elcome to column number two for the lovingly expanded version of Beatz By The Pound. This time around we’ve got Mallory O’Donnell reflecting on his experiences at David Mancuso’s famous loft parties, reviews of new releases by Alan Braxe, Pantytec, Telex, and the Trapez crew, info on Greg Wilson’s new online radio show, and a fresh DJ mix by Todd Burns.


In Our House
[Inside Dance Culture]

A high, clicking percussion sound starts, followed swiftly by a nimble bassline. Everybody knows this one, several people whooping while others rattle tambourines, bang on cowbells and shake homemade noisemakers. The song is "Expansions," by Lonnie Liston Smith, a piece of cosmic soul-jazz recorded for Flying Dutchman records in 1974, and one of the host's signature songs. "Expand your mind to understand / We all must live in peace," Donald Smith sings, and there is no doubt that everyone dancing on the packed floor is mouthing those words and feeling, if only here and now, that sentiment.

David Mancuso stands at floor level between two turntables placed on stacks of cinder blocks. He puts a record on, lets it end and then plays another record. As the night progresses, people actually clap at the end of certain songs. The volume level is the lowest I've ever heard in a "club," but the sound is impeccably clear, speakers placed above floor level on all sides of the room. The bass is thick and resonant but not overbearing, and the treble and midrange are perfectly tweaked to allow dancers to enjoy the nuances of each song, rather than bludgeoning them with constant thumpage. Referring to himself as a “musical host,” not a DJ, David approaches the sound as a whole, concentrating on the experience of his guests rather than engaging in displays of mixing technique.

Of course, Mancuso has earned the right to call himself whatever he likes. His first “Love Saves the Day” party (the capitals are important here) was on Valentine's Day, 1970, and he's rarely stopped since. Begun in his own converted loft apartment (hence the informal name of the event) on 647 Broadway, north of Houston St., the initial house parties were just that—handmade invitations were passed out, the punchbowl was laced, balloons were inflated, and the dancing commenced. Later, the move to Prince St. and the rise of disco brought on a slightly more conventional approach, but the home-like atmosphere (one of the old school crowd reminisces about the showers at the Prince St. 'Loft!') remained. In the thirty-six years since David first brought friends together to eat, drink, and listen to records, much has changed. The music played tonight and then (a mix of African, jazz, soul, funk and rock) would coalesce into 'disco' and then 'house' and so on, until the average person on the street could hear the phrase 'dance music' and immediately have an idea what that meant. In 1970, such was not the case.

"I been livin' in a world of fantasy, said I'm goin' back, goin' back to reality"

This is the second time I've been here, to a rented space above a Ukranian restaurant on 2nd Avenue in newly sanitized Manhattan. The first time was in February of last year, for the 35th anniversary party, and I was full of high expectations and uncertain notions of the experience to come. As we headed downtown, my girlfriend and partner-in-disco April asked me, and I wondered, "Do you think we'll be the youngest people there?" Laughable now in light of our experience, it was a valid enough question at the time. Once we were there, though, forget about it—every time you try to get a bead on the Loft crowd, all you have to do is look around to have it changed. Black, white, Asian, Hispanic, young, old, scene veteran, newbie, child, adult, people in wheelchairs, men, women, gays, straights, hairy hippies, and slim professionals, in all the world of dancing there is no crowd like a Loft crowd. Period.

The Sunday evening begins at 5 o'clock, airy but slowly pulsing instrumental jazz forming a backdrop as the revelers arrive, many sitting at the circular tables ringing the room, couples with or without their children, groups of friends, total strangers meeting and greeting. Out on the dancefloor, the serious few are already stretching and getting into a fluid, limber groove somewhere in between ballet, aerobics and jazz dance. Steadily, gradually and with unparalleled grace, David picks the beat up, widening the scope to take in Afrobeat, a sublimely funky hi-life track, percolating ambient techno, and a killer version of the evergreen “My Favorite Things.” The dancers begin to gather underneath an inspiring display of balloons, thickly woven together around a giant discoball like strands of DNA.

