Rob Hes & Steve Slight ‘Focusing/Mankind’ out now on Selador

rob hes_2Next up from Selador Recordings, we are excited to present a double header from the two of techno’s new leading lights, Rob Hes & Steve Slight. With recent releases under their belts on the likes of Oliver Huntemann’s Ideal imprint, Hernan Cattaneo’s Sudbeat & Stephan Bodzin’s Herzblut too, the prolific duo have delivered what we consider to be their best work yet in the form of ‘Focusing’ & ‘Mankind’.

Both big dance floor weapons in their own right, ‘Focusing’ also comes with massive remixes from both Gabriel Ananda and Selador’s own Steve Parry and judging by the huge swell of support from everyone from Jamie Jones to Tensnake, Pig & Dan to Guy J and DJ Chus to M.A.N.D.Y, this could end up being one of our biggest releases to date. Grab it while it’s hot people :-)

 http://www.beatport.com/release/focusing/1220471

PS. Must also say a huge THANKS again to Spike Dennis for once again providing the distinctive artwork on this release. It’s all about the unicorn porn don’t you know! You can see more of Spike’s splendidly idiosyncratic works at spikeworld.co.uk or follow him on Twitter @Spike_Dennis

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SEFF ‘Freestyle Fanatic EP’ Out now on Selador

SEFF_v2For the seventh release on our burgeoning Selador Recordings label we are pleased to welcome SEFF into the fold with a wonderful 3 track EP of big booming underground House music. SEFF aka Joe Saunders has been making quite a name for himself over the last year with releases on Steve Lawler’s Viva Music and his own Mindmaze Music imprint and his first full release for Selador has had no shortage of takers either. The likes Hot Since 82, Groove Armada, Cevin Fischer, Betoko, AFFKT and Kolombo have all pledged their support with all 3 tracks finding their way into the sets of the elite. The lead track ‘Freestyle Fantastic’ sets the bar high with it’s growling dirty synths and “On and on and on” vocal refrain, whilst ‘Listen’ goes deeper and darker and ‘Lost In The Underground’ heads into slightly wonkier territory. Quite simply, if raw underground house sounds are your bag then we’re sure you’ll find something to whet your whistle here. Without doubt, the boy Seff has a big, bright future.

 

http://www.beatport.com/release/freestyle-fanatic-ep/1211683

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World Radio Premiere of Selador Sessions mix

Dave Seaman’s critically acclaimed Selador Sessions Volume 1 compilation is to get its world radio premiere on Tuesday 17th December exclusively on Friskyradio.com The mix hasn’t been on sale anywhere and was only available to backers of Dave’s kickstarter campaign earlier in the year but now finally this is a chance to hear it if you missed out.

“I’ve had a lot people asking where they can buy it but it’s not been on sale. That was the point.”said Dave “to keep it limited edition and exclusive. But although they still can’t buy the album, we thought a chance for people to at least hear what they missed might spur them on to get involved next time I get around to doing another crowd funded album. Hint hint” ;-)

So, Tuesday 17th December straight after Dave’s regular Radio Therapy show at 9pm. It’s a one off deal. Don’t miss it.

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Radio Therapy Broadcast – October 2013

Listen again and download my latest radio show which premieres every third Tuesday of the month at frisky.fm

Spread the word. Enjoy! :-)

Tracklist as follows..

1. John Digweed & Nick Muir Vs. Jozif  ‘Groove Del Velrano’ [Bedrock]

2. Booka Shade ‘Love Inc’ [Blaufield]

3. Kucna Muzika ‘Feel It’ [Selador]

4. Chris Fortier ‘Music Makes The Body’ [Selador]

5. Rob Hes & Steve Slight ‘Focusing’ [Selador]

6. Deetron Feat. Ben Westbeech ‘Rhythm’ (Instrumental) [Music man]

7. Lulu James ‘Closer’ (Seduce & Destroy dub) [Black Butter]

8. Adam Beyer & Ida Engberg ‘You Know’ [Truesoul]

9. Ruttenbergs ‘Heating’ [Parquet]

10. Oliver Huntemann ‘Schatten’ [Ideal]

11. Agoria ‘Scala’ [Innervisions]

12. Solomun Grey ‘Gen V’ [Black Butter]

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My latest Top Ten for Beatport

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1. Coyu & Edu Imbernon ‘The Storm’ (Daniel Dexter mix) [Suara]

