Word on the street is that Mega-superstar DJ Tiesto is offering a download from his latest album Kaleidoscope. Nothing better than sharing good (and free) music with the ones we love. The track “Surrounded By Light” is being offered on his website here…

http://www.tiestospace.com/MAILER/Tiesto_Surrounded_By_Light_12.mp3

I’m Your Pusher…

With an increasingly over saturated music scene, one must stand out through image, sound, composition or any combination thereof. Being that this is the community it is, DBM Labs already has most of the image discussion handled. This particular industry is a niche market which emphasizes the importance and relevance of sound and composition. One’s sound is everything. Look no further than the early “audiophiles” and DJs such as David Mancuso, Francois K (Kevorkian), Clive Cambell (DJ Kool Herc) and Grandmaster Flash who would spend quite literally tens of thousand of dollars on only the finest gear including but not limited to “moving coil catridges,” Klipsch speakers and top notch amplifiers. While the digital revolution has compromised the concept of fidelity or has made the concept a euphemism, the emphasis on sound and composition is more important than ever. If it is so cheap and easy to create music nowadays, the concentration must be on uniqueness or the “it” factor one hears used so much. The “it” factor refers to a piece of music standing out one-way or another. In an over saturated market, as the present right now, the “it” factor is more important than ever. The music industry is currently a singles dominated market. You will not remember when the market was otherwise. The dance and electronic music industry whether disco, hip hop, house, techno, etc. has always been a single or EP (extended play) dominated market. Very rarely would you will ever come across a catalogue album, if so, it would most likely be a label compilation (i.e. Best of Salsoul, Casablanca’s Greatest Hits, etc.)

What were once characteristics attributed to a certain niche market have become scattered all over the musical spectrum, including pop music. Let one remember that “pop” is an abbreviation for “popular.” Pop music, or popular music, is littered with these types of sounds and studio techniques

These 10 tracks (and artists) have that certain “it” factor about them. One must ask themselves “why?” All of these acts are faceless- so saying that they’re “hot” or attractive is not going to be acceptable. The industry says that you can tell the quality of a producer or engineer by observing how “white” they are- by white, I’m referring to being locked away in the studio for extended lengths of time and the inability to go outside and get a tan- that overwhelming feeling of accomplishment by having “pasty producer skin.”

Classixx- Cold Act Ill |In Stereo|

“We came here tonight to get started…(cold act ill) or get retarded (retarded)”

This is electro. What the community calls “electro” is very different from the “electro” of the past, especially during the 80s. The LA based duo of Michael David and Tyler Blake are labeled as indie/nu-disco but please don’t be fooled. Funky synth bass lines right out in front, sampled vocal cuts and odes to Roland’s TR-808 are dead a giveaway. Afrika Bambaataa would be proud. Everything else is secondary…except the killer music video directed by Tim K. Classixx has created an anthem.

Appleblim & Ramadanman- Soul Le Sable |Aus Music|

One would never think of the day they would see such musical synergy, or just plain synergy for that matter, between a Frenchman and a Brit. David Kennedy and Laurie “Appleblim” Osborne collaborate to produce a warm, grooving, majestic and nostalgic piece of music. At first glance, one might think this particular track would sound much more “broken.” This cut is the concept of synergy in its most pure form. One has trouble distinguishing who did what except for the fact that the atmosphere created might be the work of Ramadanman. Although the barrage of synths and sounds may be very characteristic of Kennedy, one is unable to place their finger on the beats and rhythms. Both of these pioneers have successfully left their comfort zone during the creation of this track, but have maintained their impeccable sense of effectiveness, sound, warmth and detail. If the orchestral natures of the melodies and harmonies aren’t enough, the understated pulsing rhythm will scurry you along. Reverb, delays and filters are used brilliantly as well. Even though the result may not be completely consistent with either of their unique sounds, the production is however, consistent with the label it was released on, Aus. Also in this release, are two Martyn tracks.

