The Dutch label taps up one of the world’s most underrated selectors for a new compilation.
Swiss selector, Sassy J has collaborated with Rush Hour for a new compilation based upon the ethos of her Patchwork night. The 13 track release – 10 of which are unreleased – from producers covering the deeper spectrum including Larry Heard as Mr Fingers, Hanna, Dego as 2000Black, as well as Flying Lotus collaborator Georgia Ann Muldrow.
The Patchwork night sees the Swiss selector – real name Judith Biffiger – invite her favourite DJs to her home town of Bern as well as slots in London, and has seen appearances from the likes of Theo Parrish, Floating Points, MF DOOM, and Moodymann.
Patchwork comes out on 12th December 2019 on vinyl, CD & digital.
1. Farrah Boulé – Mother Of Mantras
2. Warm – Blue Sunrise
3. 2000Black – Plastic Jam
4. Hanna – Spaceland
5. Alex Attias & Sassy J Present OJA – Jelly Bubble Rise
6. Nu-Era – Mirror Images
7. GB – The Projector
8. Aardvarck – Aap Noot
9. Mr. Fingers – Survivor
10. Georgia Anne Muldrow – Always
11. Carlos Niño & Friends – Mushroooooomslive feat. Jamire Williams and Josh Johnson
12. Ivan “Mamão” Conti – Amazon Orison
13. WaH-ChU-KU – Phereo In The House
Netherlands-based producer Intergalactic Gary steps up for a solo release on Berlin-via-Singapore label Midnight Shift.
“Signs of Disarray” will be the first solo release since the mid ’90s from the New Zealand-born DJ and producer. The 4 track EP will be available on both vinyl and digital, with Redshape applying his expert hand to the mixing of 3 of the tracks.
Midnight Shift will release the record later this year. The label has been behind some of the more interesting releases in electronic music in the last few years with highlights including records from Gene Hunt, Recondite, Terrence Parker, Xhin, and the highly-rated EP from Harmonious Thelonious – Kabriman.
A solo Intergalactic Gary (real name John Scheffer) is a rare treat – his previous work has been mostly collaborations with electro heads such as Viewlexx and I-F. As well as a talented producer, he’s also established himself as one of electro’s finest selectors which you can read more about in RA’s feature on him.
Cachet Recordings is the new label and project from Philip McGarva – the artist formerly known as Microworld.
Known for his melodic techno releases under the Microworld alias, Australian producer Philip McGarva has launched a new label – Cachet Recordings.
Since his debut release at the end of the ’90s, McGarva’s music as Microworld has releases spanning labels such as Derrick May’s Transmat, Styrax, Millions of Moments, and Curle.
Microworld continues to be a favourite amongst top DJs including Ricardo Villalobos, Seth Troxler, Sven Vath, and Danny Tenaglia – with Vath and Tenaglia including tracks on commercially released mix CDs.
The first release on the new label is the Audiogenic EP from McGarva himself, a 4 track vinyl release focused on the intergalactic ambient techno that he excels at. The digital release comes with an additional bonus track.
The 10 minute vocal opus features the stunning vocal talents of Maurissa Rose who also featured on Alton Miller’s “Bring Me Down”, also released on Parrish’s Sound Signature. The flip features a slightly more heads-down instrumental.
Just the glimpse of the words Carl Craig remix on the tracklist of an otherwise unremarkable-looking EP will send DJs scrambling for their headphones, ready to have their ears and minds scrambled by the latest interpretation from the man who’s been likened to the Miles Davis of Techno.
Since his first remix in 1988, Carl Craig has an extraordinary 605 remixes credited to his name on Discogs. While not all of these have shown his true skill, the vast majority would make any producer envious of his ability to turn even the blandest pop track into a techno masterpiece capable of sending even the most critical dancefloor into raptures.
To celebrate the Detroit legends numerous gifts to sound systems across the globe, we’ve compiled the best ever Carl Craig remixes.
