A Skitzo is first and foremost music lover and his sincere adoration and appreciation comes across in his creative sets. He has been passionately mixing and creating music since 2000, acquiring knowledge from a composer-father and a brother, DJ Psychowsky. That’s how he fell in love with the world of music. He recalls his beginnings playing and rewinding audio tapes, producing a sound that later he radically improved by playing records and musical instruments.

He shared decks, the stage with musicians like Canblaster,Paul Kalkbrener Sinden, Martello, Moulinex, LTJ Bukem, Dj Krush, John B, N-Type, Hatcha, Rusko,Nina Kraviz, DJ Zegon (N.A.S.A.), Das Glow, SA-RA Creative Partners, Piloosky, Surkin, Symbol One,the Good Guys,Steve Aoki,Digitalism,Teki Latex, Jazanova, Dzihan & Kamien, and many more.

He enjoys passing on his skills, knowledge and experience in music and music production to upcoming generation of DJs. Among many workshops, in Bosnia, Croatia and Slovenia, A Skitzo hosted a Master Class together with Josh Wink,and many others at Exit Festival.He played at :Exit,Sonar,HideOut and many others festivals…He played in Brasil,Spain,Italy,Germany,France,Czech republik,and many others countries. Nowadays,A Skitzo does audio design, weekly presents the new trends in electronic music on French Kiss FM.

• http://www.myspace.com/jdahmaad
• http://www.frenchkissfm.com/
• http://soundcloud.com/a-skitzo
• http://twitter.com/A_SKITZO
• http://www.purevolume.com/ASKITZO
• http://facebook.com/SKITZO.Stylin

Elevate Me is both a departure from Sweatson’s previous output and a continuation of what has made him a unique voice in L.A’s thriving instrumental hip hop and electronic scene. From the opener Always You the bar is set high with music that could only come from someone with musical savoir faire born of experience and hard work. The music is intricate and playful, the rhythms are hard to resist and the melodies perfectly match the uplifting mood, qualities that are carried throughout the EP.

Own almost feels like a band is playing yet it’s all coming from one man’s mind. The track references both Sweatson’s hip hop lineage and a deep understanding of the emotional potentials of electronic dance music. The tempo might surprise you at first but once you let the music take you in you’ll be pressing play again in no time.

I Can’t Explain is an ode to Sweatson’s love of hip hop, of the beat. The crunchy breaks will make your head nod before you’ve even realised it while the melodies and samples evoke images of sunny, lazy L.A days.

All of these ideas are further explored on My Love Is Here where certain tropes of popular dance music are put to use in a way that is rarely heard today. Instead of being the all-consuming focus of the song, the bass is used to reinforce the rhythmic foundations and combined with a beautifully emotive vocal sample that can seem jarring at first yet makes perfect sense. There is a subtlety to the music that really shines through on repeated listens.

In Between closes proceedings, winding things down with a smoother mood that’s still full of musical intricacies. Combining melancholic vocal samples with uplifting melodies and intricate rhythms, Sweatson manages to push through emotions that seem to burst out of the music, rendering any discussion of genre or style irrelevant.

Elevate Me is genuine, honest music born of emotions and offered to the listener with no disguise. It’s subtle and beautiful and it lets Sweatson Klank’s experience shine through in a way that will no doubt appeal to both old and new listeners. Jump aboard and let yourself be taken on a ride.

http://projectmooncircle.bandcamp.com

http://www.projectmooncircle.com

http://www.soundcloud.com/projectmooncircle

http://www.twitter.com/mooncircle

Taking clear influence from the world of classic dubstep, techno, dub, traditional and tribal forms of music this EP is an expansive exploration of rhythm and tech-styled melody.

Another step forward in the Cut programme of releases, Roughquest pushes us further in to double figures and onwards in to the abyss of deep electronic music.

http://cutrecords.bandcamp.com

http://cutmusic.org/

Italian electronic artists Planet Soap, aka Federico Monguzzi and Luca De Giuli, release their first vinyl and their most surprising album of 9 full length tracks.

