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LBR100 | Lowbit 100 (Preview)

Since its inception in 2008, Lowbit Records has grown from a small underground label set up by Swedish duo Bastards of Funk & Sonic Union to become one of the best known and most well-respected progressive and tech house labels on the scene. Renowned for its consistent top quality and incredible diversity of music, Lowbit has become the go-to label for some of the biggest DJ/producers and the hottest up and coming talent in the world. Regularly supported by the likes of Hernan Cattaneo, Above & Beyond, John Digweed and Dave Seaman, and with a label roster featuring the likes of Deepfunk, Cid Inc, Kobana & Yane3Dots, Nikko Z, Lank, Roland Klinkenberg, Soundprank and many more, its rapid rise to the top is no surprise.

Always and forever at the cutting edge of underground dance music and unearthing the freshest talent, it gives me great pleasure to congratulate one of my favourite labels in the world on reaching a hugely momentous milestone – their centennial release. To mark the occasion, label owner & manager Sonic Union has pulled together an incredible selection of brand new bombs from some of Lowbit’s biggest & most popular artists – and trust me when I say that Lowbit 100 is their biggest and best release to date! Showcasing Lowbit’s trademark diversity, there truly is something for everyone here – with the one common denominator being the sheer quality of each and every track. They’re so good that I couldn’t do them all justice without delving deep into each and every one, so my track by track review of Lowbit 100 follows.

Here’s to another 100 Lowbit releases and many more!

1. Deepfunk – ‘Living In A Forest’
Unmistakably Deepfunk, this track evokes dark, twisted techy grooves inextricably interwined with haunting percussive beats, dramatic drums and creepingly melancholic chords to create an intensely atmospheric track with a powerful pull.

2. Pete McCarthey – ‘Aphrodite’
Irresistibly uplifting right from the very first chords, this track is a glittering ray of pure sunshine with its shimmering sunkissed waves of beautifully blissed out synths and magic-infused melodies.

3. Rich Curtis – ‘P-Mots’
Tightly coiled techno grooves slink their way into your soul, commanding your attention with their insanely addictive bounce before crescendoing into a peak-time explosion of twisted euphoria that will infect your brain with an irresistible urge to dance.

4. Anthony Yarranton – ‘A Better Place Awaits’
Hooking you right from the start with its irresistible drive and magnificently magnetic energy, its uplifting bounce breaks down into swirling synths and mellifluous moving melodies that make you yearn for more. A polished piece of progno perfection.

5. Exoplanet – ‘Seamless Continuum’
A stripped back beat, quirky breaks and bleeps, slowly winding melodies weave you into a web of introspection and a dreamy state of blissed out, chilled out delirium. Typically atmospheric and endlessly ethereal.

6. Tash & Stage Van H – ‘Reunited’
Soaring synth arpeggios spearhead twisted techy beats and bass, while the warmth and irresistible infectious smile infused by the underlying melody will seep into you like the sun parting the clouds. Deliciously distinctive with a feel-good flavour all of its own.

7. Kobana & Yane3Dots – ‘Venus’
After a stripped-back start, this beauty builds from an infathomably deep bass and hypnotic percussive grooves to delve deep into your emotions with its driving bass, heartbreakingly bittersweet beats and hauntingly melancholic melodies that stir the depths of your soul to a sense of almost unbearable longing.

8. Verve – ‘Bliss’
Positively pulsating with an effortlessly euphoric energy, rippling with rhythmic prowess and sinously stalking you with its lithe and light synth work, this track’s intricately interwoven layers of masterful melodies and sheer soaring uplift combine to shine a light on your heart while stealing it away so smoothly you won’t notice until it’s too late.

9. Yan Lhert – ‘Mechanical Cloud’
Floaty light twinkling melodies cushioned in an atmospheric aura, underpinned by driving and dramatic drums and a blisteringly beautiful breakdown; ‘Mechanical Cloud’ will have you flying so high that you’ll be soaring among the stars and never want to come back down.

10. Danny Lloyd – ‘In The Monkeys Desert’
With its deliciously deep vibes, distinctive male vocals and luscious layers of warm sparkling melodies, this is a driving, grooving, dancefloor tour de force with a perfect peak-time pull.

11. Matt Fax – ‘Coda’
This track’s sunkissed and soaring synths and immense build-up make it instantly uplifting, while the beautifully summery vibes and old skool feel give it an evocative emotional pull, invoking an intense nostalgia for summer sunshine days.