"Reach... reach... reach / You're almost there..."

As the night progresses, David plays nothing but classics, great song after great song, to an almost frustrating degree—trying to leave to mop sweat off of my face or get a drink of water, I find myself pulled right back, unable to resist one jam or another. The dancefloor fills up and never thins out, but people here move and let others move with an unspoken respect. Stepping on someone's foot in my ecstatic rump-shaking, I turn to apologize but they're smiling and waving it away already. When the crowd of dancers is at its wildest and thickest, a circle clears near the discoball and I see a tiny girl, maybe five years old breakdancing to the cheers of the onlookers. After a few minutes, her father finally drags her away, laughing, knowing there was no need to worry—everyone around her giving her space, smiling and clapping as she tried to execute a 360, making sure no one stepped in without seeing her.

Though the dance scene has undergone a bolt of fresh energy in recent years, the influence has been one of a more skeptical, dark nature. Not necessarily a bad thing, given the times we are living in, but one which ignores a vast wealth of human emotion which resides at dance music's core. Throughout the night we hear songs from sources as varied as Chuck Mangione, Depeche Mode and Stevie Wonder, but all resonate with love, optimism and a desire for the kind of communal joy that is the ultimate goal of any quality dancefloor. Much has been made in the critical writing on dance music culture of the inapproachability of this kind of spiritual unity. If the Loft doesn't put the lie to that kind of thinking, then there is nothing on this Earth that could.

"Loving you/ Until the day that you are me and I am you/ Now ain't that loving you?"

When we leave on that first night in February, we walk down the stairs opening onto 2nd Avenue, fallen balloons clutched firmly in hand. As the heavy door swings behind us, we discover that it's snowing, and has been for a while. Walking through the pristine flakes, watching as they descend and liquify on the (comparatively) hot pavement, I am immediately struck by the difference between tonight and so many others. We evaluate everything so constantly today, so quickly and so indiscriminately even a believer like me is judging something while it happens. It's only as I walk out into the black/white/red smear of Manhattan midnight that I come to realize I hadn't wasted any time thinking about my experience as it occurred.

"Now that we found love what are we gonna do with it?"
[Mallory O’Donnell]


Spin Cycle
[New Music Reviews]

Featured Release

Pheek - Ideal Love
Label/Catalog #: Adjunct / 003
Release: January 2006

Adjunct, run by Orac’s Apendics Shuffle, is becoming another North American minimal label to watch out for. For their first non-compilation 12”, Montreal’s Pheek delivers three organic splashes of gooey minimal house that never calls presence to itself. This is a good thing though, as the ear is kept very busy by the crosscurrent ripples of gurgling synthetic water that dominate the entire EP. It’s such a defined timbre and tone, that any melody or progression would be like letting the air out of a vacuum. Provided you’ve got an ear for early Perlon-esque squiggles, “Ideal Love” encourages many repeat listens.
[Michael F. Gill]

Marc Romboy vs. Fyta & Ray Willbern - Shake it Again!
Label/Catalog #: Brique Rouge / 051
Release: February 2006

The Systematic label boss finds himself on David Duriez’s label after his reworking of Fyta & Ray Willbern’s “Shake It” became too popular to be restricted to an odd vinyl sampler given away at the most recent Miami Winter Music Conference. “Reworking” is a generous word to F & RW, as Romboy uses only the acapella in his version, as do the other remixers here, London’s Mike Monday, and house duo Catwash. All three are aiming their productions towards the underexploited sub-genre of soulful electrohouse, with Romboy just barely coming out on top. It’s a bit of a grower, but would work well sitting next to one of Freestyle Man’s Nightstarter compilations and Quesh’s “Candy Girl.”
[Michael F. Gill]