2. Dave Seaman & Guy Mantzur ‘Feline’ [Playmobil]

3. Maceo Plex, Maars & Florence Bird ‘Going Back’ (Dub) [Ellum]

4. Chris Fortier ‘Music Makes The Body’ [Selador]

5. Sidney Charles ‘Morning Glory’ [8 Bit]

6. Booka Shade ‘Love Inc’ (Butch mix) [Blaufield]

7. Robert Babicz ‘Rosegarden’ [Selador]

8. Piemont ‘Been Around’ [Selador]

9. Sante ‘Need This’ [Objektivity]

10. Seff ‘Visions’ [Selador]

http://www.beatport.com/charts/dave-seamans-halloween-monsters/225080

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My recent interview with colorising.com

1. Before house music landed in the UK, you were spinning various records of multiple genres. Do you remember the very first house record that you heard and what were your immediate thoughts on it? Did you know right away that you had to be a part of this new, emerging sound?
I do remember yes. I’d been into the Electro and Soul scenes for quite a while by then so was following James Hamilton’s dance music pages in Record Mirror religiously so I knew of this new “House Music” that was coming from Chicago but it wasn’t until I was at Roof Top Gardens/ Casanovas in Wakefield one weekend that I heard Steve ‘Silk’ Hurley’s ‘Jack Your Body for the first time. It blew my mind. It was so different to anything else that it really stood out and I immediately went off to search for more. Marshall Jefferson’s ‘Move Your Body’, JM Silk’s ‘Love Can’t Turn Around’ and The House Master Boyz ‘House Nation’ all arrived at around the same time. It was pretty obvious that this was the start of something exciting. I couldn’t get enough.

2. You were also attending many of the early raves during the house explosion. Those parties were quite cavalier in a sense. Part of the excitement was trying to determine the location and playing this “cat and mouse” game. How would you contrast those early raves to the festivals that are happening today?
The early Rave scene was subversive and underground. It was completely new and because of the illegality of the parties had an element of danger. Festivals nowadays are very much a part of the fabric of modern day culture. There’s nothing subversive about them. Latitude (or Latte-tude as it gets called) is particularly family friendly and as middle class as it gets. There’s a great book I can recommend about the Acid House explosion by Matthew Colin called Altered States. It really gives you a great insight to the madness of those halcyon days.

3. Many people know about the infamous Mixmag competition that you won when you were DJing early on, but what initially led you to becoming the editor at the magazine?
I was initially just doing reviews for Mixmag and maybe the odd interview but when the then Editor left hastily I was catapulted into the deep end. I ended up covering for him whilst a replacement was found but after managing to pull two issues together myself the powers that be just said, we’ve not found anybody that we’d rather do it than you so you might as well carry on. I had gotten my English O level but really had no journalistic experience so it was sheer enthusiasm and passion that got me through. I was living and breathing the scene though and I was very much right time, right place. Right in the eye of the storm as it were. As I arrived at Mixmag- M/A/R/R/S, S Express, Coldcut and Bomb The Bass had all just hit the top of the pop charts. DJ Culture as we know it had just begun.

4. With the advent of technology, music has become extremely accessible and the lines of genre are increasingly getting blurred. As an industry expert who has been in key positions such as DJ, producer, editor and label boss, do you think music is still at a healthy point creatively?
Undoubtedly. There is always fantastic, creative music being made but with so much music being made and as you say with almost everything being instantly available to everyone, it’s not as valued as it used to be. MP3s are such a disposable medium. So cheap and replaceable, they have no real worth. And so in that sense it’s not healthy. Cheap and disposable is not good. The real problem though is quantity over quality. There’s just too much music being made with no filter system in place like record companies used to provide in the past. Imagine if everyone who thought they could cook were allowed to put their product on the shelves of a supermarket. It would take you a week just to get past the cereals!

5. I have read that growing up you constantly listened to the radio. Going back to the topic of technology, people have gone on to use the medium of the internet to produce their own shows and podcasts. On one hand, it’s liberating to have the ability to broadcast music, however, does this slowly eliminate the idea of the taste maker, similar to what we used to have on radio?
To a certain extent. You could argue it takes the power out of the hands of a few and spreads it around a bit more but at the end of the day you’re only a tastemaker if you have an audience and the people with real influence still have a lot more listeners than your average podcast.

6.From working at Mixmag to producing Top 20 hits such as Brothers in Rhythm’s “Such a Good Feeling”, on down to working with acts like the Pet Shop Boys and David Bowie, you have had a continual train of success. Are there ever times when you have had to step back and really take it all in?
Ha! Not really. I’ve always been all about the present and immediate future. Maybe one day I’ll get round to writing it all down though. I probably do have a pretty good story to tell :-)

7. More claims to fame are your labels Stress Records and Audio Therapy, which included releases by a slew of top acts in the scene. You now run Selador Recordings with Steve Parry. What prompted you to start a new label?
It’s all Steve’s fault. I blame him! hahaha. It was following a conversation we had where he expressed a long time ambition to run a label that got me thinking. I had been out of the game for a couple of years after Audio Therapy and didn’t realise how much I’d missed it until we spoke further about the idea of Selador and that buzz very quickly returned. It’s a labour of love. It’s not really profitable in monetary terms but you get so much out of it in other ways and I just love the process. It’s a great way to collaborate with like minded artists and put your flag in the sand.