12. Weepee – ‘Move2Groove’
Aptly named with its deep driving bassline, bouncy, uplifting groove and satisfyingly squelchy techy stabs. Soaring strings add atmosphere and emotion, while the underlying gritty grooves tug at your dancing feet.

13. Bastards of Funk & Sonic Union – ‘Proturbd’
Kicking off with a trademark Bof & SU deep bassline, the pulsating energetic rhythms, growling vocal hook, tight and edgy techy stabs have ‘Proturbd’ ready to pounce like a tiger. An atmospheric breakdown paints a picture of dark and twisted beauty, before exploding into a rush of relentlessly rhythmic euphoria.

14. Nikko Z – ‘La Moogica’
With its relentlessly intense synths, crisp drums, atmospheric percussive stabs and melancholic melody, this track is deeply, darkly hypnotic and will render you powerless to resist the dark spell it casts.

Lowbit 100 is released on 15th October on Lowbit Records.

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www.beatport.com/label/lowbit/12892

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Interview: Luke Porter

It’s safe to say that Luke Porter is one of the leading lights of the progressive house scene. Having released on labels including Sudbeat, microCastle, Spherax and Mango Alley, hosted his own hugely popular radio show Alleys and collaborated with the likes of Cid Inc and Medway, earlier this year Luke also started his own label, Temporum, together with progressive prodigy Soundprank. And with his remix of Kobana & Yane3Dots‘ ‘Nuclear Friction‘ out tomorrow on Lowbit Records, now seemed like the perfect time to catch up with Luke and find out more about his music, what he’s working on and what’s coming up next, what the deal is with Temporum and his views on the current state of the dance music industry…

How did you start out DJing/making music and how did you break into the music industry?
Around 6-7 years ago my friends and I were DJing quite a lot at house parties. I bought a couple of CDJs and a mixer which we carted around all over the place. We then started to run a few progressive parties of our own in Melbourne, and I also started to play at a few of the other local nights in the city. It was quite hard pushing that sound as everything was becoming very commercial.

It was around that time that I started to mess around in Cubase. One of my best friends had been periodically writing some music and he showed me the basics. For the next couple of years I just worked hard at it, writing so many terrible 1 minute grooves you wouldn’t believe! So many times I was close to giving up, but after around 2 years things started to sound OK.

Probably the best bit of advice I was given at the time was from Kriece – he said that one of the most important skills to learn is how to finish a track. I could come up with loop after loop but could never finish anything off. After that I really worked on forcing myself to start arranging once I had a groove locked down. That was almost the final piece of the puzzle, and soon after that I had finished off ‘Deja Vu’ – and after a few emails it was signed to Tribal Vision for my first release. A few months after that I moved to London, where I am still based today.

How would you describe your sound, and how has it evolved since you started out?
I’ve always focused on deep sounds and being very bassline driven in a lot of my work. I also try to make things sound as hypnotic as possible as that aspect of dance music really interests me. I try to evolve my music as much as possible by implementing new sounds in each track that I write. I don’t often like to use the exact same patches over and over. There will always be familiar elements and certain motifs that I regularly draw upon, but I like to keep trying new things.

Earlier this year you released ‘Opiate’ on Hernan’s label ‘Sudbeat’, to great success. How did that come about and how did that feel?
It took me weeks of playing with my synths to get the final lead right for ‘Opiate’. Everything else had come together quickly, but I was really searching for a special sound to polish the track off. Once it was done, I sent it to Hernan because it just sounded like something he would be into. I saw a few videos on Youtube of him playing it in a club that weekend, and the next day he asked if I was interested in signing it to Sudbeat. I guess it did the business in the club!

Hernan has been one of my favourite DJs for many years, so to sign with his label and work with him directly was a great honour. For me, the best part of the ‘Opiate’ release was how widely Hernan played the track on his tours for many months. After all the hours spent locked up inside the studio writing music, it’s really cool to think about how many people have listened to that song in particular around the globe.

You’ve also collaborated with Cid Inc, Medway and other stellar figures on the progressive scene – who haven’t you worked with yet who you’d like to?
I’m just starting a new collaboration right now with one of my favourite producers, Arthur Deep. I’ve been a huge fan of his music for a while now, so it’s really exciting to be sending parts back and forth with him at the moment!

Who would be your dream artist to remix, and who would you most like to remix one of your own tracks?
In terms of me remixing – Jamie Stevens. His tracks are so organic and beautifully crafted. I can imagine that the parts themselves would be totally inspiring, even in isolation.

