Dirt Crew started out in 2004 and since then has been on the forefront of underground House and Techno, by releasing some of the first records by artists such as "Mano Le Tough", "Chymera", "Till von Sein" and "Tigerskin" they gained a massive following in the House community. They just recently celebrated their 10th Birthday.
After many years of changing music styles and hypes they are very happy to be stronger as ever and still up and running. With the recent success of “Detroit Swindle” whose debut album they released last year they took yet another big leap. This year the label will see more fine new releases from a lot of upcoming young talent like “Nachtbraker”, “Brame & Hamo”, “25 Places”, “Urulu & Steve Huerta”, “Kito Jempere” and now this new EP by “Ponty Mython Feat Sebastien Vorhaus”.
Thanks for taking time to talk to us, should we let you introduce yourself?
My Name is Alex, Ponty Mython. Love Monty Python shows, hate winter. I'm Russian but I've spent my recent years in Vilnius, Lithuania. Changes are necessary, so we moved here with my brother a year ago. Love that city, green & fresh, a lot of good parties in Vilnius, just played on a good techno festival, Supynes here in Lithuania, splendid event!
So it will be your second collaboration with Sebastien Vorhaus after this excellent release “Lux or Cairo EP” under Quintessentials. How guys did you got together? Did you decide to collaborate on 2 releases closed together at first or after the first you though “let’s give it another go”?
Yes, fun thing it was. I brought Sebastien in St Petersburg two years ago on a party as part of his small European tour. We had few more days and tried to make some stuff but nothing got out of it even though there was that feeling: we should push it. So we've tried to do it online (thanks God we are both Logic guys). Sebastien has a great feeling for the sampling groove, every project he sent I would finished them in studio adding stuff: bass from Novation BSII, 707 drums, cowbells. We still do this, every month, he sent me something and I finish it with cowbells. Quite good team we are. And I' still crazy about it, you can team up with somebody from other continents, no borders for music.
So you are with Sebastien Vorhaus on the 90th release for Dirt Crew, quite a mark! Can you tell us a bit more on this new release with Sebastien Vorhaus please?
Oh, that should be a great EP! The first track we did is called "Face Down", deep and dirty. And few more tunes from me. "Mila, It's Not Over" has bubbling bass from Novation and nasty piano stabs, as for "Narcolepsy" I've chopped folk flute, then "Paulette! is about marimba arp. Crazy mix, that's how I like it in house music.
I’ve read a year or so ago you were really inspired with the possibilities with distortion and reverb effect, is it still the case? Have you got any particular favorite equipment or recent kit?
Distortion and reverb, yes I still learn how to treat them right. Tricky bastards! Gonna finish with them by the time I'm 50. To be honest, I couldn't spot any fav device, every new one has a new sound palette. Some people can stuck on MPC for years, I can't. Every month, a new synth. Live is too short to stick to the same machine!
So you have releases under Tusk Wax, No More Hits, Capital Bass, Dirt Crew, Quintessentials and soon Swedish brandy and launched Beats Delivery with Kirill Sergeev few years ago – what is next on your radar?
Around autumn, a few cool tunes will come on 124 Recordings and Simple Things, strong EP on Moscow based label Capital Bass then Swedish Brandy. What else, going to play Ponty Mython's stuff live finally. Also I'm really excited with the new live project Umdieecke we did with my brother. Should be sick.
How your summer is so far and what are you looking for in term of forthcoming gigs?
Going to play in the area here in Vilnius, and there should be a lot of private gigs for my girlfriend since we are in different cities, I owe her a lot of them.
We’ve asked you to select your 5 or so favorite tracks in the recent years. Can you give us a couple of words about why you selected these tracks and what significance they have to you?
2015 is fast turning into Henry Wu's year. Having already delivered killer release of baked deep house/instrumental hip-hop fusion for Ho-Tep and Odd Socks, he now pops up on Rhythm Section International with another brilliant EP. While as deep and blazed as previous excursions, there's a sun-bright freshness to the pleasingly varied selections on offer. Contrast, for example, the deep space, boogie-house slickness of "Yellow Brick", the bruk revivalism of "Neezy (Wok)" - think I.G Culture after a few too many bongs) - and the brilliant deep house/jazz-funk fusion of "Dubplate Special". Arguably best of all, though, is the Latin jazz-goes-deep house warmth of "Croydon Depot". Everyone will have a different personal favourite, though; it's that kind of EP.
