Archive for February 18, 2012

Whitney Houston’s Funeral: Live

Posted in News with tags , on February 18, 2012 by dk

Watch/Stream HERE


Kenny Knots – Love Light (Reggae Roast)

Posted in News with tags , , on February 18, 2012 by dk

Kenny Knots/Manasseh ‘Love Light’ (Reggae Roast)
Release date: 12th March 2012
Format: 12″ / Digital

‘Love Light’ is the exciting new single from Kenny Knots and the first offering from Reggae Roast in 2012. After the success of ‘Sensi Skank’, which placed at No. 2 in the Juno best of 2011 chart and received widespread support from the likes of David Rodigan (“British Reggae at its best”), RR Records deliver another slice of hard hitting dub. Manasseh once again steps up to the task of producing a guaranteed dance-floor smash, cementing the label as one of the most consistent new imprints for roots music in the UK.

‘Love Light’ is a high energy stepper, spreading a message of love and unity against the oppression of the Babylon system. This four track release features the main vocal with UK dancehall veteran Kenny Knots, instrumental and dub versions courtesy of the masterful Nick Manasseh and a heavy dubstep remix by BunZer0; the kingpin of the Belgium scene.

Since the mid 80’s Kenny Knots has represented British reggae and dancehall to the fullest. With his standout sing-jay vocalist style, he first came to prominence with his smash hit ‘Watch How the People Dem Dancing’ released on Unity Records in 1986. It went on to become one of the best known tracks of that era, selling tens of thousands of copies worldwide. Since then Kenny has worked with the who’s who of European reggae including Jah Tubby’s, Honest Johns, Conscious Sounds, Mungo’s HiFi and Iration Steppas. With a new solo album set to be released on Scotch Bonnet Records in the coming months, 2012 is set to be a huge year for Kenny Knots.

Nick Manasseh has been deeply involved in the development of the UK roots scene for the past two decades, championing his distinctive production style with many of the biggest talents of his generation. He is also responsible for introducing many new people to the genre through his seminal radio show on Kiss FM which ran for a staggering 12 years. ‘Love Light’, his second production on the label, after the hit ‘Reggae Music’ by Earl 16, showcases his versatile style with a jump up, stepping rhythm and monster bass line.

Reggae Roast strike again, offering another forward thinking remix of the original, an approach which over the years has set the label apart from your average roots reggae imprint. BunZer0 is one of the most respected purveyors of the deeper side of dubstep. His weekly radio show on Sub FM, Top 10 DJ award (Dubstep Forum 2011) and sets alongside the likes of Skream, Pinch and Loefah have given BunZ worldwide recognition.

Now on their ninth release, Reggae Roast is a leading light in the new generation of dub music. With DJ bookings across Europe and a steady release schedule featuring some of the hottest talent around, 2012 is set to be their biggest year yet. Keep your eyes peeled for upcoming releases featuring artists such as; Hollie Cook, Linval Thompson, Earl 16, RackNRuin and Congo Natty. More Fire!

BBE pres.Dark Room Notes -Baby Don’t Hurt Me No More

Posted in News with tags , , , , , , , , , , , , on February 18, 2012 by dk

Released: 2012-03-05
Dark Room Notes released their Choice Music Prize nominated debut We Love You Dark Matter on Good Friday 2009. Now, 3 years on, the follow-up is ready. Titled simply Dark Room Notes, the album will be released on Easter Monday 9 April and is preceded by the first single Baby Don’t Hurt Me No More. Recorded in Dublin in Starling Studios and produced by Ciaran Bradshaw, who also manned the desk for their debut, the single features an exerpt from Haddaway’s What Is Love. Other influences on the album span poet Tom French who has allowed a recording of one of his readings to feature, disco, house music, silent films about dinosaurs and of course the broody electronica for which DRN are best known. Written during and about the economic meltdown that has overtaken Europe since its inception, Dark Room Notes sees the band take a great step forward musically and artistically. Dark Room Notes will be launched with a headline show at the Twisted Pepper in Dublin on 7 April 2012, their! first Irish show in over a year, with European dates to follow.

Photek :DJ-Kicks

Posted in News with tags , , , , , , , , , , , , , , on February 18, 2012 by dk

It’s not easy to keep the information that one of the foremost legends of electronic music will be making a new contribution to the DJ-Kicks series under wraps. In fact, the underground has been buzzing since a new Photek track popped up on the tracklist for the DJ-Kicks Exclusives collection more than a month ago. So while the identity of the first artists to create a DJ-Kicks in 2012 might not exactly be a secret, we finally have the juicy details for you.

This is one for the ages, folks. With four exclusive new Photek tracks, as well as contributions from some of the pillars of the current bass music scene, including Pinch, Boddika, Sepalcure & others (full tracklist below), this is a mix that we’ll be listening to for a long time to come. You can hear the track “Fountainhead,” a collaboration w/ Kuru, below. Make sure you’re connected w/ Photek on his Twitter & Facebook for further developments. 2012 is going to be an incredible year, and we’re just getting started.

Photek’s DJ-Kicks will be released April 3rd in the US, March 26th everywhere else.



