Feb 14, 2014,
For Immediate Release:
BEATPORT EXCLUSIVE: Brand new Detroit minimal techno by Harbou and Dink, with production by TerranceK. Deep, dark sounds and rich atmospheres.
Bryan Mattson, who goes by the stage name of Harbou, has Detroit’s techno scene pulsing through his veins; beating a rhythm of Deep House amalgamated with Minimal. This newcomer’s unique mixes and style have quickly been noticed and praised by the established echelons of the community and gained Harbou entrance to their ranks at a dizzying pace. Faster than the flash of a strobe on the dancefloor, the fans of Techno/House have a new frontman bringing another untamed edge to the wilds of the scene.
Cooking up Hard Techno beats spiced with Jungle and DnB, Dink is mixing and production master with a long and respected track record in the scene that only shows signs of growth. With multiple album releases and bass-heavy live sets, Dink has already made a name for himself in the Techno world and gained quite a following.
For Immediate Release:
BEATPORT EXCLUSIVE: A fusion of Detroit techno and bouncy minimal, Lingk’s latest release, “Sparks,” is a 6 track EP that brings in-your-face percussion and deep bass lines to keep the floor moving during the high point of the night. Sparks also features remixes from Pappa Sierra and NightSneak’s Gusto.
Lingk has been producing for a number of years and has put a strong focus on his talents for the past few years. Now he is making a name in the Detroit scene. His unique originality and dedication has made his work stand out. So much so that it caught the attention of the Detroit label, “Label” and New York label “The Seed”.
Lingk has done remixes for The Crystal Method, Erin Barra, and MAC D Productions. He has also done remixes for local favorites such as Dink, Terrance K, & Dantiez Saunderson. Alongside the remixes, Lingk also helped Steve Duda (mau5trap /xfer) with the song “Fish” that was a collaborative effort on ThePublicRecord.com and was released on Beatport. He has also found his way into print when an early song of his “Always Fun” was featured in Future Music Magazine (FM224)
Lingk brings his production skills to the dance floor which enables him to create performances that impress the crowd and has made him highlight of many underground events in the Detroit area. Some may label him a Techno or minimal DJ, others a Tech-house DJ. He considers himself a techno producer who also DJs, his ability to bridge both worlds seamlessly while mixing Techno, Minimal, Tech-House, and Deep house with an energetic performance has caught the ears and eyes of many Detroit production companies. With Strange Love productions, Detroit Rave Scene, & Techno Snob adding him to their official roster.
To listen or purchase Sparks, please follow this link to Beatport.
Take a moment to mosey on over to ThisIsProgressive.com and check out their interview of Label artist, Greg Baker (SPLINTrd). You can also listen to SPLINTrd’s latest mix featuring Codine, Dink, Trentemoller, Bonobo, and many, many more.
If you were glued to a particular football game this past Sunday, you may have missed Jon Hopkins’ live performance at the KCRW broadcast studio. Here’s your chance to play catch-up.
Jon Hopkins is a London-based electronic composer, producer and remixer. He makes powerfully emotive, instrumental music that consistently crosses genres, ranging from solo acoustic piano to explosive, bass-heavy electro. A long-term collaborator of Brian Eno, his career has remained unpredictable, taking in collaborations with Wayne MacGregor, King Creosote and David Holmes; remixes for such varied artists as Wild Beasts, Nosaj Thing,James Yorkston, Four Tet and David Lynch; and film scores for directors including Peter Jackson and Gareth Edwards. –KCRW.com
Believe me. The irony of discussing THE big award show on an underground record label’s blog isn’t lost on me. However, the 2014 Grammys featured a small handful of important electronic music acts (and otherwise) that undoubtedly influenced the biggest names in dance music. Both Nine Inch Nails and Daft Punk received nominations, with the latter winning two statues.
I flipped on the Grammys for the last few minutes solely to watch Nine Inch Nails’ performance with David Grohl, Lindsey Buckingham, and Queens of the Stone Age. I’m a long time fan of Reznor and company, having just reached twenty years of collecting and (somewhat obsessively) analyzing his work. I don’t love everything Queens of the Stone Age puts out, but I’ve certainly shredded a few car stereo speakers to Songs for the Deaf. CBS’s decision to roll ads and credits during the performance was incredibly tacky. You’re supposed to be honoring the music and musicians, not treating them as background music to a fucking Delta Airlines screener. Lou Reed’s passing was barely a blip on the radar.
It’s time to make a promise to ourselves. It’s time to quit watching the Grammys. Period. We demand better. Of course, we’re all watching an awards show that had Taylor Swift nominated for best album.
We should know better.