Few are better at saucer-eyed, rave revivalism than Victor Shan. He's made a habit of successfully doffing a cap to the early '90s, primarily via collaborations with Tuff City Kids and the booming Chord Memories 12" on Running Back. Here he's at it again, kicking off with a "Piano Mix" of "Work It" that sounds like a long lost collaboration between Inner City and Tyree Cooper. There's a more flustered, UK hardcore feel about "Bassline Party", even if it does contain a classic Chicago house bassline and a swinging, boompty style groove. Flip for a ghetto style "Miami Mix" of work it, plus a couple of handy DJ tools (the hip-house-goes-rave groove of the "Rave Beats" version being particularly potent).
It's Italian club maverick and disco twister Kiu D back in business for the prolific Hotbox label, and you know that means only one thing: party-time. The dude serves up a whopping six new cuts on this devilish little EP, all of them well-suited to a Saturday evening spin on the ol' decks, at prime time. The title track "Surrender" is a lovely, slo-mo boogie attack with a house sensitivity, while "Touch" is our favourite due to its grizzly bottom end, jazzy piano keys and organic percussion swing. Make sure that you also check "New Air", a funky-as-hell house bombshell for the summer months. All in all, a fine blend of house and disco groovers.
Here, Vienna's Luv Shack label delivers its' first compilation - a riotously good collection of previously unheard gems from label favourites and selected guests. As usual, the quality threshold is high, and the included music a blend of melodious deep house, disco-influenced party jams, synth-heavy workouts and acid-tinged basement fare. Highlights are pleasingly plentiful, from the quirky, summery madness of Full Pupp man Jarle Bruthen's "Italo Mullet", and Space Echo's Afrobeat influenced disco-house jam "Got It", to the yearning, melancholic deepness of Jakobin & Domino's superb set closer, "Retronome".
Lithuania-based Russian Ponty Mython has quietly been building an impressive discography over the last few years, with releases on No More Hits, Royal B-Sides and Quintessentials emphasizing his growing credentials. Here he pops up on Dirt Crew with an impressive EP of loose, winding and spacey deep house/future disco fusion. "Apple Arp" sounds like Floating Points jamming with Todd Terje and Axel Boman, while "Mila, It's Not Over" fixes stargazing electronics and hazy deep house chords to a fluid, jazz-flecked groove. Elsewhere, there's a classic, Nu Groove era deep house feel about "Narcolepsy", and Paulette feels like an aural tribute to some chilly Eastern European sunrise. The sweet, disco-influenced melodiousness of "Face Down", a hook-up with Sebastien Vorhaus, is also pretty tasty.
Well, the UK's Shifting Peaks have really gone and done it with this latest leviathan of a compilation, an anthology of their best and most wanted from 2010 until now. Inside, there's talent and plenty of club antics bouncing off the wall left, right and centre; with over fifty cuts there's enough to go around and satisfy a whole artillery of bass-heads. Some of the stand-outs for us are Tessela's "Yes You Can", Hackman's "Always", "Put You Down" by Odessa, and OM Unit's remix of "Reach Out" by Nphonix. What a belter,
Given the infrequency of their releases these days, any new 12" from Dego, Akwasi Mensah and Kaidi Tatham's 2000 Black project is cause for celebration. "Make It Hard", their first collaborative missive of note since 2008's A Next Set of Rockers on Third Ear, is predictably. The title track itself is killer; a classic, dancefloor-friendly broken beat roller complete with dense, Latin-tinged percussion and loads of brilliant synth touches from Tatham. It's the kind of record that would be been massive at the turn of the millennium. Even now, it should be. The other cuts are pretty tasty too, with some jazzier, deeper bruk in the shape of "Counter Attack", and a dash of sensual, Herbie Hancock does deep house niceness ("Steady Jam").
Although Cliff Lothar's music has been in demand ever since his first EP on Viewlexx back in 2013, the producer hasn't been outing out tonnes of music. Instead, he's opted to stick close to home and has only released on a handful of labels including Skudge White and the present Riverette out of Spain. The Old Jams Die Hard EP is the first volume of a likely series and its classic Lothar, where the grooves of "Tugeda" are tightly packed and hard-hitting. There's also some funkier moments in "Don't Need Nobody, raw and jacking drum machines oddities on "Going Dutch", and a deeper, meaner kinda vibe on "The Snow Is Falling". Killer.
XXXY continues his deep tech Rinse sermons with this powerful-yet-understated trio of brooding, reflective tracks. "Regrets" burns low-and-slow like a Henrik Schwarz cut, all strings and soft pads. "12049" follows suit with tightly clipped synth patterns over another insistent but subtle drum arrangement (think Ame's "Rej") while "Over Peover" joyrides New Horizons' slipstream and takes us to the further reaches of the solar system by way of twinkling arpeggios and lush, life-affirming synth chords. Beautiful.
