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*This chick* has decided to put her love of gaming to use, and am diving head-first into my YouTube gaming channel. This may or may not come with it’s own website… we’ll see. For now most content will be focused around Assassin’s Creed (III and IV) but will certainly develop as time goes on. Can I get a WOOP WOOP?
I will be starting to post tips and tricks as well as gameplay, montages, commentaries and upcoming game previews/reviews as well.
Video embeds are being retarded right now, so until I can fix them here are some links:
Commentary: Initial impressions of Assassin’s Creed IV: Black Flag
My favorite AC4 multiplayer characters, customization details and champion pack spoilers
“Why no video?” First ever live comm!: Live gameplay while the camera and I get acquainted
The newest character to Assassin’s Creed multiplayer: Mister Katt Williams! (just a little things I noticed lol)
Jak | SubSensory, Closer Electronic Music Festival
Jack Coleman aka JAK has been spinning and producing techno and house music in the NW United States since the mid 90s. His moving DJ sets along with his work as a producer, promoter at STATIC, founder of Closer Electronic Music Festival and SubSensory Recordings label owner have earned him a reputation as one of the most respected proponents of underground dance music in the region.
JAK’s releases have broken the top 50 on leading outlets. His tracks have been remixed by industry heavyweights including Audio Injection, Mario Miranda and Angel Alanis. His late 2011 EP on SubSensory “The Botch” smashed up the tech-house charts, hitting top 10s on a variety of stores.
With the SubSensory label, which celebrates 5 years and 50 releases in 2012, Jack has helped put the Pacific Northwest’s growing techno scene on the map, providing an outlet for numerous talented Northwest US artists as well as featuring material by well known acts like as Audio Injection, Adam Jay, Spark Taberner and Style of Eye.
In 2011, building on the momentum of SubSensory’s ongoing club night, STATIC, JAK kicked off his most ambitious project to date, Closer Electronic Music Festival.
Doc Daneeka – Until You Turn Blue – Calm + Collect
Bryan Zentz – Dialers – Plus 8
JAK – Crashback – Rewired Club Mix – SubSensory Recordings
Harvey McKay – Lost – Drumcode
Seqwenzer – Bestandig – SubSensory Recordings
Samuel L Session – Broken Containment – Klap Klap
Dan Curtain – Side Effect – Saved Records
The Reaver – Mmmm – Rekids
Citizen Kain, Phuture Traxx – I Want You – Dustin Zahn Monolith Remix
Noah Pred – Questions feat. Deepchild – Thoughtless
Tommy Largo’s November Chart | Deepjacking Recordings, Viva Recordings
At a very early age, Tommy started crate diggin’ and collecting records, spending all his pocket money on mostly used, old Disco, Funk and Soul records which led to his discovery of house music after hearing the first tunes in 1986.
Based out of Arnhem in the Netherlands, he has secured residencies across the country and has played all over the world. His tracks are being spun by heavy hitters like DJ Diz, DJ Sneak, Derrick Carter, Mark Farina and Johnny Fiasco to name a few.
Tommy has always kept his love for disco, funk, soul and jazz which you can hear in his tracks and remixes on labels such as Guesthouse, Guesswho, Lost My Dog, Control Recordings, Spatula City, Tango, Kolour Recordings and many more. His productions have also appeared on various compilation CDs such as House Of OM and Fabric 40.
When he’s not touring the globe, he’s always busy in his studio working on new beats and remixes. In 2013, he oversaw the launch of his new label Deepjacking.
This is a funky number with a tastefully used classic vocal sample from “Who’s Got My Dank”.
From the press release:
Closer Electronic Music Festival // PDX 2013 takes place June 20-23 and they’ve announced the complete event schedule, lineups and ticketing.