Cesaria Evora – Angola (Carl Craig remix) 
Organic percussion, psychedelic synth and 909s collide in this killer building remix of Cape Verdean songstress Cesaria Evora.
Hugh Masekela – The Boy’s Doin’ It (Carl Craig remix) 
Two historically politically charged cities join forces as Detroit meets Johannesburg as C2 tackles South African flugelhorn player Hugh Masekela.
Maurizio – Domina (Carl Craig’s mind remix) 
A true house masterpiece as Craig energises Mark Ernestus and Mauritz Von Oswald’s dub techno with swinging 909s, sub-bass and mind-melting pad swirls.
Telex – Moskow Diskow (Carl Craig remix) 
Odd-ball Italo gem from 1979 gets thumped up by C2 in one of his best remixes.
Theo Parrish – Falling Up (Carl Craig remix) 
For many, the quintessential Carl Craig remix. Techno meets Jazz with stunning effect.
Faze Action – In The Trees (Carl Craig mix #1) 
Opening with paranoid synths bursts, the track goes to the next level as those strings come into play.
Throbbing Gristle – Hot On The Heels Of Love (Carl Craig Re-Version) 
Thumping, psychedelic, big room techno
Tony Allen – Kilode (Carl Craig’s straight remix) 
Fela Kuti’s drummer, Tony Allen gets transported into the future as a breaky intro full of street vocals leads into a ridiculously funky bassline, and quite possibly the best kick drum in house history.
Junior Boys – Like A Child (Carl Craig remix) 
C2 turns the playful original into a sinister uptempo soundscape of arpeggio leads, hushed vocals and metallic pads.
Rhythm & Sound – Poor People Must Work (Carl Craig remix) 
Craig, Ernestus and Von Oswald join forces again, this time on the Berlin duos Rhythm & Sound project as Craig takes Bobbo Shanti’s vocals out from under the smokey dub haze into the dancefloor stratosphere. Check out our guide to the best Rhythm & Sound records here
GusGus – Polyesterday (Carl Craig’s Shot In The Leg Dub) 
A severely underplayed remix that easily stands the test of time despite being nearly 20 years old. All acid-riffs, floaty vocals and rolling claps. The vocal remix is equally as good.
Alexander Robotnick – Problèmes D’Amour (Carl Craig Remix) 
The oddball Italo-tinged original gets looped up into a disco-house roller with jazzy drums edits breaking things up.
Psychostasia Recordings boss Reggie Dokes steps up for a journey through vintage US house.
Without question, Reggie Dokes has been one of the most under the radar producers and DJ in the underground house and techno music scene. Originally from Detroit, he was fortunate to have been exposed to a rich and diverse music scene in the 80’s, which inspired him to DJ at the young age of 14. After taking a break from music to pursue an education, Reggie returned back to Detroit and music took hold again.
In 2001 he started his label Psychostasia Recordings. With releases from esteemed acts such as Juju & Jordash, Dubbyman, Gari Romalis and Reggie himself, the label has received much attention for its leftfield but soulful output.
Now based in Atalanta, Reggie continues to push a unique style of electronic music and as follows if his Instagram account will testify, Reggie is far more than a loop sequencer, often contributing live instrumentation and rhythms into his productions.
Reggie has been one of our favourite producers for a long time so we’re delighted that he’s put together a mix that personifies deep house music.
What’s been your journey from music fan to a highly-rated producer of electronic music?
Since the age of fourteen, I have always been a fan of this music. A lot of my exposure to this great music came from Chicago first, then New York. I was a DJ first. Then in 2001, is when I started my label and producing music. I like to keep it interesting by producing house, techno, hip hop and whatever else I feel. I just love music, period.
What have you been up to recently?
Just released an album, and a collaboration EP with my London friend Moody Waters. I have started to release a lot of my music now across all digital platforms including Bandcamp. I am currently working on a house EP, where I am challenging myself to play the bass and guitar, that will be released in a few months.
You’ve been involved in the upcoming Detroit Techno documentary “God Said Give Em Drum Machines” – can you tell us more about the project and your involvement?
