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Club Noise
Wednesday, June 4, 2008

Plus: Phantom 45, JT Donaldson return

John Larner earned his reputation in the 1990s under the guise of Cyberjive. More than a decade later, the multifaceted house DJ/producer says he still can’t shake his past. “Nearly every show, someone wants to hear tracks from the rave days,” says Larner, who now sets up shop in Indianapolis. “Back in the day I played a lot of Chicago house mixed with some techno and acid. It’s pretty much the same thing now . . .
Club Noise
Tuesday, May 20, 2008

Plus: Three’s Finest House Wine

Chuck Love’s musical diversity may have landed him a spot with crossover label giant Om Records, but it’s his musical understanding that has kept him on the radar of the underground electronic audiences for more than three years. The Minneapolis musician didn’t start impacting the house scene until early 2005, when his breakthrough Frozen in Minneapolis EP debuted on Miguel Migs’ Salted Music impact. Backed by the commercially savvy appeal of an artist such as Migs, Love’s multi-tasking music style became a hot commodity at clubs across the country.
Club Noise
Tuesday, May 6, 2008

Plus: Brett Johnson brings back the new-school

The soulful roots of Chicago house dug deep into the artistic mind-set of Andrew Emil, who channeled their influences into sound, art and audio experimentation. The accomplished result melds the smooth vibe of neo-jazz with the funkier influences of underground house. Emil’s recent venture, Four Play Music, is an attempt to expand his musical reach through a self-helmed record label. Four Play marks a home base for his own work— alongside several artists from Chicago and his native Kansas City, who he features on the imprint’s latest compilation, Andrew Emil Presents Four Play Music.
Club Noise
Wednesday, April 23, 2008

Jamanta Crew’s Sunny Rise

When Jamanta Crew’s Eduardo Marote (aka Prztz) wrapped up a three-day gig in Barcelona in 2004, he returned to his native Brazil with several tracks for the seminal Chicago house imprint, Classic. “It was a Monday morning, my last day there and I called Classic to have them listen,” Prztz said via his cell phone from Sao Paulo. It turns out the Classic label heads had been the ones looking for him. Months prior, several unlabeled tracks crafted by the burgeoning Brazilian P.A. act fell into the hands of Luke Solomon, who played them without knowing who made them. Solomon saw first-hand how crowds went off.
Club Noise
Wednesday, April 9, 2008

Plus: Danny White’s smoke-out

Since 2003, Danny White and his crew have been slumming it. With a few lessons in debauchery from creative cohorts Eddie Leader and Rucky (Dan Rucker), the U.K.-based trio Slum Science has been crafting a catalog of funky house tracks that reek of smoke, booze and ingenuity. Could the underground heads demand much more? Labels such as Deep Future, Icon, Jackin Tracks and Black Cherry certainly got buzzed on the smooth sound of their work. The trio’s string of successful drops led the production team to branch out on their own . . .
Club Noise
Wednesday, March 26, 2008

Plus: Derek Plaslaiko’s edgy techno

Living abroad in Amsterdam has repositioned the creative mind-set of Gene Farris, whose deep, spacey sounds echo back to an era of raves gone by. And while his recent batch of remixes is not about reinventing the wheel, the DJ/producer/label owner keeps his Chicago-influenced sound spinning on heavy rotation. In teaming with Control Records leader Bryan Jones of late, Farris has crafted an inspired bag of remix work that quips with quirky tech and acid lines while working audiences with organic finesse. In the mid-’90s, Farris played into another eclectic EDM movement that revolved around the Chicago-based Relief Records.
Club Noise
Wednesday, March 12, 2008

Club Noise

It’s been more than seven years since one of house music’s most-prolific legends bumped Milwaukee crowds. Now with more than 130 EPs to his name—including his 3-million-selling club gem “Get Get Down”—Johnson returns as part of the one-year anniversary party for the eclectic EDM monthly Boompty at Red Light. “It’s been great working with Red Light this past year,” said Georgie Geewiz, who co-organizes the night with Mike More. “They are very supportive of our party … the people at Red Light know what it takes to make music work.”
Club Noise
Wednesday, Feb. 27, 2008

Marketing, minimal house reinvent the EDM monthly

The hushed hype surrounding the kickoff of Projekt, Milwaukee’s newest EDM monthly, has sparked discussion among the underground dance community for nearly a month. “We came to the market…with a very creative, mysterious (marketing) method, using the Web as our main focus for promotions,” said Brad Valerine, a co-organizer of the event. “One message board even called us ‘Cloverfield rip-offs.’” Now the new night is ready to launch a barrage of what promoters call “avant” house music on the ears of the local dance scene beginning Friday, Feb. 29. Highlighting the clean, angular sounds of minimal and techno, Projekt aims to give audiences a regular mix of beats that may otherwise only get play in the occasional or one-off scenario.
Club Noise
Wednesday, Feb. 13, 2008

Plus: Sims makes Milwaukee debut

If Tittsworth was a cartoon character, he could be a blinged-out, globe-trotting pimp sporting a five o’clock shadow. In actuality, only the globe-trotting part is true, as Tittsworth has emerged as a turntablist who turns his own tricks on a dime. The D.C. native seamlessly blends club, rock, rave, hip-hop and house into a high-energy set that has sent him across the globe, including a regular spot at London’s Fabric. With eight club records already released, along with the mega mix CD Ayres ’n’ Titties (Money Studies), Tittsworth spoke with Club Noise about the Baltimore club scene, crunk and one night in Bangkok that was hardly humble.
Club Noise
Thursday, Dec. 13, 2007
Whether he's donning his "Sleazy" moniker on the decks or producing his tracks under the likes of "Tony the Pony," Laurin McQueen Fedora is in the business of making seriously good house music without taking the scene too seriously.

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