In terms of me being remixed – Dousk. He has always been on another level and one of my biggest influences as a clubber, music lover and musician. Dousk tracks just seem to have something extra when they are played in a club environment.

What are your Top 5 tracks right now?
Karl Johan – Connected
Soundprank – Summit
Franz Kirmann – Liza (Charlie May Atlantic Dub Mix) [microCastle]
Ditto & Robot Humour – Au Fait [Tulipa]
Dark Soul Project – Cordoba [Baires Records]

Tell us more about your remix of Kobana & Yane3Dots’ ‘Nuclear Friction’? And a little birdie tells me you have another release coming up soon on Lowbit, what can you tell me about that?
Well the original is such a high energy track that I wanted to do something a little deeper and moodier. I think one of the comments about the mix was it being “a deep emo rework”. I can dig that.

Not sure how much Erik wants to reveal about any upcoming releases just yet, but I will be remixing one of my favourite artists for Lowbit in the near future. His name starts with ‘L’ and rhymes with ‘Bank’ – so you can extrapolate from there. Can’t wait to get started on that one as the original is funky as hell!

Earlier this year you started your own label, Temporum Music, with Soundprank. How did you two hook up and what made you start Temporum?
I was originally put in touch with Soundprank by Klemen from Spherax a while back when he was just starting to release some records. I have a huge amount of respect for Colin and I’m immensely proud of what he has achieved in such a short space of time. We also share very similar values when it comes to music and wanted to pursue an avenue where we could periodically release tracks that were very personal to us. It was never meant to be a cookie cutter label trying to get releases out the door at every given opportunity. In that sense, it’s been great. We don’t have any set deadlines, but when the time is right we can release on our own terms. The label output will never be too frequent, but we can guarantee that what does get released is quality.

As a label manager as well as an artist, what’s your view on the current challenges being faced by the music industry – piracy, declining sales and so on – do you think there’s a way past it and a way for artists to still make a living from their music?
To be perfectly honest, it’s basically impossible to make a proper living from underground dance music sales. Our section of the industry only exists in no small part due to the amount of goodwill and work that very good artists put into writing and releasing music for next to no reward.

The absolute saturation of releases also further dilutes the impact that a really good record can have on consumers. You really need to have a supreme amount of talent to keep your head and shoulders above the rest, and then hope that you can break into the DJ circuit to supplement your income. Even that is very hard these days, as there has been a real decline in gigs for mid-tier DJs. Clubs are either paying the money to get big headliners who are guaranteed to fill a club, or they just get local DJs to play for free. There is less middle ground on offer. It really does make it hard for those guys who rely on DJ gigs to make a living, as there always seems to be somebody else who will play that slot for free, just to say they’ve had a DJ gig somewhere.

I also think the leading digital music online retailers have a big responsibility to fix up their musical genres. Progressive House in particular has suffered from being used as a genre to classify any old rubbish. At least give good records the chance to be grouped with their rightful peers. I don’t exactly think David Guetta and Calvin Harris are the most suitable ambassadors for Progressive House, do you?

What does the future hold for you – your own music, Temporum, DJing gigs? Give us a glimpse into your crystal ball…
As I mentioned earlier, I’m currently working on a couple of tracks with Arthur Deep. Cid Inc and I have also nearly completed another collaboration, which will most likely see the light of day on his Replug imprint. After that will be the new remix for Lowbit.

We’re currently debating about a potential release for Temporum in the coming months. If that doesn’t eventuate then perhaps it will be time for Soundprank and I to write a track together (long overdue I think)!

My next gig is in Sydney on December 23rd at The Vault. Really looking forward to be playing back home in Australia over the holiday period! Plus it will be summer when I’m there! Hopefully there will also be some local dates in London in the new year if things go to plan.

Thanks Luke – fingers crossed! It’s definitely time that London had some Luke Porter live…

Luke Porter official website
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Luke’s remix of ‘Nuclear Friction’ is released tomorrow on Lowbit Records. Listen to the preview here:

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Kobana – October 2011 (Mix)

Yesss – another superb mix from Kobana is here – get it on your speakers nooow! It includes gems like Jacob Henry’s ‘Serengeti‘, Lessov’s ‘Calibra‘ and Kobana & Yane3Dots’ ‘Nuclear Friction‘, which is out next Monday on Lowbit Records. Time to wear out your repeat button!

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LBR056 | Kobana & Yane3Dots – Nuclear Friction (Original, Luke Porter & Colorless mixes) (Preview)

We haven’t heard enough collaborations between dynamic Polish prog duo Kobana & Yane3Dots recently, but they’re back bang on form with ‘Nuclear Friction’, forthcoming on Lowbit Records.