Well this documentary talks about the origin of techno in Detroit, and how this genre influenced the world. Kristen Hill and his partner Ms. Washington are the producers of this project. They allowed me to come in as a composer, and create original music to this film. Lately that has been my new passion. Atlanta has become the new Hollywood, so I have chosen to blaze a new path with my music career in film composing.
If you could collaborate with one artist, who would it be?
It can’t just be one, life is way too short. In the electronic world it would be Carl Craig and Jeff Mills. In the world of Hip Hop, I want to collaborate with Royce Da 5’9, Nas, and Jaden Smith. In the R&B world I would collaborate with the new artist H.E.R.
Where was this mix recorded and what did you use?
Nothing fancy. This was an all vinyl mix, nothing preplanned. I just went on how I felt that day musically and spiritually. The mix was recorded at home on a Numark mixer and two technic 1200s.
A genre-bending mix from one of the most underrated producers in the game
You may not know the name, but you know the tracks. Since 1995, Ali Gibbs has been diligently releasing funk-infused electronic music on some of the best imprints around. His work as Nebraska has received plaudits from tastemakers across the genres and has seen him release on titans of the underground scene such as Delusions of Grandeur, Rush Hour, and Mister Saturday Night – the latter including his track ‘Green Marimba’ on the commercially released Weekends and Beginnings mix.
We’ve been huge fans of his music ever since we first heard his sophomore album Displacement so it’s with great pleasure that we present an 80 minute insight into the record collection of Nebraska.
What’s been your journey from music fan to a highly-rated producer of electronic music?
Firstly, that’s very flattering – thank you. I got interested in making some kind of cut’n’paste music after hearing Double Dee & Steinski and Coldcut in the 80s. Luckily, at school we had a few pieces of relevant kit (a 606, a 202, etc) and an encouraging music teacher. One of my best mates – James Mason – also had some kit at home and around 1993, we finally put out a self-funded, home recorded white label, which sold 1000 copies – we got the bug. I carried on solo when I moved to London in 1996.
What have you been up to recently?
A. I work from home, mostly. My studio is set up to work on visual projects (work for brands like Burberry is largely how I earn my living) as well music. So on an average day, I spend time thinking about and making visual things and dip in and out of audio and music.
You’ve been running your label Friends & Relations since 2016, how has the transition been from recording for other people to recording for your own label?
A. I guess the only real difference is making that final A&R decision about which tracks to release. Having worked with quite a few great labels, I know that my favourite tracks are often not the same as other people’s, and sometimes things I think are great no-one else does. So I spend quite a bit of time making sure I really believe in what I’m putting out… the question is really “as a punter, would I pay for this on a Saturday afternoon in a record shop?”
If you could collaborate with one artist, who would it be?
A. I did some studio time with my good friends Session Victim in the past year, which was great – we did a track called ‘Dawn’, which was released on Delusions Of Grandeur. If it were a complete fantasy situation, it’d be amazing to even spend time in the studio with someone like Herbie Hancock or Quincy Jones. Or if we broaden that ‘artist’ definition, someone like Christian Marclay would be high on the list.
Where was this mix recorded and what did you use?
The mix was recorded in my home studio, pulling records off the shelves to play on the same Technics 1200s I’ve had since the early 90s and my Vestax PMC 05 mixer, with an old Boss half-rack delay and a dub siren kindly made for me by my old mate James. All really simple kit, and mostly records I’ve loved for years.
DJ Nature – Billy C
Stomu Yamashta/Steve Winwood – Surf Spin/Time Is Here
Steve Miller Band – Macho City
Traffic – Gimme Some Loving (Live)
Les McCann & Eddie Harris – Compared To What
Allen Toussaint – Night People
Dennis Brown – The Exit
Shinehead – Billy Jean
Playa – Don’t Stop The Music
Hidden Agenda – Channel
Firefox – Who Is It
Underground Resistance – Hard Life (Aaron Carl Mix)
Tony Lionni – Found A Place
Skylevel – Dreaming
Nebraska – Stand Your Ground
Sly & The Family Stone – Thank You For Talkin’ To Me, Africa
“I am old enough to even remember a time before techno and electronic music – the word DJ didn’t mean that much…” — David Moufang aka Move D
A man of many disguises and a serial collaborator, David Moufang aka Move D continues to amaze his audience today by releasing consistently brilliant EP’s and LP’s, year in, year out. A true veteran of the craft, Moufang has been commercially producing music for 25 years and has appeared on labels as varied as Running Back, Warp, Workshop, Uzuri and Underground Quality.
