Archive for Dirt Crew

Justin Harris – Music’s My Religion EP ( BSD028) (Preview )

Posted in News with tags , , , , , , , , , , , , , , , , , , , , , , , , on August 27, 2011 by dk

Half of Freaks (with Luke Solomon) Justin Harris returns to Baker Street Recordings for his second EP.  The first came in 2007 and Harris has also remixed Matt Prehn and Jacob in the interim period.  Demarkus Lewis also makes a return to the Leeds label having remixed Bang Bang back in 2009.

Artist: Justin Harris
Title: Music’s My Religion EP
Label: Baker Street Recordings (UK)
Cat No: BSD028
Style: House
Release Date: 26th September 2011 	
The Tracks
1: Music’s My Religion
2: Music’s My Religion (Deez Preach 2 Teach Mix) [Demarkus Lewis]
3: People 2011

It’s deep, driving peak-time underground house music in the trademark Baker Street style, with the odd recognisable vocal. May evoke thoughts of big warehouse spaces complete with yellow and black striped pillars.  Demarkus Lewis adds some squelch and ups the preacher factor.

Justin Harris has been active as a DJ business since 1987 and has been producing since 1994 in collaboration with Luke Solomon and under the names Robotic Movement, Free soul (with Diesel) and Oliloqui for labels like Classic, Phono, 20/20 Vision, and SSR. Harris is probably best known as half of the duo Freaks (again a collaboration with Luke Solomon) and their acclaimed Music For Freaks label – both for diehard deephouse fans as for adventurous electronic music lovers.

In a little over a decade Demarkus Lewis has released over 100 singles and remixes, staying true to his roots in the underground sound whether it be deep soulful house or the heaviest of techno/tech-house outings. Known for his ability to go deep while maintaining the energy to keep the dance floors moving, he has proven to be diverse artist, with releases for Bluem, Aesoteric, Flat & Round, Black Vinyl, Slip ‘n’ Slide and several others alongside his own Grin imprint.

Since it’s launch in 2006 Baker Street has grown into one of the UK’s leading deep and tech house labels appearing consistently in the sets of DJs like Laurent Garnier, Inland Knights, Dirt Crew and Luke McKeehan and on the pages of the dance music press. The label has previously released EPs featuring music by Jay Tripwire, Moodymanc, Sei A, Matt Prehn, Murray Richardson and many more.

Baker Street on Facebook
Baker Street Website


Filterwolf new album ‘Night Patterns’

Posted in News with tags , , , , , , , , , , , , , , , , , , , , on April 7, 2011 by dk

Filterwolf is an acclaimed producer, DJ and live act from Munich, whose infectious production talents, electric live shows and groundbreaking debut album on London based Process Recordings released in 2010 have all led to the creation of his stunning new masterpiece: ‘Night Patterns‘. His work was remixed by some of the finest artists around the globe such as Portable, Tigerskin, Niederflur and Hrdvsion. The consistency of the quality of his musical output was compared by journalists with no less a figure than Carl Craig.
His productions have constantly earned praise and gained many fans for their driving beats, elegant, warm and cheerful synths and blossoming, journey-like arrangements. Filterwolf received strong support from Zombie Nation, John Acquaviva, Spektre, Ivan Smagghe, Groove Armada, Slam, Dirt Crew and Coldcut. He was featured on Tsugi Compilation Volume 18 along with Gui Boratto, Tiga and Juan Mclean and on Huw Stephens’ ‘Best New Music’ evening show on BBC Radio 1.
Across his new album, he explores the exciting, timeless space between house, techno, electro and beyond. Throughout, he constantly maintains a melodic and emotive core, creating a mesmerizing body of work structured and presented in a highly creative way. The album was mastered by Eelke Kleijn, prolific producer (Manual Music, Global Underground) and mastering engineer from Rotterdam, who among others has mastered the works of Dubfire and Applescal.
Deep, swinging, handclapping grooves and furious saxophone lines of the opening track ‘Color Of Spring‘, with their subtle, uplifting, intelligent beauty, signal that this is a master artist at work. As the mood moves towards the deep, pounding intensity of ‘Deep Data‘, it’s easy to become lost in the swirling music as Filterwolf plays with emotion buttons, exploring the depths and whole spectrum of the dance and electronica, researching possibilities, forging ahead into the future. Album’s first single, ‘Klezmer’s Revenge‘, is destined to be an instant hit with its catchy clarinet melody and overwhelming choir corresponding with the pumping tech house rhythm and swinging percussions. This is a guaranteed dance floor burner, which is already being played on the finest electronic music radio shows around the world. ‘Never Ever‘ is a hyper audio trip: Sort of the most housey Depeche Mode track that they never wrote. ‘Parlami D’Amore‘ is an Italo disco tech adventure of the high class, while the next track, ‘Oxygen‘, with its string section, gorgeus female voice, furious beats and percussions has a marvellous emotional impact. ‘Ghost Ghetto‘ is the only track on the record which touches post-dubstep and soundtrack music architecture, a dreamlike, late night composition. ‘What Time Is Love‘ is a pure revelation: Infectious synth lead line crowns a hypnotic Robert Owen-like vocalist in the ecstasy of a tight house beat. ‘Voyageur‘ is an incredible, frenetic electro-techno throwdown, working its magic on purely listening terms without any lessening of its potential as a body-mover. One of the most powerful club bangers is presented with the ‘Babel‘, a work which sounds like an hybrid jam of Mannheim new school of house and futuristic melody fragments of Detroit. If Jean Michel Jarre had ever tried to make techno, he would have surely made a track similar to the next album’s brilliant offering: ‘Glass Bead Game‘, with its magic synth arpeggios and ingenious arrangement. And finally, ‘Burana Channel‘ possesses a jacking pulse that is nicely enhanced by a mighty bass line and vocal touches, making it a perfect bombastic tech house conclusion of the record.