"No Promises" was originally a 1990 B-side by The MacKenzie, a long forgotten outfit who would later go on to define the sound of Belgian trance. Back then, their sound was harder to define, and while "No Promises" features some melodious, hypnotic, trance-like elements, these sit alongside choral vocals (similar, in style, to those used on Orbital's "Belfast"), a smattering of Chicago house influences and an undeniably Balearic vibe. Here, the original version is joined by two new interpretations from Lauer; a rougher, more jackin', Chicago-meets-Ghent "remix", and a breezy "cover" that's more Balearic than being carried out of Pacha in a face-chewing daze. As if that wasn't enough to get the juices flowing, there's also a tasty edit of proto-trance-meets-deep-house cut "The Right Side" from Locked Groove and Red D.
Although they've been active since 2012, Beesmunt Soundsystem's releases have been frustratingly sporadic. Here, the Dutch duo presents their first outing of 2015. There's plenty to admire, with the duo tweaking their trademark sound - warehouse-friendly sleaze with added distorted dustiness - on a trio of original cuts. "Searching" is tense and intoxicating, with choice vocal samples and long, creepy chords wrapping themselves around a dense, click-heavy, UK funky-influenced tech-house groove. The similarly hypnotic "Raindance" combines spooky chords and shuffling percussion with a killer, old style Chicago house bassline, while "Ominous" is an intoxicating, Middle East-inspired dusty jacker. Borrowed Identity remix "Searching", giving it a Motor City deep house-meets-UK bass makeover.
Lerosa finds himself in good company on the Photic Fields label run by Micha Venderbos from Nijmegen with Perseus Traxx, Aroy Dee and fellow Ireland-based acts Leonid and Automatic Tasty having previously contributed. The Woman Flew Home EP follows the template laid down over Lerosa's long and celebrated production career in that the four track's represent the Italian producer's rich palette of sounds. Contrast the crunchy Faltemeyer-esque drums and plaintive melodics of "Some Things Endure" with the subtle acid undertones and punchy percussion of "Nebula Rider". On the flip, the appropriately titled "Dream Of Flight" will appeal to Legowelt fans whilst "Postmodern" is a perfect example of Leo's capacity for rich and emotive house music.
Six months on from the release of Luke Solomon and Nick Maurer's Body Movement EP on Classic, three tracks from that set get the remix treatment. There's a vintage feel about Jordan's heavy, acid-and-boompty influenced take on "The Acid Games", which sounds like vintage Classic or Dotbleep Recordings material from the mid 2000s (this is a good thing, by the way). Psychedelic acid lines come to the fore even more on Denney's remix of "Body Movement", which also features some suitably snappy drum machine hits and a suitably wild spoken word vocal from Maurer. Borrowed Identity do their best DJ Sneak impression on their version of "Dance Electric" - all thunderous, sub-heavy funk basslines, restless rhythms and drowsy deep house chords.
The UK's legendary X Press 2 return alongside the more recent Mutiny, who has appeared extensively for the Underwater label, with "Sintara", a chord-heavy house monster boasting a progressive edge and a grizzly low-end going in and out of the groove with utter grace. X Press 2 goes solo on "Testify", a piano-led club banger backed by a dusty percussion swing and one hell of a kick drum. Big and bad.
There's little doubt that Waze & Odyssey are great at producing "big" records. This latest outing on their Street Tracks imprint is another fine example. "Bounce" expertly combines nagging acid lines, warehouse-friendly vocal samples, extended breakdowns, a tactile, bass-heavy UK-tech groove, and an addictive main synthesizer hook that sounds like it was inspired by Ame's anthem-like 2011 remix of Osunlade's "Envision". It's a combination that sounds like it would cause commotion on a wide range of dancefloors, from sweaty ceallars and gargantuan warehouses, to White Isle terraces and rain-soaked British festivals. In other words, it's dynamite.
There's a rather simple idea behind A Friend In Need's latest audio missive, which gathers together founder Lootbeg's best-loved tracks and remixes on one handy EP. The Leipzig-based producer excels at delivering fluid, heartwarming deep house that offers the right balance between Floating Points style synthesizer looseness, tactile nu-disco influences and classically dreamy grooves. Highlights include an eyes-closed, acid-flecked rework of Dasant's "Spread Love", the sun-kissed breeziness of "Without Ur Love", and a New Jersey style classic garage-meets-deep house rub of Simon Sunset's "Outer Banks". Best of all, though, is "Acd4/303", a straight-up acid house throbber doused in rough 303 lines and jackin' percussive hits.