Grabbing you by the balls right from the start with its growling bassline and gradually adding layers of atmosphere, the track builds into a climax of fierce stabs and edgy synths, underlaid with a driving groove and dangerously addictive melodies. A certified dancefloor bomb, ‘Nuclear Friction’ couldn’t have a more appropriate name because it’s going to be setting the prog world on FIRE as soon as it gets out…

And there’s also an outstanding remix package from Luke Porter and Colorless. Making his debut on Lowbit, acclaimed Australian producer Luke Porter’s remix of ‘Nuclear Friction’ delves into slightly deeper territory. Reverberating waves of synths ripple over the squelchy, techy bassline while warm pads and subtle topline melodies develop into an intensely atmospheric, euphoric take on the track.

Also new to the Lowbit ranks is Colorless aka Israel’s Alex Bass, whose remix kicks off with driving drums and squelching synths to deliver a dramatic tech-house twist on the track, before a magnificently melancholic breakdown gives way to a pulsating groove that you will be powerless to resist!

Keep your ears peeled for ‘Nuclear Friction’ which is coming out on 14th November, and get ready to be blown away…

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Interview: Kobana

Polish producer Kobana (or Filip Kaczmarek to his friends) has risen rapidly this year to become one of the progressive scene’s most popular and talked-about talents. Hugely in demand for both originals and remixes, his superlatively polished production skills and ability to create epically emotional, melodic music that truly you takes on a journey has seen Filip’s star soar…and it doesn’t hurt that he’s also one of the nicest, most humble and down to earth guys in the business!

He’s been an extra busy boy lately with recent releases on Macarize, Particles etc and many more coming your way on Lowbit, Macarize, Silk Digital and all the usual suspects – so I caught up with Filip to talk in-depth about his year so far, his musical production process, upcoming releases, collaborations…and of course the really important stuff, like what the name Kobana means and why he has a lot in common with Frankie Wilde…

Where did the name Kobana come from and what does it mean?
Honestly? I don’t really know the answer. Kobana just came into my head at some point and I really liked it. There is no story behind it. I know, expectations were high and I am failing to deliver (smiles) but that’s the truth – I just like the name Kobana. By the way, in Japan there’s a train station called Kobana (laughs)

How and when did you start out making music?
Hmmmm, I think it was sometime around the millennium; the year 2000 or so. My mates were really into computer music. It all started with simple recordings on the PC using voice recorder (or whatever that program was called) and playing with these samples on a basic audio editor. Shortly after that I was introduced to Fruity Loops, which back then was a very simple sequencer. I guess this was the beginning of my journey. Why? All my mates lost interest after a few weeks of using Fruity Loops. But it was different with me – I spent hundreds of hours playing with it! In 2007 I thought it’s time for a change, and it was then that I switched to Ableton which I am still using today.

How would you describe your sound to someone experiencing your music for the first time?
Well, the idea behind my music is the transfer of the emotions and feelings which I experience during music production.  I know, my answer sounds mystical. Every single musical note in my production is linked to a single thought or an idea that has sparked in my mind. It can be a sound on the street, a melody that I have heard somewhere or a voice or rather its melody. I do listen to a variety of music. I can’t say “I love this” or “I love that”.  I like to explore avenues I have never been to. All of this is expressed in my music.

What process do you go through in creating a track – describe a typical day in the studio?
Right. So, it all starts in the morning with coffee (laughs). I have to wake up as otherwise I am deaf like Frankie Wilde. Yup, true! Afterwards, when the caffeine kicks in, I check all my promos – I do get lots of them (thank you guys!). It is then that ideas start sparking in my mind, for example: I like the melody in the track but hate the bassline or vice versa. Finally, I open Ableton and begin the music production process. Usually I start with the melody in the breakdown and then expand it to intro, second breakdown and outro, hook, etc. I am used to working into the early hours, but what I want to say is that I do not spend all this time on a single track. If I have an idea for a melody which doesn’t fit with the current project, I just save it as a new one. Therefore I have a lot of tracks which are half cooked. Yeah, I will have to finish them one day!

Which artists influence your work?
Frankie Wilde (laughs), ok, seriously: Guy J, Eric Prydz, Daft Punk, Apparatt, Jon Hopkins to name a few. These guys come to my mind right now. There are tens of other artists though! Ah, and Sasha too!