Receptor – A Pie In The Sky
Label/Catalog #: Winsome / 004
Release: January 2006

Yet another impressive South American producer, Receptor’s “A Pie In The Sky” is like a person stubbornly walking though a maze in only one direction, refusing to give up their horizontal path even though they are surrounded by tempting turns and options. It’s numbing and tiring, and staring at the constant evenness of the path ahead can become disorienting after awhile. While closer to a gyratory push on the old clicks-n-cuts template than an emaciated version of ketamine house, Receptor offers up a unique set of nerves to ride along with.
[Michael F. Gill]

2000 And One - Finite State (Third Bouquet)
Label/Catalog #: Styrax Leaves / 003
Release: January 2006

There is probably no better comfort food in techno than when artists recreate the grainy, washed out dub of Basic Channel. The reverb-drenched chords and echo stains that greet you on 2000 And One’s “Remote Control” and “Finite State” are immediately pleasing, and their lock grooves easily caress one into a swirling relaxation. Unlike the Berlin dub sounds of Deepchord or Echocord, the newly christened Stryax Leaves label has been more keen on filling in the vacant spaces of dub with emotional strains of Detroit soul. It’s a very subtle difference, but close listens reveals very slow moving chord textures and drones, leaving a tantalizing hint of poignancy.
[Michael F. Gill]

Pantytec - Maybe Moriomelo
Label/Catalog #: Perlon / 053
Release: February 2006

It’s been four long years since Pantytec has graced us with any new material, barring a couple of stray remixes. “Maybe Moriomelo” finds the Perlon supergroup in fine if not brilliant form. Techy a-side “Maybe” rides along burping bass and breathy female vocal snippets before a discordant motif reminiscent of a nagging fly jumps in to claim the track’s focus. The flipside, “Moriomelo,” is funkier but the lesser of the two cuts, opening with a chant that interestingly sounds like it is saying “give me the restless copy.” I swear I can hear this miniscule toy piano melody in the background, but the more I squint, the further away it seems.
[Michael F. Gill]

Anja Schneider & Sebo K - Side Leaps Remixes
Label/Catalog #: Mobilee / 006
Release: January 2006

It’s rare that three of the leading women in minimal techno (in this case: Magda, Jennifer Cardini, and Substatic’s M.I.A.) land on the same 12” inch together, so trainspotters take note. M.I.A.’s remix is the standout and doubles as one of her creepiest productions to date, revolving around a stark staccato bassline that turns aggressive halfway though, while some gloomy Trapez-esque pads provide some counterpoint. Cardini’s heart is definitely on the dancefloor, yet her take on Schneider’s “Rancho Relaxo” is just as relentlessly minimal and trippy as anything you’d find on M_nus. Robbing the release of a trifecta is Magda, whose brittle, directionless mix seems like it was pulled from the large archive of placeholding tracks that the members of RunStopRestore use when they play live.
[Michael F. Gill]

Telex - On the Road Again
Label/Catalog #: Labels
Release: January 2006

It's been a rather long time since we had new music from Belgium’s Telex, 20 years to be exact. In a sense, they never really left—tracks like "Moskow Diskow" have been staples all throughout the disco, house and techno eras. Reminiscent of Kraftwerk but with an added dose of humanity, the LED-eyed soul of "On the Road Again" is charming, sexy and addictive techno-pop. Not quite as chunky-funky as their 80's work and also supremely conscious of current trends in electronic dance music, this is nonetheless a gorgeous comeback. Since no original version is included on this release, I can only infer what it sounds like, but the four versions presented here are all quality. Jo Bogaert gives us a sleek, nimble take, reminiscent of warm minimalists like Alex Smoke and SCSI-9. Flipping the script considerably is Marco Passarani, who jacks the crap out of you with his killer house remix, six minutes of wiggly synth, dreamy pads and bleepy, buoyant bliss. The Telex Remix occupies the middle ground between sharp, punchy electronics and the feel of their classic material, while Playgroup turn in a moody, genre-less rework that delves into blurry ambience, heavy echo effects and percussive breakdowns to maximize the psychedelic feel of Telex's deep-space techno without sacrificing danceability.
[Mallory O’Donnell]