On VELVET HE1 all of Planet Soap’s influences can be heard. From dubstep and wonky vibes to detroit techno, jungle and garage. A perfect evolution of electronic bass music, and a new sound experience for clubs and elsewhere!

Before, Planet Soap produced 3 EP on Car Crash Set (USA Label) and another EP on Robox Neotech (Berlin’s Label) with Damscray (Russian beatmaker from Demokracy) called “Planet Terror”.
Recently, Starkey played their songs into his program on BBC Radio 1extra.

http://www.cascaderecords.fr/
http://www.facebook.com/cascaderecords

http://www.soundcloud.com/fededsm

I do the usual stuff, produce, dj a bit and also co-own a small vinyl label with my friend Grinch.

The podcast contains some tracks I enjoy at the moment and some of our own production.

Also tracks by friends and stuff you won’t hear elsewhere.

Basically I was just chilling with my friend Grinch and we decided to start a vinyl label. Poof!

We just released our first record last September, next one came out a couple of months ago – an EP by Grinch, and there

are at least 3 more lined up for this year. You can check it out on Juno, Wordandsound, etc…

To celebrate the 5th birthday of Good Netlabels, a site devoted to the promotion of noteworthy endevours within the underground scene, we have decided to release a new album in the GNs Compilation series. It is the third project in the series, but for the first time ever the contributions have been selected in the course of a contest. Over the last three months we have collected entries that would then undergo a careful selection. In order to make the process as fair and unbiased as possible, music journalists, visual artists as well as musicians have been asked to make the selection.
This newest part of the GNs Compilation series, entitled Empty Shadows, is an international project that marks a shift in the approach to and the preparation of the compilation. While Jazzy Puzzle and Break Asymmetry were collections of recordings created specifically for these compilations by artists invited to these projects, this time it is Good Netlabels readers that contributed to the compilation, by the same token showcasing the underground scene.
Once again the author of the cover is Justyna Bielecka. All translations have been done by Ola Górska, and the sound and mastering have been done by Cuefx.

http://meteor.amu.edu.pl/
http://www.facebook.com/podotykajsobiepoznan
http://www.fragile.net.pl/
http://goodnetlabels.blogspot.com/
http://exportlabel.blogspot.com/

+verb kicks off the album with “Cortex”, a smooth and melodic, synth funk footwork masterpiece, oozing with soul. EVS drops “The Twin Paradox”, where silky smooth pads and synths juxtapose a hard hitting beat that drifts into an almost hardcore tempo, making this tune a dance floor killer. Julien Mier finishes up the A-Side with “As It Is”, a delightful little number, sounding like a glitchy wind-up music box filled to the brim with bubbling arpeggiation and crunchy beats.

The flip gets darker with Acre’s “I Don’t Waste Steps”. This tune comes in with a woozy metallic hit that moves in and out of the ether, before unleashing vocal chops and beat syncopations true to the Chicago aesthetic. Leatherface keeps it hood with “Watch Me Do My Thang”, a menacing anthem sounding like something on the soundtrack for a thugged out horror flick. Damscray’s “Real Street Stalkah” is up next to destroy your ears with its relentless drums and punishing bassline. Finishing up the B-Side is “Work”. A bone rattling, heavyweight, terrorizer brought to you by Motëm.

http://www.lowriderscollective.com/

The introduction of Red Baron does a great deal to carry this forward. Many of the tracks were written in partnership with the elusive vocalist on an almost subconscious level, through a process where different phrases were recorded until the atmosphere was properly expressed. It’s through the Baron’s heavily processed voice, hovering between male and female timbres, that the ghost of American pop culture finds itself here too. In this way Grace Jones stands tall in a frozen stream on I’m Not Listening, Lionel Richie gets stuck in traffic on a bad trip in Colors Breaking while Kanye pushes his auto-tuned bicycle through the blizzard of Floating. But as the arctic arpeggiated synths let you know, the album is more about the future than any past, a future where Rumpistol and Red Baron dare to take current genres from the post dub-step and wonky scenes and defy them with the human voice for a dystopic soul music of their own.