8.You have the new “Selador Sessions Vol. 1” mix compilation out right now which was funded by the people through Kickstarter. I think this speaks volumes in terms of the support from those who love house music. Do you envision this process to soon be the wave of the future for releases?
I hope so and can’t see any reason why not. It’s a fascinating development and actually more of a throwback to the way things used to get done before capitalism took over the world. This idea of a communal project. And now with the advance of social media it’s so much easier for artists to be able to get together with their audience to make creative projects happen. It’s a win win situation really.

9.Finally, what projects are coming down the pipeline at Selador?
Our next release is a compilation to coincide with the Amsterdam Dance Event this month which features a lot of the artists that have already featured on the label and a few more besides. Then there’ll be a new single from myself together with Funkagenda called ‘Naughty Forest’ which has been a staple in my sets for the last few months and also features on Selador Sessions Volume 1. And then who knows, there’s even talk that Mr Parry will be getting back into the studio although I’ll believe it when I see it! :-)

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Piemont ‘Give It Up’ E.P – Out now on Selador Recordings

SEL005 artworkBasking in the glory of love from the likes of Hot Since 82, Nic Fanciulli, Lee Burridge, Pirupa and Jozif,  Selador Recordings is pleased to unleash our fifth release on the world in the shape of Piemont’s ‘Give It Up’ EP.

The 4 tracker features two originals from the German production duo who have already appeared on the label with their remix of Han Haak’s ‘Jezebel’s Milk’ earlier in the year which is a track which also featured on my Selador Sessions compilation.

Firstly, the lead track ‘Give It Up’ is a funky little percussive house groove driven by a monster baseline and topped of with a simple but nagging vocal hook. There are also two fantastic remixes that come courtesy of Samu.l (another favourite of the label) who delivers a deep bass heavy workout and Stephan Hinz takes things into more melodic techno territory.

The second track, ‘So What’ is not just an added bonus either, it could easily be a lead track in it’s own right. It’s another that is typical of Piemont’s trademark sound and has been doing the business for me in my sets for the last couple of months.

Finally, I must say a big thank you to Iranian artist/designer Sajad Safajooee who supplied the ‘Green Traffic Lights’ artwork for this release. You can Follow, like, get in touch and see all his other works at https://www.facebook.com/sajjad.safajooee

So go pay him a visit :-)

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My recent interview with 365 Mag

- First of all, congratulations on your successful Kickstarter Mix CD campaign. It’s the very first Mix CD funded solely by fans. Could you tell us why you decided to go for a Kickstarter campaign?

I just wanted to do something different to be honest. I’d done almost 30 mix compilations through traditional channels with the likes of Global Underground & Renaissance and doing another one of those felt a bit “same old, same old”. Taking the Kickstarter option was a out of my comfort zone, a bit of a risk and sometimes you have to do that just to feel alive. I also firmly believe that this is going to become an increasingly popular way in which artists and their audiences make things happen. By cutting out the middle and opening up a direct line of communication between fans and artists, can lead to all sorts of interesting possibilities. 

- After this success, do you think many campaigns will follow?

I don’t see why not. We learnt a lot on our first campaign. And there are definitely things we would do differently next time and other ideas that have since developed. I certainly hope it won’t be my last foray into crowd funding. 

- You’ve said the Mix CD is in a niche market again. Why do you think this is?

Because those days so many more people are downloading their music digitally and as a result physical formats have suffered greatly. But there is still a market for CDs & vinyl. I for one, and I know i’m not alone, still like to buy physical stuff. I’m a collector. I have a library at home with all my vinyl, CDs, DVDs & books. It’s my favourite room. I don’t get that kind of relationship from my hard drive! From disposable files on a computer. And I think that there will always be people who will agree with me. Cloud computing maybe the ultimate in convenience but it’s very soulless. 

- Some people would think a Mix CD is just as easily put together as a DJ set. Could you show us some insight in the process of creating a Mix Compilation? What are the main things you have to deal with?