Mark Broom - From London With Love
Label/Catalog #: Bpitch Control / 119
Release: January 2006

Completely unfamiliar with Broom's (considerable) output, this three-track 12" certainly piques my interest, combining the best of academic techno and the few worthy elements of progressive house with a solid understanding of the nuances of individual sounds. The A-side, "Twenty Nine" opens with heavy drums and a fast pace, but shines when the beat drops out and we hear nothing but the ambient reverberations of muted horn-like sounds and decaying simple waveforms. The two tracks on the flip are more dance-orientated: "Together" being a hypnotic late-night romp with dusky vocals emerging near the end and "Rock N Roller" a bit more on the industrial side, sounding like vintage Wax Trax bands taking Gary Glitter on a dubby field trip.
[Mallory O’Donnell]

Munk - Disco Clown Remixes
Label/Catalog #: Gomma / 058
Release: December 2005

Munk: I love 'em. Their 2004 opus Aperitivo still gets dap, as does their even earlier work as Leroy Hanghofer. I would go so far as to say that no collective represents the enormous possibility of shockingly fun and unpretentious dance music quite so much as these boys, mindful as they are of the potentials of pop and rock production welded to techno-smarts. The original version of "Disco Clown" is a great one-two punch of chilly and silly, but seems a strange candidate for remixing, given its radio-ready nature. The Digitalism Mix is a fairly standard exercise in stripping down and reassembling a track for danceability, nice enough but depriving the song of its pop sparkle. Midnight Mike does much better by upping the disco quotient of "Disco Clown," bringing out the bassline and slapping some meaty 1977-era percussion on top.
[Mallory O’Donnell]

Defender - Defender
Label/Catalog #: Vulture Music / 013
Release: December 2005

Known mostly for their excellent remix work for Annie, DFA 1979 (their take on "Black History Month" was one of the defining mixes of last year), Royksopp, and Goldfrapp, the duo of Alan Braxe and Fred Falke make their debut as Defender with this stellar two-track single. The self-titled A-side is a bouncy, aggro romp that strongly recalls Human After All era Daft Punk (muted metal guitars, robotic backbeat,) but with an added kick in the pants courtesy of a monstrous hard-house thump. The flipside, "Bliss" is refreshingly different, a slice of pure disco heaven dripping with FX-daubed strings and gorgeous synth runs atop a smooth-yet-funky backbeat. Two tracks, two winners, and with a perfect run so far in the remix department, we could be looking at another great year for the duo.
[Mallory O’Donnell]

Colder - To The Music
Label/Catalog #: Output / 084
Release: February 2006

Through their first two albums, France's Colder have been ironing out a near-perfect fusion of Gallic suavity, British post-punk gloom, dubby studio engineering and dancehall sheen. During a live performance at the Output Records showcase in October of 2004, the full band shook Marc Nguyen-Tan's studio vision into sheer rocking power. The second full-length proved a bit of a retread of the first for those of us hoping for more of that visceral potency, but there's no faulting "To the Music," a post-Joy Division slab of Gainsbourg sleaze ("she's all fucked up / But no one could tell"). The excellent Engel Remix takes us into deep house territory by culling the dubby, spacey aspects of the original and stretching them to the point of near-trance. Arto's Mwarmer mix is a stuttering, glitchy rework with cartoon vocal effects that plays the remix-sounds-nothing-like-original card to amusing, if not very danceable, effect; it sounds a bit like some of the wackier tracks to come out of the Gomma camp. The Lotterboys Mix ups the electro ante but fails to excite, as does the Midnight Mike, which comes off as more a re-edit or touch-up job than a true remix, sacrificing the dynamics of the original performance for a more mixable, but sadly static sound.
[Mallory O’Donnell]

