album.  Each section in a song is like a conversation between Javeon and Samantha Lim.  Javeon represents my perspective and Samantha Lim represents my current girlfriend's perspective so [Neon Dreams] trys to tell that story in the format of an album

Your most recent track, Ballad 4D is also quite different from your other productions.  Is it mainly an homage to eski or is that your new direction?

Eski wasn’t in mind at all when I wrote that. All my previous stuff has been so 4/4, like with the Club Constructions and stuff I was just doing straight to the floor bangers.  But with this I wanted to experiment with space and different patterns in which you can drive the dance floor without it being straight 4/4.  

As a label Night slugs has been known to stray away from musical trends.  What’s your opinion on the Trap phenomena?

To be honest I don’t know what trap is.  I’ve heard what people say about it, I know its relation to rap music, but I haven’t listened to anything made by a “new” trap artist.  I’m totally out of that shit, I don’t follow trends.  We (Night Slugs) just keep doing what we’re doing.  All the shit I’m into is like old music, like the stuff that I collect and the music that I buy are old Dancemania records like Underground Construction, Omar-S. The real shit.                

Trends come and go.  Trap will be dead before you know it.  That’s why Night Slugs never gave a name to what we’re doing.  We had the opportunity.  We were the first of this group of people creating bass music in a new way, outside of dubstep and garage.  We were merging house, dubstep, and garage and bringing it into one new thing.  At one point we could have said, “yeah this is cool,” and label it all as future bass music and that would have stuck. But that would’ve given it a lifeline, so we just never gave what we did a name because we knew as soon as we would’ve done that our careers would be over like that. So Night Slugs just sticks to its own thing. Night Slugs is like an atmosphere, it’s not a genre.  

What plans do you have for night slugs in the coming months?

Well at the end of 2012 we got Night Slugs Allstars Vol. 2 coming with a lot of new tracks from our guys, from our new artists like MORRI$, and a new track from me.  That’s another big occasion for us.  January 2013 is gonna be my next EP with “Ballad 4D” on it and 3 other tracks as well, which are in a similar vain.

What’s your favorite tune at the moment?

It’s hard to say.  I’m really into Jammin Gerald, like old Dancemania stuff. But “Bring in the Katz” is a massive track right now and always kind of works on the dance floor.  It’s probably the most fun track to play.

Finally, what's the significance of your name.  How’d you come up with it?

It comes from the 80’s band Sigue Sigue Sputnik.  They have a track called "21st Century Boy". In the intro to that track they describe the ultimate band, which is, gonna change the future by revisiting the past. And that band is called L-Vis 1990.

Catch L-Vis 1990 along with Wolfgang Gartner, Proxy, and Popeska at HARD NYC/LA November 9/10

Lil B - California Boy (Official Video)

Hey London fam!

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