Raekwon- House of Flying Daggers (ft. Inspectah Deck, GZA, Ghostface Killah, Method Man) Prod. by J Dilla |Ice H20 Records|

I could slow down one’s browser and continue to write a novella on James Dewitt Yancey, otherwise known as J Dilla and Jay Dee or epitomize the late master. I think I found a solid compromise…

“(J Dilla)…was one of the music industry’s most influential hip-hop artists, working for big-name acts like De La Soul, Busta Rhymes and Common.” (NPR February 14th, 2006)

That’s what National Public Radio had to say about the Slum Villiage creator and producer extraordinaire. The fact that the Detroit was mentioned in the culturally enriched NPR says a lot in its own right. At first after one listens to this track, one may think the production credits easily go to RZA, but after closer analysis, it is clear that it is a straight up Dilla production. The samples could have come from any one of a dozen producers’ MPC, but the beat is a dead give away. The beat is warm, simple and concise. Whereas somebody such a RZA or even DJ Premier normally relies on lifted drum samples or sampled drum parts, J Dilla obviously took pride in his own personalized drum tracks. This is also very apparent in his Grammy award-winning track for Janet Jackson, Got Til It’s Gone. I tend to think of it as if J Dilla had his own ?uestlove rolling around inside of his head as opposed to sampling straight beats off of one’s extensive vinyl collection. Note to oneself- aside from the production aspect of this track, any one of the Wu members kill this track. My personal favorite has always been Tony Starks the Ironman but one must give the slaying honors to Inspectah Deck. J Dilla has always pushed the envelope by embracing the sounds of the past.

Sally Shapiro- Love In July |Permanent Vacation/Paper Bag Records| Prod. by Johan Agebjorn

The Italo Disco Queen. Sally Shapiro is a project put for forth by Sweedish producer Johan Agebjorn and a singer that officially bears the pseudonym. The female vocalist is known for shunning herself from publicity. Even though Sally Shapiro is championed by many music circles and publications, she has never performed live, given any interviews or revealed her real name. Inspired by their italo-disco roots and sound, Agebjorn insists that they name the project after a fictional singer to stay consistent with the idea of a team of producers and writers behind a particular “singer.” Roger Gunnarsson also grabbed a co-production credit on this particular cut. Although released in EP formats, Sally Shapiro has also earned great success releasing full length albums. The music combined with her innocent and angelic vocals create a very digestible sound that is also immensely sophisticated and nostalgic. Sally Shaprio just works on so many levels. The production isn’t very complicated or jaw dropping, but it’s great writing. Using the right sounds or techniques at the right moments truly speaks volumes. What is better than a woman with sexy synths swirling around her?!

Jamie Jones ft. Egyptian Lover- Galactic Space Bar |Crosstown Rebels|

When one sees the name Egyptian Lover, especially over on the West Coast, you can already know what to expect. Greg Broussard was, and still is, an important part of the Los Angeles dance community, especially in the early 80s. He is also credited with recording some of the first hip hop vinyls. His emphasis on synthesizers, vocoders and break beats helped him sculpt a new electro-tinged sound. One could say the same about Jamie Jones concerning modern day house music. No small coincidence that the Brittish producer and DJ would collaborate with Egyptian Lover. Galactic Space Bar is dripping with funky nastiness. This type of electro sound always contains some element of a futuristic, perhaps apocalyptic quality. It creates an atmosphere in which one can imagine robots, cardboard and cement ruling the world.

Intra:Mental- Futurist |NakedLunch|

Alex Green and Damon Kirkamduo have shaken the very foundations of drum & bass with their new sound that owes as much to Detroit techno, as it does to music at 170bpm. After a break of 6 years, Instra:Mental returned to their craft and began exploring new minimal textures, old school ideas and deep tambours. No need to pigeon hole the music of Green and Kirkamduo. Futurist is a track that begins with an atmospheric drone. The drums sound as if they’re from the huge booming drums of the Orients. When this sonic journey comes to an end, at only about 5 and a half minutes, it leaves one teary-eyed and yearning for more. Why did it have to go away? Futurist swoops in like a giant mythical beast and takes you away to a magical land where music lacks genre classification and tags.