Moufang is undoubtedly among the artists that people passionate about electronic music should learn about and observing how he develops with time is especially interesting, considering how youthful and curious his sound became over time. Although not essential, it is best to take the time to listen to Moufang’s work in chronological progression as making this investment will help the listener appreciate how Moufang has unfurled over his 25 year-long career.
His sound isn’t by any means settled in a distinct style and his discography is a testament to his artistic versatility. The beginning of his discography sounds like a sci-fi soundtrack, whereas twenty years later, he produces drum-heavy funk-oriented material that rips dance floors apart. Even today, Moufang’s sound continues to be youthful and inquisitive.
Kunststoff was big when it was released, and there’s no secret why — it’s a masterful blend of very rhythmic, almost IDM-ish Techno and an airy and atmospheric character. There were three represses of the LP in 1995 alone.
Move D speaks a lot about how much robotics, technology, and space have influenced him as an artist. These motives can be traced in his earlier work, and Kunststoff is an excellent example of that.
The most memorable feature of this LP is its mood. After giving the album a first listen, you’ll notice how eery and introspective it is. There are many gems on Move D’s debut album that will awaken even a modern crowd, but this minor-scale and self-questioning mood of the record makes it an armchair Techno classic.
Not only does Kunststoff pass the test of time, but it also stays relevant in the current House/Techno ecosystem. Furthermore, for the producers out there, this is one of the valuable examples of a piece of art from the times when plugins didn’t even exist.
Linienbusse is a collective effort made by Jamie Hodge, Kai Kroker, and David Moufang. And although this isn’t a solo Move D project, it’s safe to say that this album is among Moufang’s most significant investments towards mastering the craft of electronic music.
The LP is an Electronica/Techno organic masterpiece packed with soul – it progresses, it moves, it breathes. There is a ghost in the machine.
The tracklist reads more like a bus itinerary that moves through a list of locations in Berlin. Musically speaking, Linienbusse does sound like a trip. The name of the album roughly translates from German as “Regular Busses” which suggests that the tracks are dedicated to the artists’ beloved sites in Berlin; after all, we’re influenced by what we see everyday.
This breathtaking LP attempts to take its listener to the places where electronic music originated, by showing them its more emotive and meditative side.
Another impressive collaborative project that sees Move D join forces with Juju and Jordash. First seeing life on wax on Workshop in 2012, Magic Mountain High is an improvisational act that was born at the Freerotation Festival and has since been performing all over the world.
The untitled A-side in pretty much a ten-minute analogue excursion, with a profound and bold bass line, abundant percussion, and sound FX that takes you back to the time of “Kunststoff.” The B-side is much more playful. It has the same dense and rubbery drum section, but with joyful and even naïve melodies.
The fusion of genres happens typically in very subtle ways. It looks for common denominators. “Berger Hodge Moufang Ruit” doesn’t do that. It pairs very straightforward analogue drums programmed by Moufang and Hodge, while Ruit Kraus plays the guitar, and Karl Berger gloriously plays the vibraphone.
This album wasn’t intended to be a smooth combination of electronic and live instruments, but rather as a clash of the two worlds.
With two people programming drums and bass, you can imagine that the LP is strongly percussive and full of life. Rhythmically, this project has very tribal character and often has a slowed-down and housey drum section. The Wire magazine said that this album is easily comparable to Miles Davis’ ‘In A Silent Way.’ This serves as a testament to the importance of this LP both in Moufang’s roster and electronic music in general.