Rumpistol 
“Rum” is the Danish word for space or room. Since 2003 Rumpistol has released 3 albums, 2 EPs plus lots of remixes and received airplay by John Peel among others. He also runs his own label, Rump Recordings, and has composed various music for TV, theater, films and games. Rumpistol’s live performances include festivals and venues all over Europe as well as in Mexico, China and Russia. He has created live soundtracks and appeared in various improvised setups and constellations. In 2010 he was nominated for the Qwartz Electronic Music Award in the Discovery category for his album “Dynamo”.

Red Baron
As a Danish expatriate in the LA scene, Red Baron has slowly undermined the underground with his addictive moves and subliminal expressions. He has already appeared among the likes of Deerhoof, Don Bolles (The Germs) and Sonns, the latter debuting on Stones Throw in May. The Baron also sings in The Late Great Fitzcarraldos, which in 2011 was nominated for the Nordic Music Prize for their debut album. Aged 6 he fell into a depression when faced with the fact that his red hair and whiter than white skin would never match up to the Jamaican model/singer he adored so much. The rest is history.

http://www.projectmooncircle.com/releases/119
http://www.hhv.de/item_269118.html

http://error-broadcast.com/index.php/ebc017
http://soundcloud.com/montgomery-clunk

Good Paul has been searching for that right sound ever since his career started. Never confining to only one genre or branch of music, he has been looking in various genres, but especially in the gray area between hip-hop and house, drum and bass and dub-step, always being attracted by soulful emotion with bass and broken beats. In these last 14 years he was unable to find that one special sound. This EP, however, is his solution for this neverending search.

In his own words:

To live well we need to learn and know about a lot of different things. Draw your plans in an attempt to consciously create the future. It turns out that often the decisive moments in our life are found. I have never sought music by artists or genres, but instead, I am just trying to find music that gets to me in terms of emotion.
I hope there will be people who find the music from this EP, because that music found me.”

The artwork was created by Mateusz Kolek, who is known for his playful, psychedelic and dreamlike illustrations, heavily influenced by Soviet science fiction flicks and Japanese anime’s.

http://projectmooncircle.bandcamp.com/album/find

http://www.projectmooncircle.com/releases/122
http://finestego.com/

He caught attention from XLR8R, Fact Mag, Pitchfork and many others with his Keramika Part 1 and Part 2 EPs, but now he turns to us with a spring podcast which we gladly call PIXELORDTIQUE anouncing that 2012 is the year of Pixelord!

www.pixelord.ru

http://soundcloud.com/pixelord
http://www.facebook.com/pixelord

A: Clubroot – Scars
‘Scars’ starts off the ‘A’ side with a thunderous beat and emotive pads that creep their way into the track. Reminiscent of an early DnB vibe, ‘Scars’ soon lets loose with a massive pounding sub and vocal hook that carries the deep and provocative vibe throughout the rest of the track.
B: Clubroot – Hellion
The flip side ‘Hellion’, is the monster of the release. Atmospherics and a menacing under glow build the track to an almighty drop. Razor sharp break beats coupled with huge reece stabs and mid range bass make this one perfect for the late night DJ.

http://soundcloud.com/solace-records

Their sound can be described as a combination between instrumental hip-hop and vintage-synth driven funk. They developed this specific sound inspired by the music they love: krautrock, classic boombap, Detroit techno, electronica and jazz.

Release date: 15-04-2012 / caoutchou.bandcamp.com

http://soundcloud.com/alvin_and_the_chipsets

caoutchou.bandcamp.com

They’ve been releasing free music since 2008 (full catalogue can be found at caoutchou.bandcamp.com).
On April 1st they release the third volume of their Rubber Beats series. For [AOU007] they tried to create a symbiosis of various musical styles which resulted in an eclectic collection of 22 tracks !

www.facebook.com/caoutchou.records
caoutchou.bandcamp.com 
caoutchou.tumblr.com