Precious System (Mr. Lovelace/Lasse Lund(e)mark)- The Voice From Planet Love |Running Back|

I love the sleaziness of disco. Lasse Lundemark, under his Precious System moniker, brings us a creepy cut that drags you onto the dance floor. It begins to make your hips swing with its tempting cowbell and clave rhythms. The relentless kick drum and bass become even more mesmerizing with the male and female vox samples. With no melody and a driving bass line, a deep alien-like voice becomes the main focal point. It creates an environment in which you will easily become hypnotized. At a certain point, you ask yourself whether Mr. Lovelace is trying to get you to dance or attempting to get into those tight pants of yours. Regardless, you will become abducted one way or another.

My inspiration for this album is all music and all types of DJs hip hop ,trance,r&b ,salsa something that can be played in a club and be enjoyed by all people.

American DJ was created to honor all DJs and there craft.

Here’s a video of him a while back sportin our goods:

Here is a Biography of Masta Hanksta:

Masta Hanksta (born 3 March 1969) is the performing name of Henry Rivas a Mexican-American DJ, Composer and Artist of many mediums.

Henry AKA Masta Hanksta was born and raised in Northern California and is one of the most influential DJ’s of his time. A true pioneer in the Dj game with over 27 years of music experience. Hanksta was one of the youngest DJ’s to hit the streets in 1982.

Growing up poor in San Francisco’s Mission district in Early 70’s Hanksta Parents his six brothers and two sisters struggled in in a two bedroom apartment. until his Father Julian Rivas a migrant farm worker saved up enough money to buy a house in Daly City Where Hanksta would spend most of his childhood.

He began his record collection in 1977 when he was just 8 years old. Hanksta would walk to a near by Record Factory outlet with his older brothers and spend his weekly allowances on a 45” records.

In 1982 He heard a Disc Jockey on the radio by the name of Cameron Paul from a local station called KSOL. That is when Hanksta first realized he wanted to be a DJ. He began to experiment with his record collection using his mothers old turntable which was built into the cabinet.

His first gigs where garage parties for a local gangs in his neighborhood. He would use a wooden Sanyo turntable and a dual cassettes deck player attached to a radio shack mixer.

Hanksta and his brother began charging 50.00 a gig they soon saved up for better equipment and in 1985 they purchased there first pair of Technics SL-1200 turntables along with a Numark Mixer which he still uses to this day.

Working under the name MOB productions (Masters of Beats) Such famous DJ names like Dj Qbert and Mix Master Mike DJ Chuey Gomez AKA ChuDog from the California music channel have attended some of Hankstas gigs and have played at some of His wild and outrages house parties.

At the age of 15 Hanksta would become one of the youngest DJ’s in Northern California to perform in some of San Francisco’s premiere bars and nightclubs. Hanksta once dominated the DJ Scene in Northern California with as much as three bookings per day. He refused to join the battle scene but remained on top for most of his career. Hanksta fell a victim to drugs and alcohol and was forced to step away from the Club scene.

Hanksta graduated from Jefferson High in 1987 and obtained his bachelor degree in Computer graphics in 2002 from the Academy of Art in San Francisco.
After taking a 15-year break from being a DJ Hanksta has returned to the DJ scene and is now producing ,writing and creating his own style of music.

Hanksta just released his 3rd CD The American DJ.

Which is now being distributed digitally under his own independent record label Hanksta Records©

Dj Omega, recognized all over Philadelphia on his daily show on NBC 10 caught wearing our Phonetic Aesthetic tee…

Here’s some info about DJ Omega himself:
As Hip Hop evolves and begins to usher in a new generation of artists, producers, DJs, and executives, its not hard to tell that New Jersey native DJ Omega is slightly ahead of the pack. While most DJs his age are still carring crates, Omega is either rocking a party at somebodys university, making the hottest mixtapes for the street, or broadcasting to millions over the airwaves of the Philadelphia tri-state on Philly’s Number 1 Network NBC10. Right now the rap game is up for grabs and DJ Omega is hustling to secure himself a comfortable spot at the top for the future.