Move D’s EP on Workshop is among the most exciting projects of his later career. Moufang has developed an affinity for heavily sampled and more classic House tropes, and Workshop 13 is an excellent showcase of his interest in this strain of electronic music.
Considering Moufang’s interest for improvisation and his long-term collaboration with Juju and Jordash in Magic Mountain High, Workshop 13 appears to be a live recording that has been trimmed and polished, rather than a carefully thought out project.
Either way, it’s rich and slightly agitated, but deep and meditative at the same time. Workshop 13 follows an aesthetic not too disimilar to Theo Parrish. It’s not necessarily easy-going, it can’t be listened to mindlessly, and the sound is quirky and immediately recognizable – we think this a pretty good summary of Move D’s sound over the last 25 years.
Think of Sound Shelter as your own personalised record store.
As DJs and vinyl collectors ourselves, we know the time and effort that not only goes into finding new records, but also actually finding a store that sells the record you want.
So we’ve taken the best parts of an online record store, like curation and quality listening samples and combined it with machine learning and a real-time marketplace that connects you with an independent record store selling the record you want.
“Vinyl is like a book. Because it was never about making money in the first place, I can now have fun again doing the vinyl bit and leave the digital to those who wanna take it and make it into an empire. I have no intentions of making music into an empire.” – Chez Damier
Born in a suburb of Chicago, Anthony Pearson, better known as Chez Damier, has been one of the true pioneers of electronic music. From running seminary music establishment, The Music Institute in Detroit alongside Alton Miller and Derrick May, to his involvement in running Kevin Saunderson’s legendary KMS label, through to working with leading producers such as MK, Ron Trent, Stacey Pullen and Saunderson himself, Chez has done it all.
Together with Ron Trent, Chez owned the prolific Prescription label, widely regarded as one of the finest house imprints ever and the duo nurtured; a sound what would eventually become known as deep house.
After his split from Prescription in 1997, there was a lengthy period of inactivity. Eventually, Damier releases started appearing again sporadically until 2009 when he joined the roster of Germany classic house and techno label, Mojuba. Damier now releases exclusively through the label, but past productions have seen the light of day from other essential labels such as his own label Balance, Eddie Leader’s Hudd Traxx, Popcorn Records and Track Mode .
Quite a list of achievements.
To pay our homage to one of the pioneers of house music, we’ve compiled a list of his most notable tunes, true gems and future classics that shall never be forgotten.
A Work In Progress – Moment Of Truth (Yore)
A collaboration between Priceless One and Chez, this is deep house perfection combining jazzy and organic elements.
Chez Damier & MK – The Feeling (Mojuba)
Chez & MK were fairly prolific as a partnership and “The Feeling” is a fine example of the quality of their work.
Chez N Trent – All About You
Previously unreleased until 2009, Chez and his long-term production partner Ron Trent drops killer tribal rhythms.
Alton M – I Like Havin’ You (Cyren America)
Damier on production duties for another member of deep house royalty, the severely underrated Alton Miller.
Noni – Teach/Keep Me
Chez and Ron Trent take snippets from Midway – Set It Out and create near perfection. Backed with a quality Kai Alce remix on the flip.
Chez Damier featuring Antonie – Close (Balance Recordings)
One of his many tracks that were heavily influenced by jazzy elements – packed full of brass and piano riffs.
Chez Damier – Can You Feel It (Club Vocal) (KMS)
The vocal version of Chez Damier’s most notable song. MK’s Dub edit was the reason that took this record all over the world.
Chez Damier & Stacey Pullen – Forever Monna (Prescription)
Chez and Detroit OG Stacy Pullen combine for one of the most prizes tracks in his discography.
Chez Damier – Close (Distance)
“Close” drops a big vocal showing the more emotional side of Damier’s output.
Chez N Trent – Morning Factory (Prescription)
This one should need no introduction. Damier and Trent combine on what is easily one of the best deep house tracks of all time.
Chez Damier – Take Me Away (Not On Label)
Released in 2015 via less-than-legal means, this is actually Damier’s edit of David Morales’ remix of none other than Mariah Carey.