John Tejada presenting the U.S debut of his new all hardware live set;
Lars Behrenroth of the world-renowned Deeper Shades of House radio show;
Black Catalog label boss and 2012 IDMA nominee Monty Luke;
Seattle act J.Alvarez, ranked one of 2012′s top new artists by XLR8R;
San Francisco’s purveyor of exotic disco and deep house The Beat Broker;
a release party for Natasha Kmeto’s ‘Crisis’ on Dropping Gems;
And techno artist Masa Ueda, label boss at Torque Japan.
The festival also features tons of great regional and national talent, including Nonfiction (LA), Jamal (SF), Ctrl_Alt_Dlt (Seattle), Mario Maroto, Art of Hot, Audioelectronic (Live), Jed Black, Centrikal, JAK, Ben Tactic, IG88 (Seattle) and many more.
Events take place at Refuge (2 nights x 3 stages!!), Rotture, The Rose, Crush, Holocene. Hear showcases and label artists from Portland-based labels and crews including All Ours, LoDubs, Nude Photo Music, Basscult, Nueva Forma, SubSensory, Proper Movement and more. There’s also a free daytime park event plus forums and workshops. The $50 Closer pass provides access to all of it!
Full details and festival schedule can be found at http://closerpdx.com/
We all know Kris Moon is an incredible DJ. One of the most underrated DJs I know; he really does deserve to be on the international stage, but for the time being his radio show in Missoula, MT will have to suffice. He puts these mixes out on a regular basis showcasing the incredible range he has as a DJ – from house to techno to dubstep, jungle, acid, hip hop and beyond, the kid really knows how to do everything, and while his mixes are always stellar, this weeks deserved a mention.
I came up in the age of garage and speed garage was one of my favorite genres as a budding DJ. It’s been ages since I’ve heard anyone throw down a proper garage set, much less any speed garage. This seamless mix has both and is definetly making an extended appearance on my iPhone.
- Bodhi “Culture”
- Detroit Swindle “The Wrap Around”
- Hot Since ’82 “Houze Thiz”
- Bondax “Baby I Got That (Justin Martin Endless Summer RMX)”
- Medlar “Knockard Pearl (Detroit Swindle RMX)”
- BareSkin “Eyes”
- Shadow Child & Tymer “23″
- R.I.P. Productions “The Chant W.E.R.”
- Duke Dumont & A*M*E “Need You 100%”
- Last Magpie “Roots”
- Hot Since ’82 “Knee Deep in Louise (Shadow Child RMX)”
- Carlo Gambino “Body 2 Body”
- Groove Armada “Always Take Me Higher”
- Jamie Jones “No Rush”
- Randee Jean “You Got It (Dexter & Awanto Mix2)
- Zulu & Toyc “Needs to Be Said”
- Maelstrom “House Music”
- Breach & Dark Sky “The Click”
- Shadow Child “String Thing”
- Savage Skulls & Douster “TRT”
- Codec “What You Need”
- Julio Bashmore “Au Seve (Stanton Warriors ReBash)”
D Ramirez’s career as a hugely busy producer and DJ is not to be sniffed at. Having played on every continent he has performed at festivals like Glastonbury and Global Gathering and held residencies at the world’s top clubs; both Cream and Space in Ibiza and Avalon In Los Angeles to name a few.
As well as commercial success with charting hits and even a Top Of The Pops appearance, D. Ramirez has also received a number of illustrious industry awards throughout his career as a producer from the likes of DJ Magazine (best producer and best remix 2007), iDJ (player of the Year) and even an Ivor Novello nomination for his now classic remix of Bodyrox ‘Yeah Yeah’. His work with Mark Knight and Toolroom Records has also garnered critical acclaim, most famously his and Mark’s collaborative track ‘Downpipe’ which became an underground anthem around the world. Other notable collaborations have been ice-cold house tracks with James Mowbray and Matt Tolfrey, plus two co-productions on the 2011 Underworld album ‘Barking’.