Bonde Do Role - Melo Do Tabaco
Label/Catalog #: Mad Decent / 001
Release: February 2006

Brazil's indigenous hip-hop form, known as baile,carioca, or just "funk" has received a bit of attention stateside thanks in good part to the efforts of Florida DJ Diplo. Appropriately enough, the first release on his Mad Decent label is a four-tracker from Bonde Do Role, two guys and a girl who make a slightly more accessible and pop-tastic version of Rio funk. The usual genre touchstones (Miami bass, 80's hip-hop, American pop samples, Portugese rapping) apply, but so too does a willingness to expand the usual booty-fixated sound to something more universal—the title track samples Alice in Chains(!) and "Jabuticaba" is based on "Doo Wah Diddy," for starters. Like feijoada, the communal festival dish of black beans cooked in various vegetables and "fifth quarter" meats, Bonde Do Role serve up something uniquely spicy and Brazilian from the discarded pieces of American pop music. Diplo's remix, though a laudable attempt to pick up more of those pieces and refashion the original, feels sadly out of place. His channel-switching mix of Fruity Loops-gone mad and FM radio-clutter sweeping across distorted snatches of "Bonde Do Role" is pleasing in its component parts, but ends up a little too willfully experimental to challenge the raw joy of the original.
[Mallory O’Donnell]

Jeff Samuel - Bork
Label/Catalog #: Trapez / 059
Released: January 2006

It’s tempting to use adjectives like “upbeat” or phrases like “music for happy people” to describe Jeff Samuel’s new single “Bork.” But that’s just half of the story—Samuel’s taken a couple months off, come back to his home label Trapez and sounds like he’s added a swab of Technicolor to his bag of tricks. While “Bork” sounds like it takes off from one of his lost b-sides “Blink” and thoroughly notches up the production quality, the song also takes chances that pay off, like when “Bork” completely cuts out mid-song to introduce a bassline that checks both guts and speakers. The B-side “Gonadotropin” also hits the dance floor running, with a solid selection of bleeps, strings, and processed hand-claps to round out the single.
[Nate DeYoung]

Marek Bois – Boisboisbois
Label/Catalog #: Trapez / 060
Released: February 2006

This two track 12” from the Trapez camp is another in a long line of stiff minimal compositions that rarely raise the ire, attention, or heads of dancers. While Marek Bois output under the Dapayk alias has been of a uniformly high quality, both “You Got Good Ash” and “Boisboisbois” seem to revel in the uncomfortable territory of glitch-house, one that’s hard to pull off in a satisfying way unless your name is Akufen. “You Got Good Ash” gets halfway there, with its ping-pong middle portion, but loses the plot on B-side “Boisboisbois” somewhere inside of its squishy beat.
[Todd Burns]

DSP Speedwagon – What Happened
Label/Catalog #: Trapez / 061
Released: March 2006

It’s no AIDS Wolf, but DSP Speedwagon should divide most dance enthusiasts to one side or the other based solely on the name. Luckily, the music isn’t as self-conscious: Opener “What Happened” throws the granules on the ground at regular intervals, but allows the deep four-four bass to lead the way into a kind of screech-bleep netherworld where the acid basslines have become bulbous creatures with lives of their own. “Thunderthighs” and “Polish This Oscar” continue along the same tack, following the example of Alex Smoke’s “Brian’s Lung” in a fearless attempt to muck around with the house template, while never straying far enough away to alienate those dependent on a solid beat.
[Todd Burns]

Shane Berry – Fillertet 2 / To There
Label/Catalog #: Trapez Ltd 040 / 042
Released: January 2006 / March 2006