Maybe for some people it is just like recording a DJ set but for me, I spend weeks and weeks crafting these albums. I want them to be extra special, to stand the test of time and I utilise all the tools available to me to make an album that just wouldn’t be possible to do as a live set. With software programmes like Ableton you can layer upon layer tracks so that they all almost become remixed in the process. For me it’s not just about segueing from one track to the next, it’s about creating a collage of audio that is coherent as one single piece. Also, when you’re doing a live set you don’t have to worry about the licensing process which is another major factor you have to throw into the mix.  

- You’re the founder of the Audio Therapy label and helped found Stress Records. Recently you decided to start up a new label – together with Steve Parry – called Selador Recordings. What do you want to accomplish with Selador?

To put out great music. Plain and simple. I love the process. I didn’t realise how much I’d missed it after closing Audio Therapy a couple of years ago but am so glad to be back in the game. And Steve is the perfect partner. We’ve know each other for such a long time and I think our tastes complement each other. His enthusiasm is infectious too. Which always helps :-)

- How do you select new artists for the label?

There’s no hard or fast rules. We’re always on the look out. The first release on the label from Samu.l came about as he is a friend of my cousin and I heard it as demo over a year ago. The Paul Rutherford ‘Get Real’ release was something that Steve had always wanted to put out as it’s one of his favourite tracks ever. 

- You’ve been the editor at Mixmag from 1988 till 1991 if I’m not mistaken. When was the point in life you decided to leave the music journalism business and focus on a different music career instead? Were you already a DJ before starting at DMC/Mixmag?

Yeah it was just a choice that i had to make as I couldn’t keep doing everything. At least not to the standard I want to do things anyway. If you spread yourself too thinly then something has to give and my DJing and Production careers were starting to take off so it was the journalism that I had to leave behind. I decided I’d much rather be a bird than an ornathologist! :-)

- Got any other big things we should keep our eyes on?

I’ve got quite a lot of productions on the horizon. First up is my new collaboration with John Fleming, the follow up to last years Pixelated, which is called Unexpected Item In The Packing Area. That’s coming out on Pro B Tech with remixes from Hernan Cattaneo & Martin Garcia plus one from Dubspeeka too. Then there’s a new thing I did with Guy Mantzur called ‘Feline’ that’s being released through Mihalis Safras’ Playmobil label with a remix from Mihalis himself. After those look out for collaborations with One Million Toys and Funkagenda which will be both out before the end of the year. I’ve also got a couple of remixes to do soon too. I’ve been busy pretty studio wise this year. 

- Are you a coffee drinker? How do you drink it?

Medium Latte with two sweeteners please :-)

 

Click here to see full article..

http://bit.ly/12rGgr6

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Paul Rutherford ‘Get Real’ 2013 Remixes out now on Selador Recordings

SEL004 ArtworkThe 1988 release ‘Get Real’ by Paul Rutherford ranks amongst the most seminal of acid house classics. Highlighted by many as a one of the very best of the genre, with the likes of Josh Wink, Christian Smith, Danny Howells and Paul Woolford all ranking it amongst their all time favourites, here at Selador we felt it high time to resurrect this gem and bring it to the attention of the new generation. Needless to say, we had some of the very best production talent in the world queueing up to offer their remixing services but in the end, it was Darren Emerson, Just Be Bushwacka & Pete Gooding that secured the honour and the results are nothing short of remarkable. From Darren’s monster new techno remake to Bushwacka’s faithful rolling techy tribute and Pete’s contemporary deep melodic anthem, every interpretation has been handled with the upmost love and care. Selador Recordings are proud to present Paul Rutherford’s ‘Get Real’ 2013 style. Miss this at your peril!

http://www.beatport.com/release/get-real/1141240

 

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‘Marionette’ by Rychard out now on Selador Recordings

Marionette SEL003 artworkThe third release on my new record label with Steve Parry, Selador Recordings is now released and ready for your delectation through Beatport.com A huge warm melodic summery number entitled ‘Marionette’ by up and coming Canadian deep house don Rychard. It also features two fantastic remixes. Firstly, Cocoon favourites Danito & Agent! take it on a deep techy underground 10 minute journey that is already finding favour from the likes of Hernan Cattaneo, Gabriel Ananda & Hollen and then to round off the package, Beaumont Stanford, fresh from his Sasha fave ‘Bit Pitch’ track on Funk D Void’s Outpost label, delivers a peak time disco techno hybrid that has already destroyed dance floors for Eric Prydz, Marc Marzenit and Selador’s own Han Haak. Also, I must add a big thank you to Spike Dennis & Layla Holzer who supplied the rather disturbing ‘Puppet in Progress’ artwork. You can find more about their wonderful work at spikeworld.co.uk and laylaholzer.com

Selador Recordings – All killer, no filler! ;-)

Dave

Listen & buy your copy here…

http://www.beatport.com/release/marionette/1127304

 

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