2011 has really been your year – you’ve had a release on Anjunadeep, been supported by big name DJs including Jaytech, played some big festivals etc – how would you describe your year so far?
Well, very busy for a start. I think this was a very good year for me and I have releases scheduled for the rest of 2011 too. I have managed to score a few good releases, received lots of support from fans and made lots of new contacts. Besides, my brain is crazy busy coming up with lots of new ideas (can’t complain about that!).  I forgot to say that all my work this year was just 50% of my abilities. I am devoting myself now fully to music, so please expect more tracks next year!

As well as your solo releases you also collaborate with Mario Hatchet and Yane3dots – what’s the latest on those projects, anything coming up?
I can’t say much I am afraid. Labels tend to be very secret these days. I would love to share the news right now, but I am obliged to respect labels’ wishes. All I can say is that new productions are on the way with both artists you have mentioned. I think I won’t spoil a massive secret by saying this: I have an amazing release coming up on Lowbit with Yane3dots. Also, another fantastic EP with Mario Hatchet should be out on Particles very soon. We have spent some fruitful time in the studio together and we are currently gathering some interest from labels. But what exactly is going to happen with all these tracks is still an open question, so please be patient. I will share more news as soon as I can.

Speaking of your fellow Poles, what’s the electronic music scene like in your native Poland?
You know what? More and more people ask me this question. Well, the market is changing for sure. Every year brings new festivals. This is good and bad. Good because more foreign artists come to visit my country to play gigs. Bad because the summertime gets extremely crowded – we had one weekend this year when 3 or 4 festivals were taking place. With regards to clubs, I can see some changes too – changes in the right direction. So, I’m keeping my fingers crossed and hope to hear more progressive house in the clubs instead of “club house” made by top names in the industry. Not that I have anything against them – it’s just the music that is being played in every single club is exactly the same.

What are your top 5 tracks right now?
1. Sed – Law of Physics feat. Lisette van den Berg (Aeron Aether Remix)
2. Eelke Kleijn – Lone Ranger (Hybrid Soundsystem Remix)
3. Jaytech – New Vibe (Original Mix)
4. Eric Prydz – 2Night (Original Mix)
5. Junkie XL – Moly’s E (Original Mix)

Who would you like to collaborate with/remix/be remixed by who you haven’t already?
I would love to make a remix for Eric Prydz (smiles).

You’ve just had your remix of Matao ‘Time Flies’ out on Macarize and a little birdie tells me you might have some more Macarize releases coming up – anything you can share with us?
Yup, I am in contact with Macarize although again, I can’t say much right now. There will be more tracks coming out so please stay tuned.

Your remix of Bastards of Funk & Sonic Union ‘Glitter’ will also be out soon on Lowbit, can you give us an idea of what to expect from it?
The original is just amazing, I play it very often in my DJ sets. And many good artists have made remixes of Glitter.  These two things combined really motivated me to create a re-work of Glitter: amazing original bassline and melody with my own interpretation of the track. What it’s like? Different, very different but also recognisable. I tend to create remixes which are really far from originals, but this is not the case here.

What is the best thing about being a Lowbit artist?
Having one of the Lowbit limited edition t-shirts (laughs)! Seriously, being a Lowbit artist is an honour thanks to a roster of great artists releasing their music on the label; most of them have had at least one big release on a major label.  Besides, I can see who is buying Lowbit music and all I can say is there are high-profile names there too. So, Lowbit guarantees excellent exposure for artists.

What else are you working on right now (solo releases, collaborations, DJ gigs/festivals etc)?
At the moment I am trying to leave “the remix circle”. I have lots of remixes to make, lots. And this is great…but I do have quite a few of my own tracks which I would like to finish rather sooner than later, so that’s the plan for the next few months. Besides, I am playing in clubs quite regularly these days, which is fantastic as it gives me the chance to test my music on the crowd and see how people react to my productions. No more festivals this year – we have to wait till next summer.

Where are you hoping to take your music career? What do you hope to have achieved in a few years from now?  
Tough question! If I share my dreams, they will not come true (laughs)! I hope to accelerate my career even further, deliver more quality tunes and expand my fanbase. Besides, I would love to meet my fans all around the world. I am getting lots of feedback from various countries. This motivates me like nothing else. It’s just fantastic – thank you. So, to sum up, I would love to deliver more: music and quality.

Kobana & Mario Hatchet ‘Weekend Memories’ is out on 11th October on Silk Digital – check out the preview and click here to get a copy.

Kobana’s remix of Bastards of Funk & Sonic Union ‘Glitter’ is forthcoming on Lowbit Records. Here’s the preview:

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