Chez Damier ft. Leroy Burgess – Your Love (Balance)
“Your Love” with Leroy Burgess on vocal duties was one of first track released after Chez Damier’s comeback in 2004 after a 7 year break.
Chez Damier – Help Myself (Mojuba)
Damier’s second release on Mojuba, widely regarded as one of the best deep house records around.
Chez Damier & Ron Trent – Foot Therapy (Prescription)
One of Ron & Chez’s finest – thumping, soulful and jazzy.
Chez Damier – Untitled B1 (KMS)
Probably Chez’s finest solo moment – the quintessential deep house record with those disco strings.
As many of us bemoan, there is too much music released these days. Now imagine if there were no record labels, the bastions of quality that act as the initial filter between producer and listener. While DJs and producers garner so much attention from the media and fans, the role of the independent record label has had an immeasurable impact on the shape of the music world. Our Label Liaison feature profiles the people who take on the role of creative director and commercial manager and wrap it into one difficult balancing act.
Lisbon is buzzing right now. A combination of stunning architecture, balmy climate, low costs and a load of media coverage, the city has undergone a renaissance in recent years, firmly cementing itself as one of the places to visit in Europe.
Whilst this foreign popularity may come and go, the locals have, and always will be creating and innovating and this is especially true for the Lisbon music scene. One such outlet is Groovement, a local label who’ve been releasing high quality underground house music since 2004. The label is the brainchild of influential Portuguese DJ Rui Torrinha, with additional input from rising star DJ, producer and record shop owner, Jorge Caiado. We caught up with Rui to learn more about the past, present and future of Groovement.
Hey Rui, how’s it going?
All good. Keeping myself busy with Groovement
How is the music scene in Lisbon right now? Which Lisbon artists, labels, record shops and clubs should we check out?
Lisbon’s scene is very vivid at the moment. Going strong with lots of festivals, good clubs and exciting new labels releasing great music. Carpet and Snares is becoming the hub to check. The record shop run by Jorge Caiado is now a very important reference point for vinyl lovers in town and for a whole new generation of producers that is taking the lead of the underground scene. Carpet’s own imprint and satellite labels are paving the way for the sound of the city. Check also specially curated Shift Imprint and of course Principe, the most visible of all of the afro electronic influenced sound.
You recently had Mike Huckaby to play at the Groovement label night at Lux Fragil, how was it? Any time in the studio with Mike?
It was a great night on the best Portuguese club. Mike is a very special person and we feel very privileged to have him collaborating with Groovement. It’s very rewarding to have this kind of energy and music on the label from like minded people like him.
Unfortunately Mike’s schedule was really tight for studio time but we managed to take him to a live radio show on Oxigenio FM. The show is now available online.
Jorge Caiado – Cycles (Mike Huckaby remix)
Can you tell me about the beginning of Groovement. What inspired you to start the label? Who’s in the label team and what do they do?
The label started a long long time ago when I was doing my weekly radio show at Porto’s Radio Nova early 2000s. I was pushed by some international artists I was supporting heavily back then, to release a compilation and I said: ok but only if give my some original/exclusive music and… they did! The name of the show was “Transcendances” and it baptized Groovement’s first release which was a compilation with a lot of exclusives.
Honestly I didn’t know what kind of trouble I was putting myself in but well we’re still here and growing internationally. I usually say that what gave Groovement the power for this longevity was the fact that I committed a lot of mistakes, otherwise a perfect story would have ended by now.
The team is pretty amazing. Jorge Caiado is the main man. We work and decide everything together but to be honest he’s the driving force of the label in the field right now. He’s going to be big. Then there’s Adilia Lima our brilliant artistic director that takes care of the label’s precious visual side. And Pedro Terror, the talented photographer behind all those beautiful pictures you see on the cover. So it’s a two men operation plus 2 other creative people.
How do you select the artists to release through Groovement?