Inspired by the noises of his tough-talking DJ sets, his sound has been rejuvenated of late by deep house, house and techno. If you consider his meticulous DJ mixes where loops, tricks and FX are intricately laced with exceptional accuracy or his studio methods where he’s known to tinker with noises for days on end, this exploration of deeper genre seems a logical and natural progression. 2012 was a fruitful year for D. Ramirez; a relocation to New York in May saw him begin a new collaboration series with some of the city’s most exciting producers, and recently his releases ‘Fragile Tension’ and ‘Tease Machine’ EP through Germany’s Great Stuff label have caused a much deserved stir and further cemented D. Ramirez as a key figure at the forefront of fresh and innovative house. His productions are sounding slicker than ever and his constantly evolving creativity continues to propel his career to reach new heights.
Dylan Sanders, the bassline specialist. This well renown South Australian badass likes nothing more than filling dancefloors, downing Agwa-bombs and dishing out the freshest music to all his friends and fans.
Even though a tragic DJing accident left him without the ability to write his own DJ bio, his unique breakbeat electro style re-rubs, mashups & remixes still frequently feature on BBC Radio1Xtra & the ARIA Top 50 Charts.
His personal remixes and productions have caught the attention of artists such as Krafty Kuts, Kid Kenobi, Stanton Warriors, Dirty Disco Youth, Featurecast, A Skillz, Beat Cleaver, Lady Waks, Bombs Away, Donald Glaude, Revolvr and Tom Piper to name a few. His bootleg of ‘Animal Rights’ rapidly climbed to #3 on the Hype Machine charts, and his latest reworkings have had regular airplay on Mistajam’s BBC Radio1Xtra show, helping him stamp the DS brand on a global level.
After his whirlwind 7 month tour of the US and UK in 2012, Dylan has focused on hitting the studio, knocking out some stellar remixes for Sharam Jey, Dirty Disco Youth, Ryan Riback, Lowkiss, Carbon Parlour, Cool Project, and tons more!
Expect to hear a lot more noise from Dylan in 2013.
You can find him at:
Following him on all 5 will result in mild brain damage and prolonged exposure may require a lobotomy or a good dose of painkillers… But hey, if you do follow him on all 5, he’ll probably buy you drink when he sees you.
Dylan Sanders, decent bloke, great music.
This review was originally intended for another blog but in the end, it didn’t pan out. So, as the old saying goes, better late than never.
Mouse on Mars started out proper with a wall of rushing soundscapes, reminiscent of the breakdown in Kraftwerks’s iconic hit “Autobahn”, building up into a barrage of intricate beat structures and pure-weird synth and vocal work. While it definitely wasn’t the quirky and subdued Mouse on Mars I’ve come to know over the years, there were still the hallmark characteristics that made me fall in love with their music in the first place, the tight-as-a-drum control over borderline chaos and their effortless ability to move in and out of genre, tempo, and rhythm like a rubber band able to max out and snap back into shape with no force at all.
There were moments in the first 40 minutes of the set that were definitely solid, convincing me that maybe M.O.M. had just refined/redefined their sound to new levels, something more club-friendly and less of a brain-dance kind of vibe. But with each passing minute came larger amounts of aggression pouring out of the speakers until “They Know Your Name”, off their new album, dropped and we reached the point of no return. Their set progressively amped up into more and more blatant aggro-dubstep, to the level that this discerning reviewer had to call it a night and step out the club.
I’d heard of M.O.M. leaning more towards dubstep and, given my lackluster opinion of the genre, I tried to ignore those whisperings and hope for the best. I mean, as far as dubstep goes, sure, I’ve heard worse but with a band that has seemingly endless potential when it comes to sound design and beat science, I believe they can do better. Perhaps I’ve held them on too high a pedestal all these years, equating their early work to pure genius, and relishing in their consistent sense of unpredictability, knowing that wherever they took you it would be, at the very least, interesting as fuck. Now, to see these guys taking the more crowd-pleasing angle of aiming for dubstep territory as the peak of their set, I’m left feeling like their talents are being wasted and can only hope this is a phase. Props out to Matmos, only caught the last couple tracks, but they reached the lofty weirdness and beauty that I was hoping from M.O.M. and will def be on my radar for future shows.