#nu electro

Tracklist:

Overthrow • Mayday • Dynamite • Rock the Bells • Euphoria • 2 Live • Would You Listen • Revolt • Starchild • Midnight • Los Niños • Hardkotzen • Birthday

Electro Boogie Vol 2 - The Throwdown by Dave Clarke

Just added this five-star late 90s electro mix to my growing YouTube playlist of amazing DJ mixes, which you can check out here. 

Will be adding a lot more mixes in the future, so keep your eyes peeled! 👀

Other mixes in this playlist:

Building Blocks, Vol. 1 by Terrence Parker - Detroit House / Deep House - 1995

Monsieur Dimitri’s De-Luxe House Of Funk by Dimitri From Paris - House / Garage House - 1997

Spundae Presents Interpretations by Jerry Bonham - Trance - 1997

A Jedi’s Night Out by Tom Middleton - Deep House / Future Jazz - 1999

Club “H” by Harry the Bastard - Deep House - 1999

DJ-Kicks by Kid Loco - Trip Hop / Downtempo / Abstract - 1999

Laid in Full by M-Boogie - Hip Hop / Turntablism - 1999

Essential Selection, Vol. One by Paul Oakenfold - Trance - 2000

Club H Vol.2 by Harry the Bastard - Deep House - 2000

4am Eternal by Osymyso - Trip Hop / Downtempo / Breakbeat / IDM - 2000

Playlist is also on YouTube Music.

Diaskeaust - “Latitude By Observation (Tipper's Ordinance Survey Mix)” Electric Kingdom: Episode One 1999 Nu Skool Breaks / Nu-Electro

Diaskeaust, a name I do not know how to pronounce, is a moniker that was briefly used by Dave Tipper, or just Tipper, a guy from Wimbledon, London who produces lots of different kinds of electronic music and is a hell of a DJ, too. Tipper's done drum n bass, he's done downtempo, ambient, and trip hop, and he's also pioneered glitch hop. And he's a sound design expert, too, who's composed his music for surround sound, which has landed some of his stuff on very popular TV programs like CSI:NY, Nip/Tuck, and Criminal Minds. But what Tipper's probably most known for is his work in the world of nu skool breaks. An undated article by Balz Biellman for lunarmagazine.com has more:

Anyone who follows new school breaks knows the name Tipper, and if you listen to his music, you'll understand why. Tipper's unique production style is as distinct as a fingerprint. Blending unequivocal sub-bass tones and mechanical rhythms with precision engineering, his music leaves you with an acrid taste of metal and steel combined with the exhilarating sensations of a Formula One race.

In '98, as Diaskeaust, Tipper's "Latitude by Observation" appeared on his co-founded Fuel label's 8 Track compilation. Fuel, a niche record company, specialized in releasing nu skool breaks tunes that were made to be listened to through a car's soundsystem. And the following year, Tipper's "Ordinance Survey Mix" of "Latitude by Observation" appeared on a comp called Electric Kingdom: Episode One.

The thing about this song is it's a real melange of different styles of electronic music. One, it's obviously breakbeat, but there's a huge dose of car audio bass in this, too, which derives itself from the Miami bass movement, and that partially derives itself from electro. Plus, the wicked sub-bass tones come from drum n bass and the overall acidity derives itself from acid house, which originated in Chicago, but took London warehouses by storm in 1988 and '89 with the Summer of Love, too. So, when they say Tipper's unique, his mixing of genres that enable him to create something entirely new is partially why.

The meatiest parts of this song feel like the soundtrack to an early aughts Scion TV ad or something. The hard-bouncing electro drum rhythms and the zappy sound effects both suggest a futuristic, robotic kind of feel, and I think Scion vehicles have kinda been marketed in that way, no? Like, I'm picturing a jet-black boxy compact car sitting in a brightly lit, fully white showroom on a slowly rotating white platform. Fully autonomous long-armed power tools navigate their way around the vehicle in order  to help primp and tune it up, and the final ad product includes jump cuts galore. And this song is playing with all of that going on, of course.

G-File - “Overtime (G-String Mix)” DJ-Kicks by Andrea Parker Song released in 1996. Mix released in 1998. Electro

It wasn't the easiest thing to figure out, but G-File appears to be an alias that was used only once by the British drum n bass duo, G-Squad. Consisting of Andy Robinson (who appears to have no Discogs profile) and Jubbs Chambers, G-Squad released a prolific amount of dnb records between their 1996 debut and their final release in 2008. On top of that, they also came out with a bunch more records between 2000 and 2008 under the name Supply & Demand.

It's hard to say how their first year went down chronologically, but in '96, G Squad co-founded a record label called Cold Steel with popular dnb/jungle DJ, Kenny Ken, produced a remix for Congo Natty/Rebel MC under his Lion of Judah alias, and released two 12-inches and a double 12-inch, too. That double 12-inch is under their G File moniker and is comprised of a track called "Overtime," plus nine separate remixes, most of which were made by other artists. One of those remixes is a phenomenal piece of electro by Britain's Andrea Parker, who at the time was just starting to make a name for herself on the dance music stage. A couple years later, Parker was commissioned by !k7 to make a mix for their DJ-Kicks series, and in that mix she included her own remix of G-File's "Overtime."

This track is a wildly good piece of dark mid-90s electro revival. Parker only lets her track run for two minutes, but it's still just so devastatingly fantastic. The "Overtime (G-String Remix)" stars a sensationally heavy and sinister, cave dwelling bassline that's also ribbed and grumbles, but on the back half of the track, flickers of twinkling, high-pitched, squeaky synths materialize, serving as a nice contrast to all of that plunging bass. And there to maintain the song's electro rhythm and character are sets of ticking hats and hand claps.