1.  Photek – Azymuth*
2.  Kromestar – In 2 Minds
3.  Hot Toddy feat. Ron Basejam – I Need Love (Morgan Geist’s Love Dub)
4.  DLX – Modern Man
5.  DJG – Here Come The Dark Lights
6.  Dustmite & Kuru – Bare
7.  Photek & Pinch – M25FM
8.  Photek – No Agenda*
9. Baby Ford + Eon – Dead Eye (Original Version)
10. Marco Effe – Sexgas (Arnaud Le Texier Remix)
11. DJG – Say Something
12. Guy J & Miriam Vaga – No Under But You
13. Daze Maxim – Tomorrow Universe
14. Sepalcure – Taking You Back
15. Photek – Levitation*
16. Photek & Kuru – Fountainhead (DJ-Kicks)*
17. Synkro – Look At Yourself
18. Photek – 101 (Boddika’s Drum Machine Remix)
19. Parxe & Grincheux – The Art Of Nothing pt. 1

Maya Jane Coles DJ-KICKS

Posted in News with tags , , , , , , , , , , , , , on February 18, 2012 by dk

Maya Jane Coles never intended to be a DJ, let alone one of the most exciting new names in house music when she first started producing hip-hop in her bedroom aged 15.

By her own admission, the 24-year-old Londoner despised house music. “I was quite anti house because the only stuff that I heard was really cheesy vocal stuff on the radio,” she says. “I hated it. I used to think, Who listens to that?”

That was set to change as Maya discovered more underground house and techno music, whilst partying to the likes of Steve Bug and Anja Schenider in and around East London. Aged 17; Maya bought herself some 1210′s and started learning to mix vinyl and play out.

“I wasn’t old enough to be in a club. But it’s more exciting when you’re that age, isn’t it, because it’s forbidden. I was totally hooked. Instantly, I knew I wanted to create my own take on it.”

Fast forward seven years and Coles has become house music’s hottest new property. Listening to her DJ-Kicks mix, it’s not hard to see why. It opens with the muted synth chords and broken post-garage beats of ‘Loqux & Past’ by Deft, gradually acquiring more rhythmic weight care of tracks such as ‘In My Cocoon’ by Bozwell, a moody throb of glassy sounding electronics, wispy vocals and globular bass, and Coles’s own ‘Not Listening’, a driving cut built on a pounding yet melodic groove and exclusive to this DJ-Kicks mix. It’s another Coles exclusive, ‘Meant To Be’, this time in her Nocturnal Sunshine guise, that marks the transition to a more shuffle-y, two-step-influenced passage. The word journey is often used to describe DJ sets — too often, perhaps — but it applies in this case, and on a grand scale.

“I wanted this mix to showcase my diversity,” says Coles. “I don’t just do one thing and I wanted it to reflect that. Most of the mixes I’ve put out there so far have been house based, but I also produce stuff under the Nocturnal Sunshine monicker, which is more two-step/bass influenced stuff. This mix evolved into something that wasn’t just four-to-the-floor.”

The Nocturnal Sunshine track is something I started about three years ago,” she continues. “I never managed to finish it. I kept going back to it, but it was never quite right. I came back to it again, totally stripped it back and redid it and it came out really well. It’s not normally something I would do. Normally, if I can’t finish something I scrap it. The tracks I’m happiest with are normally the ones that come naturally and quite instantly. When I spend too much time working on something it can lose that specialness. If it’s too much effort then it doesn’t feel right. But in this instance it just had something that I really liked. I’m really glad I came back to it.”

This mix is so skillfully put together, it’s hard to believe Coles was ever ambivalent about DJing. “I got into production before DJing,” she reasons.

I only started DJing regularly fairly recently. When I first started making music I didn’t have turntables. It was a couple years later when I got into club music that I learnt to mix and had my first DJ gig, but for a long time I focused more on the studio/production side of things rather than playing out. It wasn’t until people started recognising my music on a larger scale that there was a demand and I began DJing more. But the more I did it the more I grew to love it. Now I wouldn’t be able to give one up for the other. The more you DJ the better you get at it and just like anything else it’s an on going process till you stop. The understanding of how to work a crowd and create moments on a dance floor is something you could never learn from mixing in your bedroom. You kind of just have to get thrown in to the deep end and learn first hand.

And she’s not about to stop evolving any time soon. “My album, which I’m working on at the moment, has moved completely away from house music,” she says. “I suppose, in a way, this mix is preparing people for what they are going to hear next from me. My music will continue to get more diverse. There are a lot of vocals on the mix. I really enjoy working with vocalists and people might be surprised that 90% of my album is vocals tracks. I find it more interesting when there’s lots of different things going on

True enough. And electronic music is a far more interesting place for Maya Jane Coles’s presence.


1. Deft – Loqux & Past
2. Kris Wadsworth – Mainline (Jimmy Edgar Remix)
3. Chasing Kurt – Money
4. Bozzwell – In My Cocoon (Original Mix)
5. Larse – Karoo (Original)
6. Milscot feat. Angela Sheik – All Alone (Domyan Just Slow Remix)
7. Adam Stacks – Hey Love (Original)
8. Phil Kieran & White Noise Sound – Never Believed
9. Sigward – Nuerd (Original Mix)
10. Maya Jane Coles – Not Listening (DJ-KICKS)
11. Virgo Four – It’s A Crime (Caribou Remix)
12. Roberto Bardini – Hate Me (Muteoscillator Fairy Tall Remix)
13. Tripmastaz – Guess Who
14. Standard Fair – Little Helper 16-3
15. Nocturnal Sunshine – Meant To Be
16. Zenker Brothers – Berg 10 (Original Mix)
17. Last Magpie – No More Stories
18. Zoe Zoe – Church
19. Gerry Read – Roomland (Youandewan Remix)
20. T. Williams – Analog Tour
21. Marcel Dettmann – Translation Two
22. Claro Intelecto – Hunter’s Rocket To The Sky