Well, the name Groovement is a neologism fusing Groove with (Move)ment. It means a groove on constant evolution, so me and Jorge keep the label open for styles like disco, house and techno. We like to believe that our sound signature comes from the richness of a diverse ecosystem and the freedom given to artists but maybe there’s something else: a kind of astral element – music with sublayers that pull your spirit up while making your body move – that might link our most recent catalogue as one big constellation.
So departing from there it’s fundamental to say that personal connections play a very important role on our decisions. We see the label as a family therefore we try to release artists we feel we can support because they represent certain values of integrity and a genuine artistic vision that represent what we want to tell about our time. That’s why it either can be a newcomer or a more established producer we met through the years but there’s always for sure a chemistry behind it.
Who does the fantastic Groovement artwork? What is the process behind creating artwork for each release?
Adilia with Pedro supervised by Jorge and me. We’re a very solid team.
What’s been the biggest challenge you’ve had running the label?
Staying strong in a peripheral country like Portugal and wanting not to play the market’s game. Also being happy with the outlet and making artists happy too is, for me, extremely important.
And what have been the highlights?
There are so many great things I could point out. I’m very proud that we released Tiago’s first album under TNT Subhead (Ecstasy & release) which was a big step for the label and also launching Organic Series sub-label that this year put out the outstanding “Em Paz” LP by the great Japanese artist, Kaoru Inoue, was for us a great achievement. In fact the link with japan has been amazing. Besides Kaoru we have 2 more Japanese artists on the label, Stereociti and Sai.
I also have to mention our legendary “Groovemental” clubnight residency at now defunct Brownie in Principe Real, Lisbon, that we run for 3 years non-stop. It was an epic journey with an amazing crowd. I miss that place!
Finally, the complicity with Jorge has been so great and special.
Groovement release a lot of vinyl, why do you continue to support the format?
Vinyl is a beautiful medium. There’s an artistic dimension to the format that we do not want to give up. For us, music has to have a body and a certain sound. We do not like the idea of an artist working for long time on music that will be then carefully mastered, just to end up being compressed – not criticizing digital though – I think it’s a natural decision when you’re looking to build a stronger artistic identity. You incorporate elements in your work that help representing a deeper universe or vision.
Outside of artists signed to Groovement, which DJs, producers and labels are you excited about?
Concerning DJs, Harvey always amazes me. And Maurice Fulton or MCDE. But I also like a lot Move D or Levon Vincent among many others. It’s hard to do this!
Producers, I love Omar S., Move D and a lot more.
Labels, I always check Running Back, Rush Hour, Dekmantel, etc
One of the difficulties in being a new producer is getting labels/A&R to listen to your music. What is the best way for a new producer to get their music heard?
Well, one very important thing is to check the label’s ethos first, to be sure that the music would make sense being released there. Aesthetically, I mean. Then try to figure if someone connected to the label would be able to introduce you. And finally deliver your music to right person the most personal way possible and be patient.
In my case, I need to listen to the music a lot of times before assimilating its quality and taking a decision. Most of the music sent is online but I still like downloading it for my travels. Planes and trains are often moments when I dive deep into new music.
So I would say that there’s no proper formula to reach out… use your intuition to show your talent and never give up trying.
And concerning Groovement, after great music comes the personal side which is really important to us too.
A lot but hopefully not too much. We care about every little detail in the process of putting a record out so we do not rush things in number. We’ll surely have new music from Stereociti and Sai between end of ‘18 and beginning of ‘19. We’re also having conversations with 2 known international producers but nothing has been decided yet. The next 12” is being mastered and should be out in September. It’s from a french producer Molly and it will make some waves, I predict.
So, yes our international family is growing very organically.
You’re asked to book your favourite DJs and live acts for a night at your favourite club. Who plays?
DJ Vibe, Rui Vargas, Jorge Caiado, Tiago
Omar S, Move D, Motor City Drum Ensemble
Want to find more records like the sound of Groovement? Head over to Sound Shelter and get an ever-changing list of vinyl records personally picked for you, and buy them from some of the best stores in the world.