Something changes halfway through Shane Berry’s “Fillertet 2.” A vacuuming nearly all-encompassing static takes over the track and begins to fill all available space. It then eventually envelopes the casual beat and melody to the point that they fade away and disappear and are replaced by a deep bass tone, only to return after the static has completely washed away any memory of the opening two minutes of the track. It’s an amazing trick, but one that makes me wish the entire song had been composed of it. That same static menaces at the edges of “Polytet 3” and then once again takes center stage halfway through in a similar fashion, riding, this time, at the periphery. The static takes a backseat on Berry’s second 12” for the label, to be released in March, but remains a part of each piece in some way: on “Sigh” it adds color to the edges of each snare hit. It’s an odd affect, one that doesn’t always work (“For a Moment” seems like a retread)—but when it does, like on “Fillertet 2,” it adds a sort of millennial dread that works wonders on the decks.
[Todd Burns]

Philippe Quenum – Voodoo Vision
Label/Catalog #: Trapez Ltd 041
Released: February 2006

Phil Quenum, most popularly known as the co-composer of the oft-mixed “Orange Mistake” with Luciano, turns in his first offering for the limited portion of the Trapez label entitled “Voodoo Vision.” A-side “Lemon” is a bit of one—too confusing and complex to really bring the funk, while not enchanting enough to approach Villalobos mastery. It’s on the B-side where Quenum shines with the unstoppably tribal “Trip to Zado,” which evokes both Luciano and Akufen at their finest, and lonely orchestral stabs of “My Soul,” which invert and fold into themselves along the track’s seven-minute length.
[Todd Burns]

Various Artists - Selection 4 [Mixed by Triple R]
Label/Catalog #: Trapez / CD06
Released: January 2006

The self-imposed mix has to be one of the toughest to undertake. Each year, Triple R has about twenty tracks to use to construct his yearly mix of the Trapez label’s greatest hits. Luckily for him, 2005 was one of the label’s finest and, most importantly, consistent. From John Tejada’s opening mix of Oliver Hacke through to Dominik Eulberg’s “Gasthof “Zum Satten Bass”” to the climactic “Painter’s Day” by Ryan Crosson, the mix is a muscular version of the year past: and one, if you didn’t check into the label’s output, that you shouldn’t miss.
[Todd Burns]


Influx
[Links & Information]

Editor’s Note: A rundown of the mixes at the CBS was scheduled to appear in this column, but due to the site’s recent overhaul of available mixes, as well as a complete revamping of the downloading system, this article has been postponed for a later column.

Greg Wilson and The Roots of Electro-Funk

One of the chief instigators in the early development of electro and electro-funk in the UK, Greg Wilson is not only a veteran DJ and remixer, but is also interested in preserving the origins and evolution of disco and electro in the UK. His fabulous website traces the roots of electro-funk through Wilson’s own interviews, recollections, and playlists, while also offering articles on the legacy and history of UK electro and electro-funk. It’s truly a labor of love.

You may be familiar with last year’s Credit To The Edit, Wilson’s wonderful CD of Disco/Electro/Boogie re-edits that came out last year on Tirk. If you haven’t heard it, or if you are thirsty for more, Wilson’s has just launched a monthly radio show called Time Capsule, which is a monthly showcase of records that Wilson has played when he first started DJing. Each edition comes with a fully detailed description of the tracks played, and plans to cover a month in the life of disco and electro, starting from December of 1975 and moving on from there. Needless to say, the archives of the show should become a valuable resource for anyone interested in the history and evolution of dance music.
[Michael F. Gill]


Chart
[Playlists & Mixes]

In The Mix: Todd Burns

Maybe it’s just been a while, but this mix came surprisingly quickly and easily, whereas most attempts take four months of planning and three months of retooling. But, like anything, it’s all in the source material. Thomas Schumacher’s “Brut Royal” is the opener and sort of sets the template for what will follow: brutal bangers that nonetheless revel in a heaping of melodic marinade.

3 Channels’ Robag Wruhme imitation flows nicely into Lee Van Dowski’s newest record for the Num label, which is rapidly becoming as Boomkat rightly describes “the stripped-down dancefloor-ready cousin to Cadenza,” while the sonar bleeps of Chardronnet’s mixes nestles itself perfectly against the electro-disco-house stomp of Afrilounge’s undeniable “Discoheadz.”