Influenced by legends like Kool Herc, Kid Capri, DJ Jazzy Jeff, and Cash Money, DJ Omega hit the turntables at the young age of thirteen. By the time he was fifteen, Omega started to get his name out to the masses by Djing clubs and parties through out Philadelphia and South Jersey. It was during that same year his big break would come. While he was spinning at a local club, an employee of WPHI Philly 103.9 fm who was in attendance heard his set and was so impressed he offered Omega an internship and he hasnt looked back since. After paying his dues as an intern by learning how the industry works and developing the necessary networking skills, Omega landed himself a job as an on air mixer at 103.9 and became the youngest DJ in the history of Philadelphia to get on the air at such a young age, he was seventeen at the time.

DJ Omega is respected in the streets because he is able to work with industry heavyweights like Foxy Brown, Ludacris Kanye West, and State Property, but still break music from new artists like MTV making the bands Elliot Ness, Joe Budden , Killer Mike and Philly hometown favorite Peedi Crakk. Omega prides himself upon his exclusive freestyles and his on point focus. Its no wonder he is moving 4,000-6,000 Cds every time he drops, not to mention what the bootleg market presses up. His goal is to stay original and keep the game fresh by giving the people what they want, while giving other artists a chance to shine as well. With joints on streets buzzing featuring Kevin Liles, Joe Budden, Nas & Kelis, Cassidy, Swizz Beats, Kanye West, Juelz Santana, Sean Paul and more crazy collaborations to come its safe to say that during the new generation of Hip Hop DJ Omega is clearly the Alpha and Omega

Andrew Friendly teams up with Boombox resident and all-round London DJ legend Rokk for a cheeky cover of Snap’s classic, restyling it into a nu-disco workout.

Andrew Friendly has recently featured in MixMag, DJ Mag, M8 and plenty more with his band Milke, or on his own projects.

This track is already getting plays of Kissy Sellout on Radio1 and support and nods from Who Made Who and Trevor Jackson, this is a tasty slice of analogue warmth and 80’s pads, with the hooks filtered and vocals stripped back.

I had a great opportunity to interview Andrew Friendly and here’s what he had to say:

dbmlabs: Out of all the other 90’s tracks, why did you decide to remix this track?
I’m loving the 90’s vibes at the moment though, my mispent yoof! I remember this track being pretty cheesy back in the day, but when you listen to just the bass progressions with the top line synths, they’re quite cool, it has a slightly hypno-disco feel about it, so we decided to lift those bits, and just add a smattering of vocals over the top. The breakdown is great too, quite dirty in a Moroder kind of way, so it all leant itself nicely to some new-disco vibes. I also love the fact that Snap were a really homophobic band, with Turbo B saying some pretty rank stuff (which is central to why they disappeared), and we’ve twisted it around, and made it sound like something that would work really well in the disco clubs of New York in the late 70’s. It kind of sounds like the cover predates the original! ha ha.

dbmlabs: What hardware/software did you use to produce this track?
Protools, for all the softsynths, recording and programming.
Vocals are recorded on a Rhode NT2a. Really nice. And through a TL Audio Ivory valve compressor.
I’ve got a bunch of analogue synths, and we tried out some vocoder options through a Korg MS2000, but we didn’t use them in the end.

dbmlabs:How long was the production time?
This took a bit longer than I wanted, because it was a collaboration, so you’ve always got to be sensitive to the other person. I think we spent three or four days on it.

dbmlabs: Anything cool coming up in the next couple months you guys want to share?
I’ve got another Andrew Friendly track in the pipeline, I want to have that finished in the next few weeks, but most of my energy is going into Milke, so that’s the priority. We’ve got LOADS in the pipeline there, including collabs and some really big name remixes, and we’ll be working with Philip Zdar on a track, and should be releasing a single in France before the end of the year. More coming soon!