I’ve been more interested in anthems than anything else lately, which should explain the next two tracks: “La Migale” and “Lazy,” which don’t exactly mix perfectly but are both too good on their own not to give their place here. And besides, “Lazy” offers a nice mix into the deep and bitter finale, “Tribute to Solitude,” which meets anything that Nathan Fake’s new album has to offer head-on.

Tracklisting
Thomas Schumacher - Brut Royal [Spiel-Zeug Schallplatten]
3 Channels – 2 Dancing Rabbits [Crosstown Rebels]
Lee Van Dowski – The Darkened Component [Num]
Goldfish und der Dulz – Ding Dong (Chardronnet Mix) [Kickboxer]
Afrilounge – Discoheadz (Rough Demo Cut) [Get Physical]
Delon & Dalcan – La Migale [Boxer]
Spare Time – Lazy (Original Mix) [Factor City]
Pelle Buys – Tribute to Solitude [Italic]



Guest Chart
Patrice Baumel, Trapez
Baxendale - I Built This City
Carl Craig - Darkness
Fairmont - Gazebo
Jesse Somfay - Traum 65
Ame - Rej
Hard-Fi - Stars of CCTV
Phonique - For The Time Being
Gabriel Ananda - Ihre Persoenliche Gluecksmelodie
Alex Under - Dispositivos De Mi Granja
Daso - Daybreak

Mallory O’Donnell
Royksopp - What Else Is There? (Trentemoller Remix)
Ellen Allien & Apparat - Do Not Break
Tiga - Far From Home
Flatpack - Sweet Child O' Mine (Mylo Remix)
Justice Vs. Simian - Never Be Alone
Transformer di Roboters - Hi End (Metro B & Maslope Remix)
Annie - The Wedding (Lindstrom & Prins Thomas Remix)
Depeche Mode - Precious (Michael Mayer's Balearic Mix)
The Knife - Neverland
Dead Disco - The Treatment (Metronomy Remix)
Chromeo - Needy Girl (Phillipe Zdar Dub)
Linus Loves - VH1
Alan Braxe & Fred Falke - Bliss

Cameron Octigan
Zimt - U.O.A.A. (Jurgen Paape Remix)
Yoshimoto - Do What U Du (Trentemoller Remix)
Unlimited Touch - I Hear Music in the Streets
Uffie - Pop the Glock
Transformer der Roboters - Hi End (Metro B & Maslope Remix)
New Young Pony Club - Ice Cream
MSTRKRFT - Easy Love
Michael Mayer & Reinhard Voigt - Sky Dumont
The Knife - Like a Pen
Crystal Castles - Tuesday
Black Strobe - Me & Madonna
Benjamin Theves - Texas

Todd Hutlock
Suburban Knight - Predator's Language
Theo Parrish - Falling Up (Carl Craig Remix)
Renegade Soundwave - The Phantom (Subsonic Legacy)
Gaiser - And Answer
Fumiya Tanaka - Unknown Possibility Vol 1.
Akufen - Psychometry 1.1-3.2 (Thomas Brinkmann Remix)
Battant - Jump Up EP
KLF Vs. Ricardo Villalobos - What Time Is Love? (Veto Retro Mix #1)
Plastikman - Afrika
Talking Heads - Making Flippy Floppy (David Byrne/John "Jellybean" Benitez Remix)

Michael F. Gill
Kalabrese - Hühnerfest
Isolee - Rockers
Frequency - Loosen Up
Fred Gianelli - Distant Gratification
Jean-Luc Ponty - Cosmic Messenger
DJ Shadow - Building Steam With A Grain Of Salt
Sa-Fire - Boy, I’ve Been Told (Rascal/Two In A Room Dub)
Doris D. and The Pins - Shine Up
A Guy Called Gerald - Finley’s Rainbow (Slow Motion Mix)
Regina - Baby Love